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There is No Bad Light for Street Photography

12 Mar

One of the advantages of being a street photographer is that you certainly don’t need to get up before dawn to catch the good light. Harsh sunlight, nighttime and rainy days are only a few of the most desired situations on the streets. Getting up too early, before people are out and about, may actually be counter-productive in your search for the decisive moment.

The key is to use light, any light, to your advantage

Any time of day or night, be aware of the quality and quantity of light, and look for interesting light sources and subjects.

©Valérie Jardin

Nighttime photography

The night adds a new dimension to your street photography. There are so many interesting light sources to work with such as street lights, traffic lights, car lights, neon signs, etc. Even bright Smartphone screens illuminating people’s faces can make for a fun shot. Learn to focus manually for night photography. Even if the auto focus works in most conditions, practice switching to manual focus rapidly, it may save the shot!

It’s true that a simple slider action in post-processing can bring out details from the shadows, but that doesn’t mean that you should always use it. This is a common mistake that I see too often when the night scene starts to look like it was shot in the daytime. Let the shadows fall where they do and embrace the atmosphere and mystery of the night.

©Valérie Jardin

Don’t worry about noise, especially if you shoot black and white. First, you can now push the ISO of most cameras to very high numbers with very little noise. Second, the little bit of grain in your pictures will enhance the mood and atmosphere. Likewise, embrace the motion blur and the slightly out of focus shots. Who says that a good image has to be tack sharp? What’s the point of technical perfection if your subject is boring, or the story non-existent?

©Valérie Jardin

Silhouettes

The key to successful silhouette photography is to find a well-defined subject. Remember that not everyone makes an interesting street photography subject and the same principle applies to silhouettes. The shape of the body should be well defined, capturing the right gesture is even more important to achieving a strong image. Many elements can add interest as well, such as umbrellas, bicycles, hats, etc. Watch for obstructions in front of and behind your subject, and if they are moving, make sure you don’t catch them in between steps. Setting your camera in burst mode will increase your chances of getting the right gesture. Remember that your subject is not the background, which can act as a distraction, so do not be afraid to blow out the highlights behind your silhouettes unless it is an integral part of the story.

In order to shoot successful silhouettes, you need to take control of your camera first. Instead to going through all the steps here, check out: How to Photograph Silhouettes in 8 Easy Steps.

Shooting into the bright sun

Shooting into the sun when it’s low in the sky can create some dramatic shots. Add a sunburst effect when possible. The starburst effect is best achieved by setting your camera at a small aperture and hiding the sun partially behind a structure or person. Experiment with exposure compensation to get a nice dark silhouette and once you’re happy with the result, wait for the right subject to enter your frame, or the right action to happen.

©Valérie Jardin

Strong shadows

Street photographers love shadows. Similarly to silhouettes, not every shadow works. It should be really dark and well defined. The surface on which it shows will also play a part in the result. It’s important to strategize and position yourself to get the best possible shot, the shadow may hit a wall next to the subject for instance. Long shadows are also really interesting when shot from a higher vantage point. Sometimes it’s all about the shadow, and the subject casting it does not even need to be fully included. This method, if well executed, will add an element of mystery.

©Valérie Jardin

Reflections

Sunlight can create some really cool reflections in windows, puddles, or other surfaces and add interest to your street photography. Don’t be afraid to experiment!

©Valérie Jardin

High contrast situations

Harsh sunlight and deep shadows can create ideal situations for the discerning street photographer. The sun comes out after the rain? Even better! The wet pavement will add yet another dimension and interest.

©Valérie Jardin

Dappled light

One of my favorite daylight situations in street photography is when I find a nice source of dappled light. Remember that even if the situation is ideal, not every person walking down the street will make an interesting subject. It’s often a game of patience…

©Valérie Jardin

Rainy days

As long as you protect your gear (and yourself), rainy days can provide some of the best street photography opportunities. People on the streets will behave very differently when it’s raining, creating some interesting situations. Umbrellas also make for good props. There are also ways to embrace the rain by focussing selectively through windows, car windshields, etc.

©Valérie Jardin

Open shade for street portraits

If you enjoy doing street portraits, then the same simple rules that you apply for any other portrait will help you achieve the best result. Once you’ve asked your subject for a portrait, you might as well go the extra step and ask them to move slightly, or even cross the street for the most flattering light. Look for open shade to avoid harsh shadows on their face.

Golden and blue hour

Of course, there are also beautiful photographs of people to be made in the early morning and late evening hours, but always remember that there is no bad light!

©Valérie Jardin

Conclusion

Never use the quality of light as an excuse not to hit the streets. Making any light work in your favor is part of the fun and also the best way to improve your skills and get some cool shots. Have fun!

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The post There is No Bad Light for Street Photography by Valerie Jardin appeared first on Digital Photography School.

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How to Make the Most of Hard Light with Black and White Photography

12 Mar

Black & white photography

The quality of light is an important aspect of successful photography – good photographers spend hours chasing the most suitable light for the type of photography they do. That usually means working at the beginning or the end of the day, when the sun is low in the sky and the light has many beautiful qualities.

But what about the middle of the day? Many photographers avoid shooting in direct sunlight in this period, especially in summer, because the light is so hard and strong. You can’t use it for portraits (unless you use flash, which is the subject for another article) or find a place in the shade for your model. It’s nearly impossible to use it for landscapes, because they always look so much better in the softer light, characteristic of the the day’s end.

Perhaps the problem is not so much bad light, but a poor match of light to subject. So the question becomes, is there a subject that you can successfully shoot in strong, midday light? I believe there is. I like to use this part of the day for photographing a subject comprised of strong lines and graphic shapes – architecture.

Two photos of the same structure (Monument to the People’s Heroes in Shanghai) taken moments apart. In both cases I was exploring the shape of the structure against the blue sky, shooting with a wide-angle lens from ground level looking up. The first image concentrates on shape and line. The second is more abstract. I used a polarizing filter to darken the sky, and photographed the sunlit monument against it for maximum tonal contrast.

This may seem a little strange because buildings are often best photographed during the golden hour, but there is no reason why you can’t shoot during the middle of the day as well. The only drawback is that colour photos of buildings taken at this time of the day, often with a deep blue sky in the background, are usually not very exciting.

But switch to black and white photography and it’s a different story. Without colour, and the strong distraction of a deep blue sky, the photographic possibilities change entirely. Suddenly you’re not looking at the colour of a scene. Instead you’re exploring line, shape, texture, form and shadow. Then, take those photos into Lightroom and there’s all kinds of wonderful, creative things you can do in post-processing to enhance the image.

Details like this sculpture can work very well in midday light as the hard shadows suit the material it is constructed from. I enhanced the black and white version of this photo in Lightroom by using an Adjustment Brush to increase Clarity and Contrast on the metal surfaces in the image.

Learning to see in black and white takes time, but there are a couple of things you can do that will help.

The first is to shoot in your camera’s black and white mode, but with image quality set to Raw. When you play back your image on the camera’s LCD screen it is displayed in black and white, yet because you are using Raw you have the full colour file to work with in Lightroom or Photoshop.

You will probably find it useful to spend some time looking at your photos on the camera’s LCD screen during the shoot to see how the colour scene in front of you translates to monochrome. As you gain experience you will need to do this less and less, but it can be incredibly helpful the first few times you try.

If you have a camera with an electronic viewfinder, the camera displays the scene in black and white in the viewfinder. This is even more useful because you don’t have to visualize how the colours in the scene will convert to black and white. The camera does it for you and you can concentrate on creating beautiful compositions.

The second is to use a polarizing filter to turn the already blue sky an even darker shade of blue. This can look fantastic in black and white. If you enable the red filter setting in the camera’s black and white mode options it will make the blue sky darker yet, and it may even turn black. Position a sunlit, light-toned, building in front of that dark sky and you have some amazing tonal contrast and the basis for a dramatic black and white architectural study.

It is easy to be seduced by colour, especially when presented by colour buildings such as these ones in Burano, Italy. This photo was taken around midday, but because the sun was overheard it cast a raking light over the front surface of the buildings, bringing out the textures in the wall. I increased Clarity in Lightroom to emphasize the texture in the black and white conversion.

I’ve concentrated on photographing buildings in this article, but I’d like to hear what other subjects you shoot during the middle of the day. Please let us know in the comments.

This photo, also taken in Burano, is a study of the shape of the house against the deep blue sky (emphasized by a polarizing filter). The symmetry of the house is broken by the chimney on the left.

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Sunshine: My Favorite Light Source

11 Mar

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I’m a minimalist gal when it comes to most things, and photography equipment is no exception. I know that some people love equipment and gear; the more the better. But when I think about lugging lights, reflectors, and flashes around, my creativity takes a nosedive. My favorite light source, hands down, is the sun. In the words of John Denver, sunshine on my shoulder makes me happy!

I’d love to share some dos (because who likes to be told what NOT to do?) to help you harness the power of the giant lamp in the sky. Hopefully you’ll gain a new appreciation for this natural light source, whether or not you hate lugging equipment around like I do.

The sun is unique

One thing I love about the sun is that it is never the same. Although having an unpredictable light source can be a big challenge, I love that every day, every shoot, every photo, is unique and special. I couldn’t recreate any given day’s exact lighting even if I wanted to. Some days everything works together like magic, and I call that a gift.

DO pay attention to how the light falls on your subject’s face

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I see many amateur photographers take photos like the one above, with harsh light and shadows on the face. Most of the time they are paying more attention to a pretty background than the lighting. If the sunlight is very bright, such as midday, or early afternoon, this can be a big problem.

Sunlight is a beautiful light source, but you have to work with it, and position your subject in the correct place, since try as you might, you’re not going to be able to move the sun (unless you want to wait a couple of hours, and let it move itself).

DO try backlighting

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This means that the sun is behind your subject, facing you. This method of using the sun is my absolute favorite, because it makes your subject just glow. There are a few things to keep in mind as you try backlighting:

DO use backlighting at any time of day. You get different effects backlighting with the sun in different positions. It’s an effective tool to use even when the light is harsh, since it softens the light on your subject’s face, and helps them not to squint. It’s also an ideal tool to use when the sun is low, golden, and gorgeous.
DO move yourself around. Slight differences in angles can make a big difference in the look you get. I like to have the sun behind and slightly to the side of my subject (as you can see in the photo above). If the sun is directly facing your camera, you may get flare in your lens that can totally wipe out your subject. You can get beautiful lens flare effects if you find a spot somewhere in between the two. Experiment to find exactly the look you are going for.

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DO use poles, trunks, bushes, or whatever is there to manipulate the light to your advantage. If the sun is positioned behind leafy trees, you can create beautiful soft bokeh. The trees filter the light a bit so it isn’t so harsh, and you get beautiful warm, soft, lighting. You can position yourself where the sun is partially behind a trunk or pole off to the side, which will cut some of the harshness and glare in your lens. The trunk doesn’t need to be in your photo, it’s just working as an assistant for you.
DO pay attention to the clothes YOU are wearing. Try wearing light/white tops as the photographer, and avoid wearing bright colors. It may seem strange that it matters what the photographer is wearing, but when the sun is reflecting off your chest, it can cast colors onto your subject that you weren’t intending, and put odd colored highlights in their eyes.

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DO use your subjects and your own body to work with the sun. You can position yourself so the sun is directly behind your subject, so your subject filters the light a bit and cuts the glare in your lens. This can create a beautiful glow, or a starburst effect. Sometimes if there is just a little too much glare on my lens, I hold my hand off to the side of my lens (not in the photo) and achieve just the amount of sun flare that I want, without all the washed out glare.

DO experiment with the sun directly lighting your subject

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There are lots of great advantages to this type of lighting, including the beautiful sky captured in the photo. When you backlight, your sky is usually washed out in order to have your subjects properly exposed. You can add a sky in post-processing, but when you shoot with the sun behind you, and toward your subjects, you can expose for both at the same time. A few more tips for front lighting using the sun:

DO keep in mind that it is usually hard for people not to squint when they are looking into the sun. If it’s a particularly bright day, you may have to have your subjects looking away from the sun. Some people are extra sensitive to light, and you may not be able to use front lighting unless the sun is really low in the sky, almost ready to set. Squinting eyes aren’t very attractive, neither are watery eyes and scrunched up faces.

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DO use front lighting when you want a dark background. If you position your subject near the opening of a shed or garage, the background will fall into darkness, since you have your exposure set for the bright subject in the front.
DO use front lighting for drama, and for high key photography, but be careful that you don’t lose too much dimension and end up with flat images.

DO use the sun for beautiful portraits

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When the light is soft, either when it’s almost down, or with a few clouds over it, you can light your subject from the side to get dimension. You can get dramatic moody portraits, soft flattering portraits, fun happy portraits…the sky is the limit!

DO become a light watcher

I can’t talk to someone without noticing how the light falls on their face. I look at how shadows fall at different times of the day. I study the quality of the light constantly, and take photographs with my mind all day long. The more you know about how the sun works, and how you can work with the sun, the better your photos will get.

Lastly – just one little don’t

DON’T be discouraged if the sun is hiding behind clouds. If you’re lucky, they’re thin clouds, and you can still harness a bit of that magical sunny glow. If it’s overcast, just remember that you’re still using the sun as your light source, and be grateful for the ease of using the whole sky as a giant soft light. Don’t forget; in the words of Annie, the sun will come out tomorrow!

The post Sunshine: My Favorite Light Source by Melinda Smith appeared first on Digital Photography School.

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10 Reasons to Ditch Your Softbox for a Light Panel

11 Mar

So you want to create soft, beautiful light? One of the first light modifiers that comes to your mind is probably the tried and tested softbox. But, when it comes to versatility, are softboxes really worth the money? In this article, we are going to look at a viable contender to the age-old softbox – the light panel.

Now, the goal of this article is not to bash softboxes, I personally have nothing against them. I own several and use them whenever I feel that they are the right tool for the job. However, my go-to light modifier for the majority of my photography is the light panel. Why? I am glad you asked. Here are 10 reasons why you should consider using a light panel instead of a softbox for your next shoot.

Wide shot of two self-standing PVC light panels fitted with diffusion and black fabric. The diffusion fabric is used like a large softbox, while the black fabric is used to flag or block light.

#1. They are inexpensive

For under $ 50 you can create a self-standing light panel that is larger than softboxes costing more than $ 300!

#2. They are easy to make

You can make a basic panel frame and legs with nothing more than a hacksaw. However, a pair of PVC shears is a great investment and will make your job a lot easier.

#3. Quickly change the size/quality of the light

Moving the light closer or further from a panel fitted with diffusion fabric can quickly create a different size softbox effect (closer to the panel = smaller light/harder quality versus further from the panel = larger light/softer quality). Since the panel and light are separated, the panel becomes the source of illumination and can remain in the same stationary position, in relation to the subject, throughout the entirety of the shoot.

#4. Easily change the shape of the light

By clamping pieces of black fabric over a panel fitted with diffusion material, you can create light sources of different shapes. This is a great technique if you want to create a tall, thin stripbox effect, or if you only need to use a portion of the panel.

#5. Different fabrics = different light modifiers

While softboxes can be sort of a one-trick pony, light panels can easily be turned into flags (to block light) or reflectors, just by changing out the fabric. I love to add black material to my panels and use them as flags to shape the light. I also like to use opaque white fabric to reflect and bounce light. It makes a beautiful fill for both indoors and out.

One of the coolest things you can do with light panels is harness the stray light from your strobe, to create multiple sources from one light. I oftentimes shoot through a diffused panel, then reflect some of the stray light back into the shadow side of the subject, using a second panel fitted with a white reflective material (as seen in the figures below).

A bridal portrait primarily lit using two light panels

diagram showing how to bounce stray light with light panels

Using two panels to create a large soft key and fill from one light source. The white reflective panel was placed where stray, un-filtered, light was able to strike the front edge, which opened up the shadows more than if it were only allowed to bounce the light coming from the diffusion panel. A black panel was added to keep the light from spilling onto the background. It could have been removed, lighting the background and essentially filling the job of three lights (background, key and fill lights).

#6. No speed rings required

Speed rings can be such a hassle. After shelling out serious cash for a new softbox, the last thing you want to do is buy an adapter so you can actually use it. It can be a one-time cost, but if you ever change brands of lights you are most likely going to need a whole new set. Want to add a softbox to your speedlights? Well, you are going to need another type of speed ring adapter for that, too. With light panels, no matter the type of light source, all you have to do is place your light behind the panel and start shooting. Which brings me to #7 on our list.

#7. Home Depot light friendly

If you are just starting out and you want to try your hand at lighting with inexpensive Home Depot shop lights, then light panels are the best way to soften them. Stick multiple lights behind a panel fitted with diffusion fabric, or bounce them off a piece of white fabric to create a soft, bright, single source that can be used for photography or video. Now, all you will need is a good air conditioner to manage the heat!

#8. Gelling made easy

Have you ever tried to gel a softbox? It can be a tremendous waste of gel. Especially if your softbox is large. By shooting through a diffusion panel, you are able to attach a small square of gel to your strobes reflector, allowing you to purchase your gel in small sheets instead of giant rolls. For instance, at the time of this writing a 20×24” sheet of Rosco CTO gel cost roughly $ 7.50, as opposed to a 20”x25’ roll, which cost around $ 94.

#9. Better reflections for your product photography

Softboxes are made to distribute the light evenly over the face of the outer diffusion panel. Even with the inner baffle removed, the reflective interior creates a fairly even spread of light. When lighting reflective objects, this evenness can sometimes be a bad thing. Notice the gradated reflections in the two images below. This is the kind of reflection you will typically get when placing a light behind a light panel. Take note on how it adds contrast, depth and interest to the scene. If these same images were lit using a softbox, the reflection would be an even tone, with no gradation or falloff.

jewelry product shot using overhead light panel

Light placed behind light panel creates gradated reflection in black reflective paper.

jewelry product shot using a gelled strobe and light panel

Another example of the pleasing gradation light panels reveal in reflective surfaces. The same reflective black paper from the first example is used, but the light has been gelled blue.

#10. Portable walls

Have you ever been out on a remote location where you have needed a changing area for your model? You can easily create a makeshift changing room by attaching three or four panels together using connector clips, then covering them with black fabric. If it is windy, throw some sandbags on the bottom of each panel to weigh them down, for good measure.

I hope this article has given you a little more insight on how versatile and economic light panels can be.

Many companies make and sell light panels. They are usually made from light-weight aluminum and are relatively inexpensive, compared to softboxes. However, you can save a lot of money by making your own frames out of PVC.

In a future article I will:

Show you how to create your own self-standing PVC light panel frames and accessories
Offer helpful tips on making them stronger and easier to assemble
Share some cheap fabric alternatives to use with your new frames

Until then, go out, have fun, experiment and create something awesome!

The post 10 Reasons to Ditch Your Softbox for a Light Panel by Joel Dryer appeared first on Digital Photography School.

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The Natural Light Cycle for Photographers

08 Mar

Graphic showing best times of day for photography

Natural light is what landscape photography is made of. Other forms of photography rely heavily on flash, but most landscapes rely entirely on the sun’s rays as their light source. That natural light from the sun is changing every second of the day. A picture taken at 9:00 a.m. will look fundamentally different than picture taken at 7:00 a.m., even if it is a picture of the exact same subject, from the exact same angle, using the exact same camera settings and focal length. Therefore, understanding these changes that occur throughout the day is critical to improving your landscape photography. By understanding these differing lighting conditions, you will know how and when to be set up and ready to take your landscape photos.

These changes in natural light don’t just affect the overall lighting and exposure level of your photos, but also things like color and contrast. Different lighting will lend itself to different camera effects. So in this article we will take a quick walk through the times of day for the landscape photographer, focusing on the unique advantages and challenges of each.

Morning

Let’s start with the morning. An hour on either side of sunrise can be a bonanza for the photographer. Unfortunately for your sleep patterns, the photographer’s day does not start at dawn, but well before it.

Some of the best photo opportunities occur before the sun is up. During this time, the sky is beginning to brighten, but the sun is not yet over the horizon. You will initially need to overcome the low light levels, meaning you will need a tripod and a remote shutter release.

But with that hurdle overcome, there are distinct advantages to shooting before the sun comes up. You will not face overly harsh contrast, or a dynamic range problem since everything in your view will be somewhat dark. Further, because of the indirect angle of the sun’s rays, you will be treated to colors in the sky that you won’t see during the day.

The indirect rays of the sun at sunrise and before can provide you with a sky full of interesting colors.

Twilight

This time before the sun comes up is commonly referred to as twilight. You will want to get to know it better if you aim to improve your photos. Twilight is a rather broad term that can encompass different conditions. so it is further broken down into three segments. The actual terms and specifics below are not that important to your photography, but what is important is that you understand what is coming up next as you are out shooting.

Astronomical twilight: During this time, it is still dark, but the indirect rays of the sun are just starting to brighten the sky. The sun will be between 12 and 18 degrees below the horizon. Stars are clearly visible and the sky is dark overall. To most of us, this will not be much different than nighttime. Therefore, when photographing during this time, you will definitely need a tripod and remote shutter release.
Nautical twilight: The is the period of time when everything is fairly dark, but it has brightened up enough that you can see the horizon. The sun is between 6 and 12 degrees below the horizon. You can still see some stars, but the sky is noticeably brighter, particularly near the horizon line. This is when you will often see a blue tinge to the sky. You will still need a tripod, but you can now probably capture detail in the foreground as well as the stars in the sky.
Civil twilight: This is the period of time just before the sun has come up (or just after at has set in the evening). It is when the sun is between 0 and 6 degrees below the horizon. The point for the photographer is that it is still before sunrise, but everything around you is pretty bright. You can see everything and you might not even need a tripod (although I would recommend you keep using it ).

Twilight

The times and durations of the phases of twilight will depend upon your location and time of year. There are a variety of apps that will give you the exact times.

Blue Hour

It is during twilight (typically during nautical twilight) that a phenomena called the blue hour occurs. At this time, the sun is still a good distance below the horizon. Most of the sun’s red rays are shot into space, but a relatively high percentage of the blue rays enter the Earth’s atmosphere. The indirect light takes on a predominantly blue color. This lasts about 30-40 minutes and ends about 15 minutes before sunrise. This is a treasured time for many landscape photographers, so make sure you are in position at least a half hour before sunrise.

During portions of twilight, there is enough light to see the foregound, but you can still see the stars and the moon.

Sunrise

After twilight comes sunrise, which needs no introduction. The landscape is brightened by this time, but the sun’s rays are tempered by the fact that portions of the sun are still behind the horizon and the rays are coming through a lot of the Earth’s atmosphere before they reach you. The sky will typically have a warmer color to it.

What’s more, you can often put the sun directly in your picture. You can also make the sun’s rays more clear and even add a bit of a starburst effect to the sun by stopping down your aperture. Make sure your aperture is at least f/16 and perhaps even f/22 (at the risk off some diffraction).

After sunrise

The hour or so after dawn remains a good time to photograph. During that time, the sun is still low in the horizon. Therefore, the sun’s rays are coming through more of the Earth’s atmosphere, which diffuses the rays and cuts down on harsh contrasts. So even though the sun is fully in the sky by this point, it remains a good time for photography.

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After that, the sun is getting higher in the sky and you get into the problems of midday photography.

Afternoon

The late morning and most of the afternoon is considered by many to be the worst time for photography. Many photographers simply put their cameras away during this time. It is the time of harsh contrast and black shadows. But you need not give up entirely during this time. There are a few things you can do to improve your photos.

The first thing you can do is use a polarizing filter. Polarizers work by filtering out certain light rays that come to the camera at different angles. The light that enters your camera is often more diffuse and colorful. The best use for our purposes is making skies a rich, dark blue (although polarizers are also quite handy for cutting down on reflections). Polarizing filters actually work the best around midday when the sun is directly overhead. Be sure to rotate your filter to achieve its maximum (or desired) effect.

Mid-afternoon photos can often benefit from the use of a polarizing filter.

Another thing you can do to combat the afternoon sun is convert your photos to black and white. As mentioned previously, one of the primary problems with shooting during the middle of the day is the high contrast and harsh shadows it creates. However, high contrast is actually a benefit in black and white photography, so the harsh light of midday can sometimes work to your advantage.

Photos taken during the middle of the day often benefit the most from a conversion to black and white.

If you must photograph in the middle of the day, oftentimes cloudy days work best. The clouds cut down on the harsh shadows, they also add some texture to the sky. Try to work them into your photos.

Evening

The evening is where you will encounter some of the best conditions for photography. It is essentially the same as you experienced in the morning around sunrise, but in reverse order. It starts with the sun dipping into the horizon, which results in some interesting changes in light quality.

The light in the late afternoon often starts to take on a yellow or reddish appearance.

Golden hour

As the Sun begins to set, the light you are receiving must travel through more of the Earth’s atmosphere to reach you. It is therefore more diffused by the time it reaches you. The light also takes on a warmer, more golden quality.

The culminates just before sunset, which is called the Golden Hour. Actually it is not really an hour, but usually last about 30 -40 minutes (length varies depending on your location relevant to the equator). It starts just before sunset and ends about 20 minutes after the sun is down. Photographs taken during this time benefit from having plenty of light, but it is more diffused and softer to avoid harsh shadows. As the name suggests, the light has a warmer hue that can make for dramatic photos.

Sunset

Sunset is another time that photographers intuitively want to photograph. The conditions are well-known to everybody, so here I just want to focus on a few things you can do to make your sunset pictures look better.

The first thing you can do is slightly underexpose your photos. That will be welcome news if you are not using a tripod, since you are rapidly losing light during this time. Underexposing will allow you to shorten your shutter speed and avoid camera shake (hopefully), and will generally make the colors in the sky much more vibrant.

At sunset, due to the angle of the sun’s rays, there is usually no longer any direct light on the foreground. That tends to make everything black. You can deal with that in one of two ways, either by accepting it, or compensating for it:

You can accept the black foreground by creating silhouettes. This is commonly done with people, but it can work with a variety of subject matter. To do this, just meter the light of your scene from the sky. The brighter sky will be properly exposed and the foreground elements will be black.
You can attempt to compensate for the lack of direct light on the foreground by using a graduated neutral density filter. This filter will darken the sky without affecting the foreground. Inevitably, you will need to compensate by adding exposure to the whole picture (since the filter made the sky darker and the foreground was already dark). The upshot is that this filter will tone down your sky and cause the foreground to brighten.

After sunset

It is a huge mistake, which I see lots of photographers make, to pack up and head home right when the sun dips over the horizon. After sunset, you will continue to be treated to favorable light conditions, and in fact, some of the best conditions may follow. These will be the same as already discussed in the Twilight section above. You will also be treated to another Blue Hour, when the sun is considerably over the horizon and the diffused blue rays dominate.

In the final stages of twilight, the scene often looks very much like a night shot.

Night

Finally, don’t forget about night photography. It is half of the day, after all. Some of the most dramatic pictures can be taken during this time. Further, you do not really need to worry about changing light conditions, making this a more relaxing time to photograph.

If you want to capture stars or otherwise needed to be true night time, be sure to wait a couple of hours after sunset. It will take a while for the sun’s rays to fully disappear from the atmosphere.

Conclusion

Photography is all about anticipation. It is about putting yourself in the best position possible to get a great shot. When it comes to landscape photography, much of that anticipation has to do with changes in the light. Those changes come remarkably quickly, especially around sunrise and sunset. By understanding the constantly changing conditions addressed here, you will better be able to anticipate the light and put yourself in the best position to get that great shot. I hope this discussion helps you get it.

The post The Natural Light Cycle for Photographers by Jim Hamel appeared first on Digital Photography School.

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Sunken Sky: Courtyard Light Well Suspended in Warehouse Loft

20 Feb

[ By Steph in Architecture & Houses & Residential. ]

converted warehouse 1

A formerly dark, poorly ventilated caviar warehouse is illuminated naturally thanks to a sunken courtyard with a retractible glass roof, connecting the interior spaces to an outdoor terrace, acting as both a space and a sort of floating lantern in the unit. Many of the historic details of the 1884 building in Manhattan’s Tribeca North have been preserved in the renovation, including weathered roof joists, antique windows and brick walls.

converted warehouse 2

converted warehouse 3

The converted loft by architect Andrew Franz occupies the top floor and roof of the old industrial building, reusing as many of the original materials as possible. The glass courtyard functions as a mid-level in the open-plan space, with a new staircase with reclaimed walnut roof joists as the treads and landing leading up to the transparent indoor/outdoor room.

converted warehouse 4

converted warehouse 5

When the retractible roof is open, fresh air flows freely into the living space. When closed, it functions as a 150-square-foot skylight during the day. An additional staircase provides access to a rooftop garden planted with native, low-water plant species.

converted warehouse 6

converted warehouse 8

New walnut cabinetry connects the modern elements of the loft to the historic, highlighting the building’s industrial past and simultaneously creating a space that feels warm and comfortable. Vivid orange in the kitchen backsplash and furniture add pops of color throughout the mostly-neutral space.

[ By Steph in Architecture & Houses & Residential. ]

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Keep Your Night Light Looking Natural

20 Feb

Just ’cause the sun disappears after a certain time of day doesn’t mean your camera has to!

If you prefer using natural light in your photos, then shooting after dark (both indoors and out) can feel a little intimidating.

That’s why we’re here with four solutions for tricky nighttime lighting! You’ll make friends with flash, tripods, and everything else you need so your photo-taking can continue late into the night.

Say goodbye to camera curfews. Night owls, rejoice!

4 Tips For Taking Photos After Dark

(…)
Read the rest of Keep Your Night Light Looking Natural (536 words)

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Shoot for the Light – Improve Your Composition

05 Feb

JB 1134 Edit

JB 2111

Here is one of my most valuable tips. The one I will offer to someone who comes to me, complaining that after 20 years of taking photos they can’t get out of their usual compositions, and want to get into a new level of creativity.

It may sound like something you have heard before. Yes, photography is all about light, and if there is a good light then there is a good photo.

But no, I am talking about something more specific.

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Please note that I have always focused my photography, and my articles on travel photography, on people. So when reading this article, please think people photography (which also includes street photography).

In travel photography, most people tend to look for a good subject to photograph. Of course that means that this subject should be “sitting” in an appropriate light, with a good catchy background, something not too distracting. The problem with this approach, is that you might end up taking the same kind of compositions again and again. Framing your subject on the side, rule of thirds, looking into the photo, etc. As much as these are nice photos, you may feel the need to develop your creativity and come up with something different.

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What I am telling you, is to completely not focus your attention on your subject. After all, your subject does not matter (unless you happen to meet the new “Afghan girl” of Steve McCurry, or the girl with green eyes of David Lazaar). No, believe me, as someone living in Vietnam: one old lady with a pointy hat looks the same as another old lady with a pointy hat.

Instead of that, try and focus your entire attention on the light around you. Not the beautiful sunset light in the whole sky, but the little spots of golden light right there, on the floor next to you. Yes, can you see them? Well, there is your next photo my friend.

Yes, I hear you already, “What do you mean shooting light?! And what is my subject, what am I telling a story about?”. Well – now your job is to patiently wait for the right subject to walk into that light. But remember? Shoot the light.

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In the same way as we say “fill your frame” in photography. Keep things simple, only include elements which are relevant to the story you are telling. You can fill your frame with that sumptuous golden light you found on the floor. And that is what is going to lead you to a completely new level in composition and creativity. Because you are only shooting that piece of light, you are going to crop your subjects in way you would never have dared before. You are going to break all the rules you have carefully been following until now, and create something new.

It will surely be beautiful, as your light will be stunning. You may miss a lot of photos, as you have to get used to getting that close to things and people in a light that can be quite full of contrasts and colors. But with time and a bit of practice, things will start to take shape. You will get used to such new ways of composing your image, and your results will become sharper over time. Until you are getting comfortable with this new idea, and start re-creating your templates that will allow you to be fast and efficient and not miss your images.

“Heresy!!!” I can already hear. Sorry? Which book are you talking about? Look at the results you are going to achieve with this technique, and tell me if does not make you think in a complete new way, bringing completely new styles of images. If you don’t like it, well go and try something different. But surely you would have learned something out of it.

Last year, while running a photo workshop in Myanmar, I managed to capture this image using this exact technique. I could see the light on the floor, and the beautiful blue color next to it. I also knew that this monastery was quite busy, and if I waited long enough someone would walk into my frame.

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One of my students and I laid down on the floor. I switched from Aperture mode to Manual (making sure I would have the right exposure, as the situation had very strong contrasts). I did compose the photo, exactly the way I wanted to have it, and I waited. Surely, after half a minute, some novices went down the stairs. They did spot us, and feeling a little shy to be photographed, they ran through the corridor, laughing out loud.

Click – Click – Click

I did not expect them to run in the first place so my shutter speed was right enough to freeze my hand shakes, or someone walking. But it gave some blur to the novice’s robe, and I liked the shot even more like that. After all, most new things that were created on our planet are the result of accidents!

Go ahead, give it a try!

JB 6091

The post Shoot for the Light – Improve Your Composition by Etienne Bossot appeared first on Digital Photography School.

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3 Principles of Light Behaviour Every Photographer Needs to Know

01 Feb

In this short video by Ed Vorosky he covers three rules about the behaviour of light. When you understand these principles you can then use them better in your photography.

Light travels in straight lines
The subject receives less light as the distance to the light source is increased
The larger the light source relative to the subject, the softer the light source

Watch the video for a more detailed description and demonstration of each:

So what does that mean for your photography? How can you use this information in practice?

The post 3 Principles of Light Behaviour Every Photographer Needs to Know by Darlene Hildebrandt appeared first on Digital Photography School.

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Light and Motion launches Sidekick companion light for GoPro on Kickstarter

23 Jan

Light & Motion has introduced a new GoPro companion light called the Sidekick, and is seeking funding for its production on Kickstarter. The Sidekick is designed to attach directly to the GoPro’s existing mount, eliminating the need to carry an external light, though it retains some flexibility via an optional armature for positioning the light. Read more

Articles: Digital Photography Review (dpreview.com)

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Posts Tagged ‘Light’

The key is to use light, any light, to your advantage

Nighttime photography

Silhouettes

Shooting into the bright sun

Strong shadows

Reflections

High contrast situations

Dappled light

Rainy days

Open shade for street portraits

Golden and blue hour

Conclusion

The sun is unique

DO pay attention to how the light falls on your subject’s face

DO try backlighting

DO experiment with the sun directly lighting your subject

DO use the sun for beautiful portraits

DO become a light watcher

Lastly – just one little don’t

#1. They are inexpensive

#2. They are easy to make

#3. Quickly change the size/quality of the light

#4. Easily change the shape of the light

#5. Different fabrics = different light modifiers

#6. No speed rings required

#7. Home Depot light friendly

#8. Gelling made easy

#9. Better reflections for your product photography

#10. Portable walls

Morning

Twilight

Blue Hour

Sunrise

After sunrise

Afternoon

Evening

Golden hour

Sunset

After sunset

Night

Conclusion

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