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How to Find Great Backgrounds for Outdoor Portraits

11 Aug

Outdoor portrait photography involves going outside, and utilizing the beauty (or the ugliness) of your surroundings. You probably already know some local beauty spots, and can think of some good places to take portraits right away. But once you start observing your local area with the aim of making portraits in mind, you will begin to see the potential, even in mundane locations. But how do you find great backgrounds for outdoor portraits?

Portrait taken outdoors

Here are some ideas to get you started.

1. What lens are you going to use?

This is important because, broadly speaking, there are two different ways to take portraits. Both involve the use of different types of lenses.

The first is to to use a wide-angle lens to take an environmental portrait. This may be documentary in approach, or it may be more fashion or beauty orientated. Either way, the idea is that you use a wide-angle lens to take a portrait, and that the setting is as important as the model.

The second is to use a longer focal length, and shoot with a wide aperture to throw the background out of focus. In this situation the requirements for the background are different, because you are looking for something that looks good out of focus. Also, because longer lenses have a narrower angle of view, you are using less of the setting in your portrait.

Of course, it is more than likely that you can find opportunities to take both types of portraits, in the same setting. You may also make up your mind, once you have scouted a location and assessed its potential. But it helps immensely if you know what your approach to the shoot will be, while searching for a spot to shoot.

These two portraits show the differences in the two approaches. The first was taken with a 40mm lens (on a full-frame camera), and shows the setting as well as the model. The second was taken with an 85mm lens (also on a full-frame camera) and shows much less of the setting.

Portraits taken outdoors

2. Where does the light fall?

Some photographers tend to shoot portraits entirely in natural light; others use flash to supplement it. Whichever approach you take, it is still important to assess the quality of the light in your given location.

Take into account the time of day you plan to do the shoot. To take full advantage of natural light you should aim to shoot in late afternoon or evening, during the golden hour, when the sun is close to the horizon. For this reason it helps if you do your scouting at the same time of day, so you can see how the location looks in this beautiful light.

Another option is to take photos on a bright sunny day, but in the shade. The light bounces off nearby surfaces, which acts as a giant reflector. This is another type of natural light with beautiful qualities.

Alternatively, you might like to shoot on a cloudy day. This means that time of day is not so important, but it does mean that the light is most likely to come from above, and may create shadows under your model’s eyes and chin. In this situation you can use a reflector or fill-flash to minimize shadows. So think about whether there is room to set up a light-stand (if using flash) or for somebody to stand and hold a reflector (if using natural light).

This photo was taken in Wellington Botanical Gardens, and the model is illuminated by light coming from above, through the tree tops. As she is in costume, I thought the direction of the light was reminiscent of a spotlight on a stage, and appropriate to the style of portrait. I used a short telephoto lens (85mm, full-frame camera) to separate the model from the background.

Portrait taken outdoors

3. Use a smartphone to take photos

You can use a smartphone to take photos of locations to help you remember what they look like. Of course, you can do this with any camera, but the advantage of a smartphone is that most of them have GPS, and this helps you remember, and find, the exact location again later. This could be important if you are out in the countryside somewhere. There is nothing more frustrating than finding a great place to take some portraits, then not being able to remember where it is.

You could also import the photos into a specific Collection in Lightroom, and go to the Maps module to see the locations displayed on a map.

Here are some types of location you can search for. Remember, it’s important to think about what type of lens you are going to use for your portraits, as well as to assess the quality of light.

Backgrounds by the coast

Any location by the sea is full of potential. The same place can look very different every day, thanks to changing tides, weather patterns, and light. If the coastline is rugged, look for locations where you can use the rocks and cliffs as a background. Each bay or beach has its own character, so get out and explore. You are likely to find a good variety of beautiful locations, even in a relatively small area.

This photo was taken on a local beach, which has become one of my favorite locations for taking portraits, using a 40mm lens on a full-frame camera. This lens has a slightly wider angle of view than a 50mm standard lens, and allowed me to include a little of the beautiful location, but still make the model the focal point of the photo.

Portrait taken outdoors

Graffiti backgrounds

It may be bit of a cliche, but there’s no doubt that graffiti or street art, can make an interesting and colorful background.

This photo was taken on a local beach with a graffiti covered, concrete bunker in the background. I used an 85mm lens (on a full-frame camera) to include just a little of the artwork in the frame.

Portrait taken outdoors

Field and forest backgrounds

Fields and woodlands often make good locations for taking portraits, especially in the spring and summer. Fields of flowers are gorgeous locations. Try using a telephoto lens, and shooting through the flowers so they are out of focus.

The light in a forest is usually most suitable for portraits on a cloudy day. The light is soft, and unlike on a sunny day, your camera can easily cope with the brightness range. The one thing to watch out for is the direction of light. It comes from above, through the trees, and is highly directional. You will have to search for the places where gaps in the trees let light through. You may have to use a reflector to fill in the shadows created by the top light, or ask your model to tilt her face toward the light.

On sunny days, try shooting at the end of the day, when the light is softer, and use backlighting.

This portrait was taken on a cloudy day, in a thick forest where not much light penetrated through the trees. We found a clearing next to a large tree that we were able to use as a background. I used an 85mm lens (full-frame camera) to pull the tree in close to the model, and exclude most of the forest from the frame.

Portrait taken outdoors

Local buildings for backgrounds

Keep an eye out for local buildings with public access that you can use for photos. I’m not talking about busy locations, as they are difficult places to work, unless both you and your model are very experienced. Let me give you some examples.

Here’s an abandoned boat shed on a lonely beach.

Test shot

This is the portrait we made at that location.

The second example is a graffiti covered concrete bunker left over from WWII.

Test shot.

Here’s a portrait we made there.

In both examples I used a small part of the building as a background. You can see the same technique in the other photos in this article. The idea is to make sure the background complements the model in your portraits, and doesn’t overwhelm her.

Summary

The outdoors is a bit like a giant stage set, just waiting for you and your model to use. Wherever you live, I am sure that there are plenty of great locations for portrait photography nearby. It’s just a matter of learning to spot their potential, and thinking about which lens (or lenses) you will use for your portraits.

Share some of your images from your favorite spots in the comments below.

Mastering Lenses

If you want to know more about buying and using lenses then please check out my ebook Mastering Lenses: A Photographer’s Guide to Creating Beautiful Photos With Any Lens.

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The post How to Find Great Backgrounds for Outdoor Portraits by Andrew S. Gibson appeared first on Digital Photography School.

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Tips to Help Newbies Find Success in the Photography Business

04 Aug

Many dream about becoming a professional photographer, but unfortunately it can be difficult to last longer than two years in business, if you don’t have the right plan. People fail every day. They question themselves, wonder if their work isn’t as good as they thought it was, then pass along the common belief that it’s impossible to make a living in photography.

Corporate portraiture. Every business needs photography.

You commonly hear that everyone is a photographer these days, but that’s just not true. There are lots of photographers, in the same way that there are many people who enjoy writing – as there should be, because it’s an incredibly fun passion. But there are not as many professional photographers pushing themselves in the right way and making a living, and this is solely due to their marketing ability, not the state of the industry.

If anything, there is more opportunity than there used to be. With the Internet, LinkedIn and social media, everyone needs a good portrait. Companies need their events documented to then be shared. People are spending so much money on weddings. Good photography is more important than it ever has been. What people really mean when they talk about the industry being saturated with photographers, is that the old gatekeepers who once sought out the skilled photographers are gone. Now to succeed you have to figure out how to do it on your own, and to raise above the noise.

Here are some tips to help you find success in your photography business.

1. Create a strong and unique body of work

Gowanus, Brooklyn. This photograph sells very well due to its uniqueness.

There is no way around it, if you want to succeed as a photographer, you have to learn how to create strong work. There are no excuses these days. Everything you need to learn is on the Internet. There are videos, courses, ebooks, YouTube, you name it. Map out what you need to learn, particularly where you feel your weaknesses are, and seek out content to address them. Maybe it’s posing, or studio lighting, or printing. Everything’s out there, and it’s not hard to locate. Go to town.

Train your eye. Find 10 photographers whose work you love, and figure out how to do what they do. Study them, go deep into their archives, and then try to recreate the look of their images. Use friends as models, do whatever you need to do. Recreating their look is not copying, it’s learning, and eventually as you continue to improve, you will take elements from all of your favorite photographers, and mesh them into your own style.

Plan creative days. It’s not good enough to say that you will find time within your schedule. Set aside entire creative days, and put them in your calendar. Turn off all other distractions and treat it as a job, because it is a job. Plan what you are going to do ahead of time and execute it. This is where your portfolio will begin, and what you will use to get jobs.

2. Realize that nobody notices you or your work

Polka Dots and Pink Shoes, Subway, 2012.

Another New York print that sells well.

It’s important to understand how people see you, and they don’t. Everyone is being bombarded with imagery everyday from so many sources. Even if you put yourself out there, people aren’t going to notice you. It takes time and persistence, so keep at it.

The reason that you need to understand this, is because you have to grind at first. The beginning is always a grind, particularly as you’re trying to get to an income that can stabilize you for the long term. People may not notice you the first time, or the second, and when they do first notice you, they will probably write you off. It’s common for some people’s first reaction to be negative and dismissive about you, before they even give you a chance. But, the more they see you, the more they will notice you and warm up to you. It takes time, and people appreciate seeing others work hard for it. One try is not enough. Neither is two.

3. Reach out to your community

Every successful photographer that I’ve spoken to has received their first smattering of jobs through word of mouth. Who else is going to hire you right away? Your personal community is so important to your early and ongoing success. Your friends and colleagues know you and trust you. They will give your work more of an eye and a chance right away, and they will recommend you. Be social, surround yourself with a strong community, and your professional life will benefit.

A job I received through a fellow photographer.

However, these word of mouth referrals are not going to happen on their own. Your community isn’t going to help if they don’t understand what you are doing. Make it official. Create an email list and send out an official announcement about your business. Explain, and show what you do, and make it clear how you can help people. If you are building a portraiture business, explain that you do photography for engagements and families, businesses, law firms, actors, and artists. You know who that covers? Everybody. Suddenly, everyone will have you at the top of their mind. They will understand how you can help them when they are in need of your services. People will not know this unless you tell them.

Start fostering a community of other photographers around you. It can be easy to think of other photographers as competition, but that is so far from the truth. The only one keeping you from getting jobs is yourself, and photographers are the ones that you can bounce ideas off. If you need to gain experience, offer to assist for them whenever they need. This is particularly popular in wedding and commercial businesses, but every photographer can use a hand. This will teach you more than any Internet website or tutorial can. As you get closer, this community of photographers will give you advice in times of need, and will pass you jobs when they are booked. It’s a win-win for everybody involved.

4. Active versus passive marketing

The owner of my favorite local restaurant.

Passive marketing is the act of putting yourself out there over and over again, while waiting for the jobs to come to you. This is so important for the long term, but it takes time to come to fruition, and in the short term it does nothing. Instead, take an active approach to your marketing and directly reach out to your potential clients.

If you want to work with local businesses, contact them and introduce yourself and your services. Make an appointment to show them your portfolio, or call them on the phone. If you want to work with restaurants, start with the ones you eat at, and work the town. If you want to do portraits of actors, go to acting schools, and the places where the actors hang out. If you want to sell your prints, seek out interior designers, art consultants, and businesses without art on their walls. Figure out who your clients are, where they are, and then plan out the best way to approach them.

5. Create a business plan

Engagement and family photography can be a great business to start off and gain skills you need.

Creating a business plan is vital to your success. Figure out the income number that you will need to earn in the first year, and create a plan for how to achieve it. How much will your expenses be? How much will you charge, and how many jobs will you need to book to reach your desired income? Who are you marketing to? What are all the ways that you can reach your potential clients, and which have the potential to pay off the best? What promotional material will you need? Do this in a spreadsheet, map it all out, and continue to reference and tweak it as you go.

6. Contact people!

Corporate portraiture.

Once your portfolio and website are ready, start contacting the people on your list. Do this consistently, and not all at once, so you don’t burn yourself out. Try a few, see how your pitch went, then refine it. The first few might not go so well, and if that happens, try to figure out what went wrong. If they do not seem to have a strong reaction to your work, then maybe you need to improve or tweak it. As you achieve more success, you can start to contact additional people. This is the grind phase of your career, and it is the only way to succeed.

You will fail more often than not, but be elegant in failure. Someone who rejects you now could be doing it for so many reasons, and could be a great client down the road. Even if they can’t work with you now, make a good impression and don’t give up on them.

7. Follow through

Every step that you did before this is how you got hired for the job. Don’t screw it up. You want your career to snowball, and the only way it will do that is if you impress everyone. Jobs are the quickest way to get more jobs and new referrals. Unfortunately, as some photographers start gaining jobs consistently, they can become cocky or complacent. You know how much work went into gaining these clients, and you want the grind to pay off.

Event photography.

Respond quickly. Under-promise and over-deliver. Plan out jobs, communicate well with clients in the planning phase, and don’t mess up details. Always keep a smile on your face and look confident, even during the many times when you will be freaking out inside. Make sure to talk to the clients when you have the chance, and get to know them. Send thank you notes, and don’t be afraid to ask for referrals.

Do you see from all of this how a career can take off when you approach it in the right way? It’s not rocket science, but unfortunately it often takes newer photographers much longer to figure all of this out than necessary. It took me a long time. Now you know it, so go do it. Fight the fear, and kick some butt.

The post Tips to Help Newbies Find Success in the Photography Business by James Maher appeared first on Digital Photography School.

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How to Find your Personal Photographic Style

03 Jun

Finding your personal photographic style is something of a holy grail to photographers, yet seldom an overnight occurrence. Nor would you want it to be, as developing a style that is uniquely yours is one of the most exciting and rewarding aspects of photography. For a lot of photographers, it is an ongoing, ever-evolving process, influenced by many factors. Some photographers find a single style that works for them, which they stick to and hone, while others might develop two or more dominant styles.

image showing personal photographic style

The beach and water feature in many of my images

What defines a photographic style?

Personal style can be defined by any number of things. It can be your choice of subject matter, the way you light or style your subjects, your shooting angle, cropping, a particular colour or tonal range you’re drawn to, your post-processing style, or any combination of these and more.

Consider those photographers, whose work is instantly recognizable. Some of the greats such as Annie Leibovitz, Ansel Adams, Henri Cartier-Bresson – their styles are so distinctive that the viewer is left in no doubt as to whose work they are viewing. Adams is probably best known for his iconic black-and-white images of the American West, and his renowned technical perfectionism. Cartier-Bresson is considered by many to be the father of modern photojournalism. His style was humane and spontaneous, and he broke many rules in order to capture the decisive moment. Leibovitz developed her trademark style, involving the use of bold primary colours and unexpected poses, while working at Rolling Stone magazine. Her highly styled fashion and celebrity portraits bear her signature in every detail.

There are many photographers with unique styles, who may not yet have reached such heights of fame. The photographs below are the work of Australian-based photographer Juanita Haslett (Little Forest Photography). Juanita’s style is distinguishable by her unposed approach to her subjects, the subjects themselves (usually young children), the wild, natural settings, and her distinctive editing style.

Photo credit: Juanita Haslett, Little Forest Photography

Photo credit: Juanita Haslett, Little Forest Photography.

Forget what everyone else is doing

When I was finding my feet as a portrait photographer, I was thrown off course time and time again by what other people in my industry were doing. Everywhere I looked were posed newborns – Photoshopped composites of babies in baskets, bowls and nests, babies in froggy pose, babies hanging in dreamcatchers, and swaddled in an assortment of wraps, headbands and hats with ears. Alongside the posed newborn images were photos of small children in forests and fields, bathed in an otherworldly golden light and sun flare – always the sun flare!

I figured that since everyone seemed to be photographing this way, it was what clients wanted. As I tried to recreate what they were doing (and had been doing long before I came along) their images populated my news feed every time I went online, serving as visual reminders of what I was failing at. In trying to do what everyone else was doing, I found myself lost in a sea of sameness.

My daughter chose to learn the bassoon rather than the piano. Her choice to do something different has helped her stand out from the pack, and has opened many doors for her.

The thing about stand-out photographers is that they stand out precisely because they are not doing what everyone else is doing. Your style is what sets you apart from everyone else. Sometimes, this means being brave and following a less popular path. So, be inspired by others, but don’t compare yourself. Admire their work, but don’t try to emulate it, because you will only end up looking like a poor imitation of something great.

The examples below are the work of Steve Scalone, a Melbourne-based photographer whose clean, graphic composition and unusual shooting angles are his trademark. Steve specializes in a very different genre to mine, but I follow his work, and admire it because it reminds me of the importance of being brave and different.

Image showing finding your personal photographic style

Photo credit: Steve Scalone

Figure out what inspires you

It’s helpful to understand how your passion was born. Keeping this at the forefront of your mind will help keep those doubts in check when they come creeping in, as they inevitably will. While you shouldn’t try to copy anyone else’s style, there is nothing wrong with being inspired by others. For many of us, another photographer’s work is what ignites that first spark in us, urging us to explore this medium further.

Who or what made you first fall in love with photography? Was there a family member whose photos struck a chord? A photo you saw in the newspaper, or an exhibition you attended? Sometimes it’s a combination of many things, and it can be hard to pinpoint the one thing that’s had the greatest impact.

For a long time, I thought my first photographic love was Cartier-Bresson, evidenced by my love affair with black-and-white and candid photography. However, I was only introduced to Cartier-Bresson’s work when I already owned an SLR, by which stage the stable door had long been left open, and the horse had well and truly bolted.

My admiration for Cartier-Bresson is evident in my love of black-and-white street photography.

image showing personal photographic style

My first real engagement with photography was through my father. He documented our childhood growing up in South Africa in the 1970s, with a Minolta SLR and slide film. He had no formal training, just an eye for light and composition. Dad regularly treated us to slide shows, and none of us complained because his photos were so beautiful. There wasn’t a dull or dreary image among them, since Dad’s most active shooting season was during our summer holidays, in the mountains and on the coast.

My father documented our childhood in South Africa on slide film. Photo credit: Erik Holmgren

After we immigrated to Australia, the slides became even more important to us. Projected life-size on the wall, they allowed us to re-live all those happy memories, and kept our birth country alive for us when we were desperately homesick.

It was only recently that I realized just how much of an impact my father’s photography has had on my style. First, I favour natural over heavily edited. With so many editing tools at our disposal, there is the temptation to fiddle and alter until we end up with an image that is nothing like what we set out to capture. Dad’s photos have a beautiful rawness about them; they tell it as it really was.

Second, I am drawn to water and other natural environments, particularly when photographing children.

Third, I love big, beautiful photographic wall art, and I’m sure it harks back to those slideshows! I love how you can see all the detail of expressions and connections within a photograph when it is projected large on the wall.

My father’s photography has had a huge influence on my style. Photo credit: Erik Holmgren

Develop your style

Spend an afternoon looking back over the photographs you’ve taken. It’s a rewarding rainy day activity! Create a collection of your favourites, but don’t overthink it. Be spontaneous, and you’ll gravitate to those images that make your heart skip a beat.

Now take a good look at them. Do you notice a pattern? It may be subtle, and it may take a while to see it, but here are some things to consider:

What do you like to photograph? Let’s say it’s children. Are they young children or teens? What are they doing when you photograph them? Do you like to catch them in action, or quiet reflection? Candid or styled? Are they indoors or out? What do their surroundings look like?

Warm colours of early morning or late afternoon light contribute to style.

What about focal length? Do you photograph close up, or do you like to include some background to help tell the story? Do you favour the compression of a zoom lens or do you prefer a wider angle lens? Do you like to keep some background detail, or do you shoot with a wide aperture to keep it soft? Do you shoot from above, below, behind, in profile? Do you compose your images with lots of foreground, lots of sky, or do you frame your subjects with things like trees?

Now think about the lighting. What time of day have you taken your favourite photos? Are they brightly lit or full of shadows? High key, deliberately underexposed, or somewhere in between?

Is there a colour or tonal range that dominates your photos? There will be evidence of this in your choice of subjects, locations and your editing style. You might find the majority of your favourites are black and white, or maybe you’re drawn to warm reds and golds, or even neutrals. Do you prefer to edit for crisp colours and sharp images, or do you favour the softer outlines and colours that are reminiscent of film?

Black and white is one of my two dominant styles

All of these elements contribute to your photographic style. Once you identify them, you can start honing in on your style by emphasising the things that move you, and then watch your style grow.

So, how has your style developed? Have you noticed a big difference in the way you shoot or edit now, compared to where you were say, three years ago or even six months ago? Share your before and after photos in the comments section below, and any tips you might have for developing a personal photographic style.

Editor’s Note: This is one of a series of articles this week that are Open for Discussion. We want to get the conversation going, hear your voice and opinions, and talk about some possibly controversial topics in photography.

Let’s get it started here – do you agree or disagree with the points in the article above? Do you have any others to add? Give us your thoughts below, and watch for more discussion topics each day this week.

See all the recent discussion topics here:

7 Commonly Accepted Photography Beliefs Debunked
Is HDR dead? Some dPS Writer’s Thoughts on this Controversial Topic

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How to Find a Great Sunset Photography Location

05 Mar

We all know that one essential ingredient to a great photograph is beautiful light, and that some of the best light happens during sunset. But what truly makes a great sunset photography location?

Acacia tree or umbrella thorn in Serengeti National Park, Tanzania.

In my experience, the best locations are ones where you can find two different compositions, that will work under different lighting situations, to double your chances of making a spectacular sunset image.

To understand what I’m getting at, first think about the direction of light. As the sun descends in the sky and approaches the horizon, the last of the sun’s rays have a wonderful warm hue, that can light up the tips of mountains, and cast a golden glow on the land in the direction opposite the sun. Then there’s usually a lull for a few minutes when nothing much happens, giving you a chance to change position to face the sun. When the sun falls below the horizon, you’ll have an opportunity to make backlit or silhouette photos.

Salton Sea Moments

Finding Your Location

It’s best not to leave location scouting for the last minute, or you won’t have enough time to find a spot with two good compositions, in both directions. Scouting a location is a good activity for mid-afternoon, when you’re probably not going to be photographing anyway, due to the harsh light. Leave your gear at home, or only take minimal equipment to record the scene, so you don’t have a heavy load and you can move quickly and easily.

Arches National Park, Utah

Before you go scouting, don’t forget to find out the exact direction where the sun will set. This is easy to find with a quick internet search and a compass, or using an app on your phone or tablet.

When you are scouting, what you’re looking for is a good composition for both a front-lit scene and a backlit scene. They don’t necessarily have to be at the exact same spot, but it should take you no more than a few minutes to walk between them.

Sunset at Arches National Park, Utah.

Composition Tips for Front-lit Scenes

For your front-lit scene, you are going to have nice golden light throughout the landscape, and if there are any mountains in your frame, they will have dramatic bright light on the top. What I usually look for in this kind of a scene is depth, by using foreground elements to emphasize the distance between foreground and background.

Jumbo Rocks

Try to find some leading lines that will guide the viewer’s eye through the image, and ideally lead to something in the background. Or, find other interesting features, such a plant or colourful rocks, to place in the foreground of the scene.

Composition Tips for Backlit Scenes

Once those final rays have disappeared from your front-lit scene, you’re ready to change positions and get ready for the backlight. In a backlit scene, everything on the ground is going to be in shadow, so you no longer need to worry about depth – it’s all going to be black anyway. So now what you are looking for is something with a great shape, to make an interesting silhouette against the colourful sky. This can be jagged mountains, sea stacks on the ocean, a cactus, or anything else that has a really strong shape. Don’t pick anything that is going to just look like a vague blob of darkness.

Sunset at Joshua Tree National Park, California

In the Field

Keep these composition ideas in mind when you scout your location, and if you need to, mark your chosen spots with a GPS while you are scouting, to make it easier to find your location when you return to the scene for sunset.

Go early! If there are any clouds on the horizon where the sun will set, the last rays for your front-lit scene will come sooner than expected.

Ogilby Road near Yuma, Arizona.

Exposure for Front-lit Scenes

As the sun descends in the sky and approaches the horizon, your scene will have a more even exposure than it would have earlier in the day. But you still may want to use a graduated neutral density filter, to even out the exposure between the brighter sky and the darker land.

Exposure for Backlit Scenes

When exposing for a backlit scene, it’s important not to use an exposure setting that takes the whole frame into account, like matrix or evaluative metering. Instead use spot metering, and meter on a sky portion of your image, which will capture the dramatic colours in the sky, while allowing your subject in the foreground (the one with the great shape) to become a silhouette.

Ogilby

Conclusion

You can only plan so much when it comes to sunset photography, the rest is up to mother nature. You can only guess what is going to happen with the clouds and the light. When you get there, you may only have clouds for your front-lit scene and not the backlit one. But at least if you plan out two different shots, you’ll double your chances of coming home with a stunning sunset photo.

The post How to Find a Great Sunset Photography Location by Anne McKinnell appeared first on Digital Photography School.

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Find Love Through Your Lens: 3 Ideas for a Valentine Photo Shoot

09 Feb

Editor’s note: Valentine’s Day is a good opportunity for aspiring portrait photographers to practice love story and romantic / family photo shoots. Below you can find three practical tips and ideas for a Valentine photo shoot from our regular writer, a portrait photographer, Barbara Stitzer. *** Ahhh, Love. It can be giddy, maddening, complacent, jealous, warm and gooey, and downright Continue Reading

The post Find Love Through Your Lens: 3 Ideas for a Valentine Photo Shoot appeared first on Photodoto.

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How To Find Your Lens’ Sweet Spot: A Beginner’s Guide to Sharper Images

03 Feb

Are you tired of blurry images?

It’s time to learn how to capture sharper images by finding your lens’ sweet spot. This will give you more confidence, save time, and help you take better photos.

In this article you’ll learn:

How to find your lens’ sweet spot (for sharper images)
Why you should shoot in Aperture Priority mode (and how to use it)
How to perform a test to get your sharpest image every time
How important is your lens’ sweet spot? Notice the difference

Mid range aperture sharper than wide open

In the above images of the clock, the one on the right is sharper. Look closely at the words and at the leaves behind the clock. The f/9 image is sharper throughout because it was shot in my lens’ sweet spot. The f/3.5 one was not.

First, take a look at your lens

In this beginner’s guide, we’ll use an entry level zoom lens as our example. Most kit lenses (the basic lens that comes with a DSLR) generally shoot their sharpest at the mid-range aperture settings. To determine the mid-range of your lens, you’ll need to know its widest (or maximum) aperture setting. It is located on the side, or end, of the lens and will look something like this 1:3.5-5.6.

For example, here it is on my Canon 18-55mm zoom lens.

Lens aperture range

This means that when my lens is zoomed all the way out, its widest aperture is f/3.5. When zoomed all the way in, its widest aperture is f/5.6.

The rule to finding that mid-range sweet spot, is to count up two full f-stops (aperture settings are called f-stops) from the widest aperture. On my lens, the widest aperture is f/3.5. Two full stops from there would bring me to a sweet spot of around f/7.

Use this chart to count your f-stops

By Robin Parmar

There is some wiggle room in the mid-range, so anything from f/7 to f/10 will capture a sharp image. Once you know the mid-range of your lens, you can do an easy test to get your sharpest image. To perform the test you’ll need to shoot in Aperture Priority mode.

Take control with Aperture Priority Mode

Shooting in Aperture Priority allows you to choose the aperture setting you want, which gives you more creative control than Automatic mode. By controlling the aperture setting, it’s much easier to get a sharp image, and because your camera still chooses the ISO (if you are set to Auto ISO) and shutter speed automatically, it’s very easy to use.

You’ve probably heard that apertures like f/16 and f/22 are best for keeping everything in focus. While that can be true, focus does not always equal overall sharpness. Choosing a mid-range aperture will give you sharper images throughout. You can improve them even further by reducing camera shake with a tripod and a remote shutter release (or your camera’s self-timer).

Here’s an example of how shooting in your lens’ sweet spot will give you sharper images.

Sharp images shot in lens sweet spot

Mid range f stop sharper than small f stop

In the above split-image, the f/9 image is sharper than the f/22 one. The needles and shadows are not as soft or blurry as in the f/22 shot (look at the crispness and sparkles in the snow too).

Switching from Automatic to Aperture Priority Mode

To take your camera out of Automatic and put it in Aperture Priority, just turn the large Mode Dial to Aperture Priority. This is what that looks like on my Canon (on Nikon and other brans look for the A).

Aperture priority on canon mode dial

Automatic mode is the green rectangle; Aperture Priority mode is the Av (or A on a Nikon). Once your camera is in Aperture Priority mode, turn the smaller Main Dial (shown here on the top of my Canon) to choose your f-stop.

Main dial canon

As you turn that dial, you’ll see the f-number changing on your screen. In the next picture, it’s set to f/9.5.

Aperture setting on canon LCD screen

Perform a Lens Sweet Spot Test

Once you have your camera set up on a tripod, performing a sweet spot test only takes a couple of minutes. To begin, put your camera in Aperture Priority mode, then compose your shot and take a photo at varying apertures. Start out with the widest, then click that main dial a couple of times (to the right) and take another. Keep doing that until you’ve taken seven or eight photos.

Upload your photos to your computer and zoom in on them. You’ll quickly see which aperture settings gave you the sharpest overall image.

This next photo of my daughter was shot using natural light. Shooting in my lens’ sweet spot gave me a pretty sharp image, even in this low light setting.

Mid range aperture sharp image low light

Find your lens sweet spot for sharper images

The close up of the mugs shows the advantage of shooting in the lens’ sweet spot. Whenever you want to make sure you get the sharpest capture possible, take a shot at each mid-range setting f/7, f/8, f/9, and f/10.

Getting Your Sharpest Images

Now that you know your lens’ sweet spot, it’s time to practice. I hope you’re as pleased with the results as I’ve been!

Mid range aperture for sharper images

I love shooting in natural light, and learning how to capture sharper images in low light has made me so much happier with my photos.

Tips for capturing your sharpest images:

Shoot in Aperture Priority mode
Choose a mid-range aperture (usually f/7 to f/10)
Use a tripod and a remote shutter release (or your camera’s self-timer) to reduce camera shake
Take a series of shots at f/7 through f/10 when a sharp capture is especially important

But don’t stop here. Keep playing with settings in Aperture priority mode. It’s awesome to get images that are sharp throughout, but there’s a lot more to aperture than that.

Learn more about aperture and depth of field here.

Do you have any lens sweet spot tips to share? Please do so by commenting below.

The post How To Find Your Lens’ Sweet Spot: A Beginner’s Guide to Sharper Images by Dena Haines appeared first on Digital Photography School.

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How to Find Good Locations for Family Portraits

28 Jan

When you’re shooting a family portrait, about nine out of 10 times the client will ask, “Do you have a place you typically like to shoot?”

We all do, of course, but if you take every portrait client to the same location, your portfolio will develop an undesirable, repetitive consistency. So, it’s important to thoroughly scout the area where you live and work, to build a list of go-to spots for any scenario, circumstance, and style.

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Think about your city, and build a list of these places where you can shoot:

A field or shoreline with broad vistas to capture the aura and glow of twilight
A similar outdoor venue with features like tall grass or trees to provide backdrop
An outdoor area with full shade, appropriate for shooting midday
A covered outdoor space like a gazebo or covered porch, for shoots in inclement weather
An indoor space with high ceilings and lots of windows for natural light

Because most family portrait sessions will include a variety of backdrops and poses, the perfect shooting location contains all of these elements. But that’s rare to find.

Finally, make sure that you have the required permits, permissions, and licenses to shoot in your desired locations, whether they’re public or private (many municipalities require a business license to shoot in public places like parks and beaches).

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Once you’ve built your list of go-to locations, you’re ready to schedule a session with a client. Here are the two scenarios that could play out:

1 – The client has already chosen a location

It’s surprisingly rare for a client to be dead set on a location, but sometimes there’s a family home, or a special place with memories where they’d like to be photographed. Or perhaps there’s extended family gathered together already, and they’d like to keep the photo shoot as easy as possible by having you come to them. If you’re shooting for next year’s holiday portrait or another special event, they may also choose a place that fits the theme, such as an evergreen forest or a snowy landscape.

If you’re not familiar with the location, ask questions about it while confirming the shoot. You may discover that you need to bring extra equipment like lighting to fill in shadows, if they’re hoping for a family portrait underneath a moss-strewn oak tree at two o’clock in the afternoon.

Likewise, indoor shots — such as people gathered around the fireplace or the Christmas tree, for example — may present difficulties with lighting that you’ll want to work out and be prepared for, prior to the actual shoot. When feasible, visit the site of any shoot before arriving for the actual job.

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2 – The client is open to your location suggestions

This is the more common scenario, where you pull out that list of locations you’ve already scouted.

Start by getting a sense of the feeling the family wants to capture in their photos. If it’s a holiday family portrait, they may prefer a warm and rustic theme over something bright and urban, for example. Or they may want a look that’s relevant throughout the year.

Timing will also have a lot of influence over your decision on where to shoot. When possible, schedule sessions for an hour, to an hour-and-a-half before sunset, giving you time to arrive and chat, get the family comfortable with your presence and style, and then be fully ready to capture beautiful, stunning portraits just when the changing light is at its peak.

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Sunset (and sunrise) shoots

For golden hour sessions, just after sunrise and before sunset, choose a location that ideally has both broad vistas, and objects of interest. For example, if you’re shooting on the beach, don’t just choose a spot with wide open beach (plus houses and passersby) – aim to find a section of beach with sand dunes, tall grass, driftwood, or even distant trees. These objects help frame the image and make it more interesting, without distracting from the subjects of the photograph. The same rules apply in a desert, lake, or city park scenario.

Midday shoots on a sunny day

The challenge with shooting at midday is shadows. You don’t want your subjects to squint in full sun, and you don’t want shadows from tree branches, or manmade obstructions, blocking portions of their faces. The key to shooting in midday on a sunny day is to put your subjects fully in the shade.

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When a client wants to schedule midday, I often lean toward urban areas with architectural interest. If your city or town has a historic neighborhood, seek out alleyways, parks, cobblestone streets, or even sidewalks that are shaded at midday, but present a beautiful surrounding for subjects.

Cloudy day shoots

It’s a huge misconception that overcast days are bad for family portraits. Clients may be discouraged by the threat of rain, but encourage them with the news that even cloud coverage actually makes for beautiful outdoor shots — there’s no squinting and nice even light.

But, if there’s no drama in the sky (dark clouds swirling on the horizon), an overcast day may be less exciting when shooting with broad vistas and open spaces. Turn to your surrounding objects (trees, historic buildings) to provide the intrigue in the photograph. Or bring in a pop of color with balloons or other props.

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On an overcast day, a local mural can actually make a perfect backdrop — just make sure your subjects wear muted tones (black, white, gray, beige) rather than colorful attire that might clash with the art.

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Final tips and tricks

Start by putting together your list of places. Keep the same principles in mind that helped you choose those spots, when giving feedback to a client on their suggested locations. In addition, make sure that wherever you decide to shoot won’t be crowded at the time you’re there — the last thing you want is a bunch of strangers in the background.

Finally, be flexible. Not every shoot will be perfect, but it’s your job as the photographer to ensure that your clients have an enjoyable experience. Have confidence in your skills, and work around obstacles as they arise. If you are engaged and the subjects are happy, it’s possible to create gorgeous family portraits that your clients can share on cards, calendars, and gifts throughout the year.

Do you have any other location scouting tips? Please share in the comments below.

The post How to Find Good Locations for Family Portraits by Hunter McRae appeared first on Digital Photography School.

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Tips for How to Find Lost or Missing Photos in Lightroom

23 Jan

Lightroom is a popular choice for post-processing software for many photographers. There are many common mistakes newbies make when using it – and losing some of their photos is one of those.

In this video Phil Steele will show you how to find lost or missing photos and prevent it from happening again:

If you enjoyed that and want to learn even more about Lightroom you can check out Phil’s Lightroom course here.

The post Tips for How to Find Lost or Missing Photos in Lightroom by Darlene Hildebrandt appeared first on Digital Photography School.

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How well do you know the Lightroom interface? Take this quiz and find out

03 Jan

lightroom interface quiz lead image

When you’re new to Lightroom there are lots of things about the Lightroom interface that contribute to its steep learning curve. Most Lightroom users can tell you a story or two of being caught by items appearing, or disappearing, without warning. With experience these are minor inconveniences, but when you are new to Lightroom, they can be overwhelming. So, just how much do you know about the Lightroom interface? Take this quiz and find out:

Question #1

What is this and how do you get it back if it disappears?
Lightroom Interface Quiz - image for question 1

Answer:

That is the Toolbar, and you can display or hide it by pressing the letter T on your keyboard. You can also choose View > Hide Toolbar or View > Show Toolbar depending on whether it is currently visible or not. There is a toolbar in every module in Lightroom.

Question #2

When you used Lightroom recently, you recall seeing small indicators like this in the bottom right corner of some of your images. What are they and how do you get them back if they’re not showing in grid view?

Lightroom Interface Quiz - image for question 2

Answer:

These are Thumbnail Badges, and they indicate whether or not an image has been cropped, has develop presets, keywords added, and so on. In the Library module pressing the letter J will toggle through a number of options for your grid view, two of which include thumbnail badges.

Question #3

Most panels show filled in triangles like the one on the left (below), but one of the panels has a triangles like the one on the right (also below). Why is it different?

Lightroom interface quiz - image for question 3

Answer:

The second panel on the right is set to what is called Solo Mode. When this option is enabled, and you click to open any of the panels, all other panels will close automatically (essentially leaving only one opened at a time). The Navigator and the Histogram are exceptions to this rule and they operate independently of Solo Mode. To enable or disable Solo Mode, right click on the name of any panel (the actual word not the triangle) and choose Solo Mode from the options given (see below).

Lightroom interface quiz - image for question 3

Question #4

This is the Develop module and the Basic panel is missing. What has happened and how do you get it back?

Lightroom interface quiz - image for question 4

Answer:

Any panel can be enabled or disabled in Lightroom. If you’re missing a panel, right click another panel in that same sidebar to display the panel list. Any panel name without a checkmark isn’t visible, so to make it visible, just click the panel name.

Lightroom interface quiz - image for question 4

Question #5

This is the list of Lightroom modules. A module is missing, what is it and how do you get it back?

Lightroom interface quiz - image for question 5

Answer:

The Develop module is missing. You get it back the same way as you would a missing panel, right click any of the module names to show a list of modules. Any that do not have checkmarks beside them are not visible. Select that one to display it.

Lightroom interface quiz - image for question 5

Question #6

There used to be a panel here in Lightroom just above the thumbnails in grid view in the Library module. It’s disappeared. What is it, and how would you get it back?

Lightroom interface quiz - image for question 6

Answer:

This is the Filter bar, and you can display or hide it by pressing the Backslash key (\). You can also display or hide it by choosing View > Show Filter Bar.

Lightroom interface quiz - image for question 6

Question #7

Here just above the filmstrip you recall that at one stage you saw Star, Flag and Color options, but they now seem to be missing. How do you get them back?

Lightroom interface quiz - image for question 7

Answer:

Click the word Filter and the filters will reappear. Click Filter again and they will disappear.

Lightroom interface quiz - image for question 7

Question #8

What is this called and how can you get rid of it or choose what information is showing?

Lightroom interface quiz - image for question 8

Answer:

This is the Loupe Info Overlay and you can display and hide it by pressing the I key on your keyboard. There are three states for this: Info Overlay 1, Info Overlay 2, and turning it off entirely. To edit what information is displayed click CMD+J (Control+J on a PC) or go to: View > View Options.

Question #9

This is the right hand corner of the Lightroom screen and the controls for Maximize, Minimize and Close are all missing, as are all the Lightroom menus on the left of the window. How do you get them back?

Lightroom interface quiz - image for question 9

Answer:

To redisplay the Lightroom menu and the Windows controls press Shift + F. This is a toggle switch which displays and hides full screen mode. There are three states for full screen mode so press Shift + F repeatedly until the Lightroom menu and the Window controls reappear.

Question #10

Here, in the Develop module, you don’t see any stars on the toolbar when you are viewing this image at full size. The stars only appear on the toolbar when you are in Grid view. Where did they go and how can you get them back?

Lightroom interface quiz - image for question 10

Answer:

The toolbar in the Develop module has two states, one for the Grid View, and one for the Loupe (single image) View. To display and hide the various options on either toolbar, switch to that view, and click the arrow in the far right of the toolbar to display the options available in that view. Click any unchecked option to display it on that toolbar, likewise you can click any checked options that you want to hide.

Lightroom interface quiz - image for question 10

If you got 10 out of 10 on this quiz, well done! You have a good understanding of the basics of the Lightroom interface.

If you missed any of these questions, hopefully you’ve learned something about using Lightroom that you did not know before.

The post How well do you know the Lightroom interface? Take this quiz and find out by Helen Bradley appeared first on Digital Photography School.

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How to Find Inspiration Photographing Locations Near Home

20 Nov

Everywhere you look there are thousands of images depicting beautiful places in the world. How many times have you thought to yourself, “I wish I could travel so I could take the same photographs?” The reality is that most of those photos were taken by people who live close to the locations, or have the ability to travel there multiple times.

It is a statement that you hear from many photographers. It may be true, but the truth is most of us live in wonderfully rich photographic areas. The problem is that you see it every day, so it no longer seems interesting.

Knowing that a storm is coming, then being able to get to a good location quickly, is an advantage when you photograph near where you live.

What would you recommend to a visitor

If another photographer was coming to your area and wanted to know places to go, what would you recommend? Think about what someone else might be interested in, that is a way you can photograph it. Try to look at your area from another point of view.

How to find something to shoot

There has to be something unique or different about where you are located. Look at the history of your town or area. See if you can find out about an event that happened where you can visit the place. Use the history as your motivation for photography. Google the area around you, and see what you can find.

Think about interesting buildings, ones that are abandoned or still in use. There may be some interesting landmarks that can help tell a story. Perhaps there was an industry there that no longer exists.

For example, suppose in your area the local hospital started as a home for incurables. Then the land was given to the city for a permanent hospital. How has that hospital shaped the town? Is the original hospital still there? Has the hospital gone, but now something else is in its place?

There is always the possibility that nothing has ever happened. Maybe your location is devoid of that, and in which case you could photograph the normality of it. What makes it boring? What does the main street look like? Is there anything interesting there at all? There will always be something.

An older part of the Austin Hospital in Heidelberg.

How far are you willing to travel?

Mark a circle on a map of where you would be willing to travel to in a day. For instance, you might be prepared to travel at least two hours to get somewhere. Perhaps time isn’t on your side, and you can only travel 15 minutes in any direction. That becomes your zone, and the area you are going to photograph.

My area is two hours, or around that. I will travel somewhere for the day and take photos. I will go back to the same areas. There is a lot that is within that area near where I live.

Find the story

Perhaps instead of finding individual images of the place you might be better off trying to do a whole story on it. Find the story of the area. What makes it important to the people who live there? Why have they stayed? Why do you live there?

The answers to all these questions will help you find the story, and can inform your photography.

An old car left to rust in the Mallee.

Advantages

When you photograph where you live, you have nothing but all the advantages:

1 – You can take photos at the best time of day

One definite advantage you have over visitors to your area, is that you can work out when the best time to photograph that spot. Then, you can go back as many times as you need.

If it is very close, you can get up early and see if it is worthwhile going there for a sunrise. Perhaps in the afternoon you can see if there are clouds in the sky, which might make it a good opportunity to get a sunset. You will be able to look out the window and figure out when you want to go.

Most people have to hope that the one time they go, the conditions will be perfect for what they want to photograph. You know how often that happens.

Getting sunrises is easier when you can wake up and go down the road to capture it.

2 – Experiment with different techniques

You can try a lot different techniques to take photos. You can go home and see what you have, then go back and experiment with other angles or conditions another time. You can try more experimental types of photography, that other people who only have one opportunity to go there, might not want to try.

Every time you go, try to shoot it that spot a different way.

Sunset over a salt pan in the Mallee. Being able to get back to the same spot to get the best photos is a bonus.

3 – Visiting the location multiple times

How often have you gone somewhere, put your photos on the computer when you got home and thought, “I wish I had noticed that tree” or something else on the side of the image? Maybe you wished you could have taken it at a different angle.

If you live there, that will never be a problem for you again. You can visit that spot as many times as you like, to get exactly the photos that you want.

Old towns can have great buildings that have just been left, like an old shearing shed make from kerosene tins.

4 – Have access to local knowledge

Visiting any places where you might only go once, you have to be content with information from the internet, or with what you see when you get there. However, when you live in an area, you can talk to people you know, who may be able to introduce you to others. If they know you are interested in the local area and taking photos, then you might find people coming to you, to tell you about places that you didn’t know existed.

Disadvantages

Are there really any disadvantages? Perhaps the fact that you aren’t going anywhere exotic to take photos, unless you already live somewhere like that.

When you decide to photograph the area you live in, you get all the advantages that so many others don’t have for that place. It is up to you to make the most of it. Some examples:

A Mallee Town of not much consequence

Take a small town in North West Victoria (Australia) where my mother lives. I go up there to visit all the time. According to the locals there is nothing there. But when I drive around, I see shops that are now empty, or a train station that has closed, and stopped being used many years ago. There are things that give hints to a time past, that was industrious. The town had a past where it was bigger, where those stores were open for business.

It would be easy to agree with the locals that there is nothing there, but that would be a mistake. The story is there in those closed buildings and what is left of the town. As a photographer you can then show what is happening there.

Getting to know locals in towns can give you access to buildings, like this old church in a Mallee town.

Finding the history of where you live

For many years I always travelled to other places, in the city, or in the state of Victoria, to take photos because I was convinced that what was around me was boring. Who would be interested in what’s here?

I started to realize that this area has a rich art history. Some famous Australian artists have painted this area, and perhaps that was where I needed to start looking. Once I started looking with different eyes, a lot of new places started to open up to me. This area has some great parks. It is quite old so there are ancient homes, hospitals, cemeteries. Now I photograph it all the time.

Knowing the local train station and timetable, can be great for getting to the station at a good time to take photos.

When you photograph somewhere you live or a place you travel to often, you really get so many wonderful opportunities.

Many photographers dream of travelling to other places and photographing the world, but sometimes your best subject is right outside your door or within a stone’s throw of where you live. You just need to get out there and see what you can find.

Please share your local photography finds and your images in the comments below.

The post How to Find Inspiration Photographing Locations Near Home by Leanne Cole appeared first on Digital Photography School.

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