The post How to Dramatically Shape the Light and Mood Using Adjustment Brushes in Lightroom (video) appeared first on Digital Photography School. It was authored by Caz Nowaczyk.
In this video from PiXimperfect, you’ll learn how to dramatically shape the light and mood of a photo using Adjustment Brushes in Lightroom.
Throughout this tutorial you’ll learn:
the difference between local adjustments and global adjustments
how to auto-set particular sliders
ways to expand the tonal range
how to avoid edge glow when using particular sliders
about the tone curve and how to use it effectively
valuable shortcuts to help you see when you are creating clipping (blown-out, and underexposed areas with no detail), to view before and after shots, to select the adjustment brush and more
how to use the HSL panel to great effect
ways to use split toning
We’d love to see the images you edit after watching this tutorial. Please share them with us in the comments section.
You may also like:
Landscape Editing Techniques for Fine Art Photography Using Lightroom
5 Things to Do to Every Photo In Lightroom to Improve Your photos
How to Jump from Lightroom to Photoshop and Back Again When Editing Photos (video)
Answers to Your Most Common Lightroom Questions
How to Make Your Photos Pop in Lightroom (With Just 4 Quick Edits!)
Create Amazing Sunrise Photos with these Easy Lightroom Editing Tips
How to Make Your Photos Awesome in Lightroom or Photoshop Camera RAW
The post How to Dramatically Shape the Light and Mood Using Adjustment Brushes in Lightroom (video) appeared first on Digital Photography School. It was authored by Caz Nowaczyk.
A newly-published Apple patent, filed back in September 2019, details a light field panorama camera system seemingly intended for use in future iPhone and iPad devices. The technology would enable the average consumer to capture large light field panoramas of a particular scene by moving their device using gestures. The resulting content could be rendered and viewed on the device or using some type of head-mounted display (HMD), including VR headsets.
According to Patently Apple, which first spied the patent, Apple details technology that would build upon its current AR efforts by enabling its consumer devices to capture complex 3D scenes. To do this, the user would need to move their light field-equipped iPhone or iPad in a gesture, such as moving the device in a swooping infinity symbol, to capture light field images of the environment from multiple angles.
A flow-chart provided within the patent filing that shows the process of capturing, processing and viewing the resulting imagery.
A rendering engine would process the individual images into a 3D panorama with six degrees of freedom (6DOF) made possible using the light field technology. As a result, the viewer would have the ability to look above and behind objects, zoom in on areas of the scene and view different angles of the environment. The patent follows Google’s acquisition of light field camera technology company Lytro in 2018.
Unlike conventional cameras, a light field camera system captures both the intensity of the light from a scene and the direction the light rays are traveling in space. The additional data gathered by light field camera systems enable new types of experiences, including the one detailed by Apple.
The patent indicates that Apple’s system may use the sensors in the iPhone and iPad to capture position, motion and other similar metadata alongside the images, the combination of which would contribute to the final light field panorama. The combination of captured images and metadata could then be used to render different views of the same 3D scene, according to the patent, ultimately giving the user six degrees of freedom for exploring the panorama using an HMD like a VR headset.
This would differ substantially from a traditional 360-degree panorama, which is captured from a single point, only allowing the viewer to move their head around within the rendered 3D scene. Light field panoramas will appear more realistic, keeping objects in their correct positions as the user moves around within the scene, which could realistically render from different angles as the user has a look around.
It’s no secret that Apple has been heavily focusing on augmented reality technologies; its most recent iPad Pro model underscores this effort with the inclusion of a LIDAR sensor.
Just a few of the possible movements you could use to capture the scenery using your Apple mobile device.
In its announcement of the 2020 iPad Pro last month, Apple said the new LIDAR sensor ‘delivers cutting-edge depth-sensing capabilities, opening up more pro workflows and supporting pro photo and video apps,’ specifically with augmented reality in mind. The sensor works by measuring the distance of objects that are as far as 5m (16ft) away.
Apple went on to explain:
‘New depth frameworks in iPadOS combine depth points measured by the LiDAR Scanner, data from both cameras and motion sensors, and is enhanced by computer vision algorithms on the A12Z Bionic for a more detailed understanding of a scene. The tight integration of these elements enables a whole new class of AR experiences on iPad Pro.’
The future expansion of these capabilities using light field technology wouldn’t be surprising, particularly in light of ongoing rumors Apple is working on AR/VR gear. With that said, and as with any patent, it is possible we’ll never see this technology make its way into a consumer product. Per usual, Apple has not commented on the patent.
The post Canon Explorers of Light – Q&A with Photographers Bob and Dawn Davis appeared first on Digital Photography School. It was authored by Caz Nowaczyk.
In this Canon Explorers of Light Q&A series, we interview several professional photographers who are a part of Canon’s Explorers of Light program.
The Explorers of Light Program, running since 1995, boasts some incredibly talented photographers. These photographers have spent years honing their craft, and influence and educate other photographers of all levels – something, we at dPS, can respect and relate to.
In this Canon Explorers of Light Q&A series, we interview photographers Bob and Dawn Davis. They share their experiences and give tips to upcoming photographers.
I was inspired by my father, who always had a camera or movie camera within arms-reach. Growing up, I played with Polaroid, where you had to coat the photographs and mount them onto the cardboard included with the pack of instant film. Also, all kinds of Kodak cameras, 126, 110, and Disc cameras.
I became addicted to captured moments and anything that caught my eye, and I was on a first-name basis with the one-hour lab in the Jewel near my home.
Once I got into high school, I took my first photography class. Mrs. Morrison encouraged my passion for documenting everyday moments. She said to me, “you can make a living in photography as a photojournalist!”
That was it; I knew my life’s calling.
I joined the school newspaper and yearbook, had a front-row seat to current events, and in my senior year, I won the National Honor Society Scholarship in Photojournalism and subsequently attended Columbia College in Chicago.
Simultaneously, a small newspaper, The Daily Southtown Economist, hired me. Eventually, work took up all my time. I decided to leave college and work full time, setting my sights on a position at the Chicago Sun-Times, working alongside John H. White, Pulitzer Prize winner in feature photography. I realized my dreams in 1989 when I was hired full time at the Chicago Sun-Times, where I was a staff photographer covering daily news until 2004.
My first camera purchase was a Canon AT1 with a 50mm 1.4 lens, 28mm 2.8, and a 200mm 2.8 lens, which fueled my passion for photography in high school.
Eventually, I had the Canon AT1 modified to accept the highspeed motor drive that would allow for five frames per second. I was pursuing sports photography, and the local weekly newspaper, The Star, hired me as a freelancer to photograph the local football team who were heading to State. Score!
What camera gear do you use now and why?
I am a lifelong Canon user, and I’m blessed to be a part of The Canon Explorers of Light Educational Program. I purchased my own Canon EOS 1D digital camera. I love Canon color and glass period!
My current Canon kit is the EOS 1DX MkIII and EOS R for bodies; lenses to photographers are like brushes to fine art painters.
I use the RF 28-70 f2.0, RF 50mm f1.2, EF 16-35 f2.8 vIII, EF 24-70 f2.8 vII, EF 70-200 f2.8 IS vII, 100-400 f4.5 5.6 vII, 300 f2.8 vII, 1.4x vIII, 2x vIII and 10-600EX RT Speedlites. I love the speed and low light focus capability of both the EOS 1DX MIII and EOS R full-frame mirrorless bodies. There’s no situation I cannot cover with these cameras.
What area of photography do you specialize in, and why did you move into that field?
I love capturing real authentic moments and fashion-inspired portraits. I would call our style timeless and classic with an editorial twist. Currently, I practice in wedding, portraits, and wildlife photography.
Honestly, being a lifelong photojournalist, there isn’t much I haven’t covered in my career, so I’m prepared for anything.
I’ve photographed every president since Ronald Reagan and captured the most exclusive events for A-list celebrities. I love photographing the once-in-a-lifetime moments that unfold at weddings and special events.
Are you working on any exciting projects you’d like to share?
I love weddings and events, but I’m transitioning into destination wildlife, travel photography, and workshops. Photography is a powerful medium to tell stories and share a message. I want our wildlife and destination work to inspire people to think and be grateful for the abundance of beauty that surrounds us and that we need to be stewards of our planet and environment!
If you could share any photography tips with our readers, what would they be?
Practice, practice, practice! I learned from Michael Jordan while covering his many NBA championships that before every game, he would be on the floor before anyone else and practice the basics. He was ready and confident, so when the moment came for the big shots, he was prepared. I still practice and push myself to be green and growing, and always be prepared no matter the assignment.
My cameras have always been a passport, allowing me a front seat to history. While at the Chicago Sun-Times newspaper for 14 years, I covered countless historic events, such as presidential elections, Michael Jordan’s entire career with the Chicago Bulls, many faiths, celebrations, and rituals. I’ve traveled around the world for weddings and human-interest stories for nonprofit organizations.
I have since moved on from the newspaper industry. Now, I have created an endeavor with my wife, Dawn Davis – Bob & Dawn Davis Photography & Design.
Our client list reads like a “Who’s Who” of entertainment’s elite. We had the honor of photographing A-list weddings such as Eva Longoria & Tony Parker’s wedding in Paris, Salma Hayek & François-Henri Pinault’s wedding in Italy, La La Vazquez & Carmelo Anthony’s TV wedding in New York, Tracey Edmonds & Eddie Murphy’s wedding in Bora Bora, ABC’s TV show The Bachelorette Ashley’s wedding to J.P. in California, along with many other fabulous events with Oprah Winfrey.
I was commissioned to work on the book America 24/7, which was featured on the Oprah Winfrey show and was a New York Times Best Seller.
Our work has been featured in publications such as People, OK, O Magazine, InStyle, Inside Weddings, Town & Country, Munaluchi, Grace Ormonde, Modern Luxury Brides, and dozens of others.
I am honored to be a member of the Canon Explorers of Light, Westcott Top Pro Elite, and SanDisk Extreme Team. Dawn and I are the authors of two books, Lights Camera Capture, and We’re Engaged!
I am happily married to my wife, Dawn, and together we have two beautiful children, Bobby and Alli.
The post Canon Explorers of Light – Q&A with Photographers Bob and Dawn Davis appeared first on Digital Photography School. It was authored by Caz Nowaczyk.
The post Create Light Beams in GIMP that Glow Without Any Plug-ins appeared first on Digital Photography School. It was authored by Ana Mireles.
Do you want to create light beams with GIMP? While previous versions of GIMP used a process called Alpha to Logo, it’s not available in the latest version. Not to worry, you don’t have to download any plug-in or script-fu, as I’ll show you a step-by-step example to do them manually.
GIMP’s open-source nature can be the most attractive thing for some people and the most off-putting for others. Create light beams used to be a one-click operation, but the script-fu was removed since version 2.10.4. There’s a way to get it back and install it separately, but you can also create them using GIMP’s basic functions.
How to Create Light Beams in GIMP
1. Design the shape
Open the image or canvas where you want to create light beams.
Now create a new layer, I strongly recommend you to name them as you go because you will need a few of them.
Do this in the designated space on the top. Then choose Fill With Transparency and click OK.
In this new layer, draw the shape of your light beam using the Path Tool. Make sure the Edit Mode is set to Design and start drawing.
If you want to create curves, just hold the mouse button and drag the anchor point.
Once you have the shape you want, choose the color by clicking in the patches you find on the left panel.
Then right-click in any anchor point of your shape and choose Edit > Stroke Path from the menu.
This will open a pop-up window.
Select Paintbrush and Emulate Paintbrush.
This will apply the effect using the settings you have in your Paintbrush tool as if you had painted the shape.
2. Create the beam
Now, the stroke needs to start looking like a light beam. For this, you need to draw a lighter outline to it. The easiest way is to right-click on the layer and choose Alpha to Selection.
Go back to the color swatches and choose a lighter hue, or even white.
Create another transparency layer, then go to Edit > Stroke Selection. In the pop-up window choose Stroke Line and set the value that will determine how thick you want it.
Here I disabled the visibility of the first stroke. You don’t have to do this, it was only to show you how the second stroke does an outline.
Deselect everything and click on the Layer Mask button.
Set it to black (full transparency). This will cover the entire outline you created before, but that’s OK, you’ll make it visible in the next step.
Pick the Paint Brush tool and set the color to white.
Then lower the opacity of the brush and paint over your light beam to slowly make the outline visible. After that, with full opacity, paint over some parts to create highlights.
I used full opacity only in the curves because that’s where I want the highlights to be.
3. Make it glow
Duplicate this layer and delete the mask. Lower its opacity and then go to Filters > Blur > Gaussian Blur. The value is up to you, I started with 22. Repeat this process a second time, this time changing the values in the Opacity and the Blur filter.
This is how you can create light beams that appear to glow. If you feel like adding a neon effect, keep on reading to learn how.
4. Add some color for a neon effect
With the top layer selected, add a new transparency layer.
Then set the color you want in the swatches.
Since you’re going for a neon effect, I recommend you choose something ‘electric’.
Use the Paint Brush tool to add some colored splats on your design.
Change this layer to Soft Light blending mode at the top of the Layers panel.
Then create another one and do the same with another color. Change this one to HSL Color.
That’s it! Your neon glowing light beam is ready.
Feel free to skip any step or add some more to make it your own.
Remember, the good thing about doing them manually is that you have full control over the outcome.
Extra tip:
If you want it to swirl around something, like mine, just erase or cover with a layer mask the parts that should go behind the subject.
Conclusion
Scripts and plug-ins can save some time, but they aren’t necessarily available or easy to install. Granted, you don’t always know the individual commands that were automated and that makes it difficult.
This process, however, is meant as a starting point to make it less daunting and allow you to get creative. I hope you liked this technique to create light beams in GIMP without any plug-ins.
Want to learn more GIMP Tutorials? You may like:
A Brief introduction to GIMP Software
Creative Uses for the GIMP Jigsaw Pattern
How to Use Gimp for Basic Photo Re-Touching
Make your Photos Sparkle with GIMP
5 Top Tips for Working with Gimp
The post Create Light Beams in GIMP that Glow Without Any Plug-ins appeared first on Digital Photography School. It was authored by Ana Mireles.
The post Canon Explorers of Light – Q&A with Photographer Terrell Lloyd appeared first on Digital Photography School. It was authored by Caz Nowaczyk.
In this Canon Explorers of Light Q&A series, we interview several professional photographers who are a part of Canon’s Explorers of Light program.
The Explorers of Light Program, running since 1995, boasts some incredibly talented photographers. These photographers have spent years honing their craft, and influence and educate other photographers of all levels – something, we at dPS, can respect and relate to.
In this edition of the Canon Explorers of Light Q&A series, we interview photographer Terrell Lloyd. They share their experiences and give some valuable tips to upcoming photographers.
2019 San Francisco 49ers Season:
Preseason
Dallas Cowboys vs San Francisco 49ers
Thursday, August 11, 2019
Santa Clara, CA
(49ers Photo)
Photographer Terrell Lloyd
How did you get into photography?
I got into photography as a youth growing up in San Francisco. My mother had a film camera, and I would borrow it to take photos.
I had an interest in photography from an early age. When I had a paper route and attended 49ers games as a kid, I would cut out photos from the sports section of the newspapers on Mondays and make my own photo books.
Later, in high school, a friend introduced me to a photo class, and that’s when my love for photography really took off.
What was your first camera setup?
The first camera I purchased was a Minolta film camera in high school. I joined the school’s yearbook committee, and that’s when I started photographing the school’s sporting events and documenting other school activities. I quickly learned that sport was the subject I enjoyed the most.
Once I became serious about photography, and before digital, my first real film camera was the EOS 1V, a 10-frames-per-second camera body.
What camera gear do you use now and why?
Currently, I use the new Canon EOS-1D X Mark III camera. I was fortunate to be able to use this camera in Miami this past February at the Super Bowl, shooting the San Francisco Forty-Niners vs the Kansas City Chiefs.
I have used many of the Canon flagship digital cameras over the years, but once I got the 1D X Mark III in my hands, I was blown away.
My first thought was, and I quote, “this camera is a game-changer.”
The technology of its new image sensor, DIGIC X processor, speed, subject tracking ability, and image quality can be seen right away in post-production.
The images I produced from Super Bowl LIV were fantastic. Overall, the sharpness and exposures were consistent.
My history with Canon digital cameras dates back to Canon’s DCS520 – a 2-megapixel camera that cost $ 12K. I’ve been a believer in the Canon brand since my first serious film camera in high school.
One reason I am loyal to Canon is because of its quality glass, reliability and the Canon Professional Services program, which I believe is the best-of-class in the photography industry.
2019 San Francisco 49ers Season:
Preseason
Denver Broncos vs San Francisco 49ers
Monday, August 19, 2019
Denver, CO
(49ers Photo)
What area of photography do you specialize in and why did you move into that field?
In this stage of my career, I focus mostly on professional and college sports as well as some specialized high-end corporate events.
When I began building my photography business, I was photographing weddings and portraits.
As my business started to grow, I started shooting company events such as holiday parties, corporate meetings, conventions, and travel. Then I transitioned to major high-end clients such as BMW, Yahoo, Intuit, Verizon, and Ritz Carlton, to name a few.
I also added product and commercial photography to my services, however, sports was always on the top of my list.
When I became one of the team photographers for the San Francisco 49ers, I focused my time and efforts on becoming a full-time photographer in the NFL for the 49ers. In addition to everything else, I am also the photographer for San Jose State University’s athletic department and cover all of their Division 1 sports programs.
Are you working on any exciting projects you’d like to share?
Now that our NFL season is over, we are in the process of planning our 2020 marketing and design campaign. This will include some photoshoots around San Francisco and the Bay Area. Unfortunately, I can’t reveal the new 49ers theme but stay tuned on 49ers.com and Instagram @49ers, and you will see exciting new images.
I am very much looking forward to our media photo session with our players scheduled for May. I will be working closely with our design team as we collaborate on a style for the 2020 season.
If you could share any photography tips with our readers, what would they be?
One tip I would like to share is not to limit yourself in today’s industry. Learn as much as you can in the photography world.
When I started, I wanted to know everything, and as I transitioned from my first wedding to sports, I studied it all, from medium format and 35mm film cameras to studio lighting and understanding environmental portrait lighting and the direction of light.
There are so many ways to learn photography using today’s technology, but I think the best way to perfect your skills and craft is to practice, practice and practice more.
Go out and photograph as much as you can. Make sure you get your exposures right in-camera, as you want to spend the least amount of time in post-production as possible.
Terrell Lloyd Biography
San Francisco-based photographer Terrell Lloyd is currently employed by the San Francisco 49ers as their senior manager of the organization photography services and is the full-time lead team photographer.
He has been with the 49ers organization for 24 years, beginning as a contract photographer. For the past six years, he has been a full-time employee of the 49ers, responsible for all of the team’s photographic assignments.
It all began in 1994 when he was given an opportunity to shoot a game from the sidelines at Candlestick Park. According to one of his clients, “Terrell’s sports photography really captures the essence of the game.”
Since 1992, Lloyd has provided professional photography services to individuals and organizations throughout the United States and around the world. He is best known for his special combination of artistic vision and cutting-edge technology and, for the past 15 years, has been the athletic sports photographer at San Jose State University.
Lloyd has also earned a number of championship rings for his work with San Jose State University as well as an NFC Championship with the San Francisco 49ers.
In addition to his photographic skills, Lloyd has earned several awards and accolades as an athlete on the professional bowlers’ tour and leagues with several perfect 300 games and 800 series.
Lloyd was named to the prestigious Canon Explorer of Light program in 2006 and served for four years. After a brief break, he was named again to the Canon EOL program in 2017 and remains current. This is a group of professional photographers from around the world selected to provide educational programs around the country.
The Canon Explorers share their photographic and technical expertise to a wide number of photographers in a variety of personal appearances, seminars and gallery shows. Also, SanDisk® chose Terrell Lloyd for its SanDisk Extreme Team in 2009 and was recently selected to the ThinkTankPhoto Pro Team in 2018.
In 2017, Lloyd received a Legends Award from Xposure101conference in Detroit, which honors individuals who have greatly influenced creativity, diversity and learning in the creative and photographic industries while inspiring others to achieve their goals. Western Digital presented him with their Award for Outstanding Contributions to the Photography Industry in 2019.
Shooting football has opened many doors for Lloyd and enabled him to cover major sporting events such as NFL Super Bowls, PGA golf, professional tennis, MLB baseball, the NBA, and more.
Lloyd has also received many awards of merits for his portrait and wedding work and was Photographer of the Year by AMPP in 2001 and earned his craftsman degree from PPA in 2006.
See more of photographer Terrell Lloyd’s work here:
The post Canon Explorers of Light – Q&A with Photographer Vanessa Joy appeared first on Digital Photography School. It was authored by Caz Nowaczyk.
In this Canon Explorers of Light Q&A series, we interview several professional photographers who are a part of Canon’s Explorers of Light program.
The Explorers of Light Program, running since 1995, boasts some incredibly talented photographers. These photographers have spent years honing their craft, and influence and educate other photographers of all levels – something, we at dPS, can respect and relate to.
In this Canon Explorers of Light Q&A series, we interview photographer Vanessa Joy. She shares her experiences and gives tips to upcoming photographers.
Photographer Vanessa Joy
Photographer Vanessa Joy is a Canon Explorer of Light that has been an influential speaker in the community for over a decade. Starting her photographic journey in 1998, she has since branched into public speaking, earned 5 college degrees, received a PPA Photographic Craftsman degree, been named a WeddingWire Education Expert, sponsored by Canon, Profoto and Animoto to name a few.
Vanessa has spoken at almost every major convention and platform in the event industry such as CreativeLIVE, The Wedding School, Clickin’ Moms, WPPI, ShutterFest, Imaging USA, Wedding MBA, WeddingWire World, MobileBeat, in addition to hosting personal workshops and numerous small business and photography conventions around the globe.
Recognized for her talent, and more so her business sense, her clients love working with her. Industry peers also love to learn from her tangible, informative, and open-book style of teaching. Find her at www.VanessaJoy.com.
How did you get into photography?
My mother was a photographer, so I’ve been around it my whole life. Naturally, that meant I hated photography!
It wasn’t until high school, when I had to choose an elective (and I felt like appeasing my mother who was sitting right next to me when I was deciding what to take), that I got into photography for myself.
I fell in love with the darkroom.
My high school photography teacher photographed weddings on the weekends, so after graduation, I worked for him for five years until starting my own business in 2008.
What was your first camera setup?
My first camera was my mother’s Canon F-1 25mm film camera. I still have it.
What camera gear do you use now, and why?
I shoot weddings with the Canon 1DXIII (see video of why I love it here), and for other engagement and lifestyle shoots I enjoy using the Canon EOS R (check out my take on that here).
Both camera systems use the EF and RF lenses, and I prefer mostly primes at that. You just can’t beat the durability, color science, and customer service with Canon.
What area of photography do you specialize in, and why did you move into that field?
I am primarily an NJ NYC Wedding Photographer because that was all I knew of photography when I graduated high school and started working for my high school photography teacher.
That being said, I fell in love with it the same way I fell in love with photography itself. There’s something wildly special about being a part of such a precious time in my couple’s lives.
Are you working on any exciting projects you’d like to share?
I just wrote my first book!
It’s all about off-camera flash and making it easy, accessible and practical to beginner and intermediate flash users. The Off-Camera Flash Handbook: 32 Scenarios for Creating Beautiful Light and Stunning Photographs.
I’m also pumping out a ton of content on my photography education YouTube channel, and I’m really happy with it so far. I’m creating my channel to be a very applicable and tangible view on gear and photography concepts.
If you could share any photography tips with our readers, what would they be?
Assist and work for as many photographers as you possibly can. It’s better than a college education, and most of the time, you even get paid for it!
You’ll discover new photography tips and tricks and learn about the business side of things as well.
The post Canon Explorers of Light – Q&A with Photographer Roberto Valenzuela appeared first on Digital Photography School. It was authored by Caz Nowaczyk.
In this Canon Explorers of Light Q&A series, we interview several professional photographers who are a part of Canon’s Explorers of Light program.
The Explorers of Light Program, running since 1995, boasts some incredibly talented photographers. These photographers have spent years honing their craft, and influence and educate other photographers of all levels – something, we at dPS, can respect and relate to.
In this Canon Explorers of Light Q&A series, we interview photographer Roberto Valenzuela. He shares his experiences and gives tips to upcoming photographers.
Photographer Roberto Valenzuela
How did you get into photography?
My full-time career as a photographer began in March 2006. I had been married for a little over a year, and I decided to take some time off from teaching high school to attend the annual Wedding and Portrait Photographers International (WPPI) convention held in Las Vegas, Nevada.
This convention was the yearly gathering of more than 15,000 wedding and portrait photographers from every corner of the world.
The most exciting part was that some of the world’s top wedding photographers would be there, including the famous Canon Explorer of Light photographers, who are a group of elite photographers carefully chosen by Canon USA as the best photographers in the world in their respective fields. I was in heaven!
During WPPI, I realized that my passion for photography was just too strong to ignore. I felt an inexplicable calling to photography.
A very scary thought went through my head for the first time. The thought that I may want to follow my heart and perhaps leave my high school teaching career that I loved and worked so hard to get to dedicate myself to photography full time. Oh boy! I was in trouble.
How do I tell my wife? The woman I had just married and who relied on my humble income as a teacher to live and provide health insurance.
The thought of leaving a job I adored, and that provided me with a steady paycheck, scared the heck out of me.
Roberto Valenzuela
The trip to WPPI changed my life. It was just an overload of brain stimuli.
I loved everything about photography – the cameras, lenses, lighting, software, the technical side, the artistic side, and – my favorite – the business side. It had it all!
I knew my wife Kim would be receiving her Master’s degree in Engineering in May, and she had landed a great engineering job upon graduation. Kim having her own income, definitely helped to solidify my decision to leave teaching and pursue a career as a full-time professional photographer.
That was probably the hardest decision I have ever made. It felt as if I was jumping into a dark hole without knowing how deep the fall would be.
That following week, I made an appointment with the principal of the school to tell her that I would not be continuing after that school year. I hugged her and thanked her for the amazing opportunity she had given me. But I had to pursue this new profession, or I would regret it for the rest of my life.
Before I left her office, she asked me if I was sure, and with a heavy heart, I said, “Yes, yes, I am.”
After that school year was over, my full-time photography journey began.
What was your first camera setup?
The first camera I bought was the Canon 20D, and the 28-300mm f/3.5-5.6 IS in 2006.
I didn’t have much money, so I put it all on one lens. I had to learn to work with this lens on every portrait and every wedding I shot.
It was especially difficult working with a floating aperture like this indoors, but that’s the only lens I had, so I figured it out.
Actually, it was that experience to only work with one lens that taught me a very valuable lesson – mastering the gear you have is something most people don’t really do.
For example, we all know what a 50mm f/1.2 lens is, but we don’t really know the ins and outs of that lens. How does it behave in the middle, or in the corners of the frame? What apertures provide the best sharpness for that lens? How does taking a portrait with a 50mm lens look at close proximity? Also, how does it differ from photographing a portrait with that lens at further distances?
I actually quite enjoyed knowing everything there is to know about one lens. Then I used that same mentality with all of my other lenses, cameras, and flashes I purchased in the future.
What camera gear do you use now and why?
I enjoy learning about new, evolving technologies. I love my SLR cameras, and I still have them. I have the Canon 5D Mark IV, the Canon 1D X Mark II, and the Canon 5DS.
But as soon as Canon launched their mirrorless line with the introduction of the Canon EOS R, I embraced the technology.
Although it is different than shooting with a regular dSLR, this camera opens opportunities that are simply impossible with a dSLR. For example, with the face-detection AF, I can take the camera away from my face and engage with clients face-to-face, and while the camera is tracking their face, I’m actually taking photos without the clients knowing.
Also, the ability to use a 1-stop to 9-stop variable neutral density (ND) filter that sits inside the lens adapter is one of my favorite features. This saves me from having to buy multiple ND filters for all of my lenses.
The ND variable filter also allows me to achieve a beautiful cinematic look outdoors by keeping my apertures wide open, such as f/2.0. Then I’m able to illuminate my subjects with the full capabilities of my flashes, and I can stay within the camera’s flash sync speed. This is amazing to me!
Regardless of how bright the light outdoors may be, I can drop the light as far as I want in seconds. Then add flash to my subjects with a color gel filter to do in-camera color grading.
How cool is that?
I am also quite excited about the new R EF lenses, especially the 28-70 f/2.0. These lenses are incredibly sharp and offer a great wide aperture.
However, my favorite feature of these lenses is the ability to program the control ring to whatever you want to fit the kind of shoot you are doing. For example, I programmed my control ring to quickly change my ISO in rapidly changing lighting conditions.
What area of photography do you specialize in and why did you move into that field?
My photography career began in Tucson, AZ.
In Tucson, there is not much of a fashion or beauty industry, but it is a very popular place to get married because of the beauty of the Sonoran Desert and Tucson’s famous sunsets.
On top of that, I was getting married myself during that time.
All of these factors led me to the world of wedding photography. And what a world it is!
I learned quickly that most important is what sets you apart from the hundreds of thousands of wedding photographers out there.
If I had to choose one aspect of my life that sets me apart from other wedding and portrait photographers, it would have to be my background as a classical guitarist. Being a classical guitarist forces you to develop a culture of great dedication to practice.
In fact, in my 14 years as a photographer now, I have not missed a single month that I haven’t practiced something. Regardless of how busy I am, I always make time to practice 30 to 60 minutes a month.
This practice has come in very handy in the most difficult of times to create something truly special for my clients.
For example, the photo I took in Sarasota, Florida, during a hurricane. This photograph was taken late in the evening as the wedding came to an end at the Ringling Museum of Art in Sarasota, Florida. This photo has to be one of my all-time favorite wedding photographs in my career.
It had been raining all day and all night due to a hurricane passing by the area. To take advantage of the rain, I asked the Rolls Royce driver if he could park the car in front of the tree. I then asked my assistant to stand in front of the grid of the car with two Canon 600EXRT flash units.
One flash unit was used to backlight the couple, and the second was pointed towards the car’s headlights.
Illuminating the headlights would give the viewer the perception that this photograph was lit by the car’s lights. However, the car was not even on. When everything was set, I then asked the bride and groom to run out quickly. It took us a couple of tries to get it right, and maybe we got a little wet, but the photograph is magical, and it will last forever!
Without my relentless practice sessions with my flashes, I would have never been able to visualize this beautiful photo in the midst of a hurricane passing through the location of the wedding.
I have a full production studio in Beverly Hills now. Although I still shoot a few weddings a year, my focus has switched to commercial fashion photography.
Are you working on any exciting projects you’d like to share?
I am incredibly passionate about the benefits I have received from really taking the time to master all aspects of lighting and posing. The more you know about lighting and posing, the more fun you have as a photographer.
The art of photography just opens up to you in ways you never thought imaginable. The type of work you can produce with more knowledge is just incredible and addictive!
Because of this, I dreamed of creating the ultimate education platform for eager photographers wanting a concentrated level of the highest quality education in pure lighting knowledge.
So, I’m in the process of designing a conference. More details to come.
If you could share any photography tips with our readers, what would they be?
I would say that photography has opened doors in my life that I have never thought possible. But it has come because of my training.
My tip would be to never think you know something so well, that you don’t have to learn anymore. Keep your curiosity as big as that of a child. Learn how to pose so that people don’t look posed.
Also, learn how to light, so that the light communicates something to the viewer instead of using light simply to illuminate and create an exposure.
Embrace education, learning, and the new technologies available to help you expand your capabilities and become an even better visual storyteller.
The post Canon Explorers of Light – Q&A with Photographer Roberto Valenzuela appeared first on Digital Photography School. It was authored by Caz Nowaczyk.
The post Canon Explorers of Light – Q&A with Photographer Bruce Dorn appeared first on Digital Photography School. It was authored by Caz Nowaczyk.
In this Canon Explorers of Light Q&A series, we interview several professional photographers who are a part of Canon’s Explorers of Light program.
The Explorers of Light Program, running since 1995, boasts some incredibly talented photographers. These photographers have spent years honing their craft, and influence and educate other photographers of all levels – something, we at dPS, can respect and relate to.
In this piece, we interview fashion, editorial and all-round photographer, Bruce Dorn.
Photographer Bruce Dorn
Bruce Dorn has been a professional photographer/cinematographer for 45 years and a member of the Directors Guild of America for 35 years.
Bruce is a Canon Explorer Light, an ARRI Ambassador, a SanDisk Extreme Pro, Western Digital Creative Master, Westcott Top Pro, Light & Motion Ambassador, Tiffen Steadicam Pro, Corel Painter Master, and a Member of the Adobe Dream Team. Bruce seems nice but Chuck Norris trembles at the mere sound of his name.
How did you get into photography?
In July of 1969, just after I turned 18, my brother-in-law loaned me a 35mm Pentax Spotmatic with a 50mm Takumar lens. I had just seen “Easy Rider” and was inspired to take my own road trip through the American Southwest.
I shot a ton of Kodachrome, had a crazy good time, and returned home to pursue a Bachelor of Fine Arts degree in Visual Communications with a minor in photography.
While in my last year in college, I entered and won a creativity competition staged by Conde Nast, the publishers of Vogue Magazine and several other fashion titles.
After graduation, I joined Mademoiselle Magazine as a guest editor, and I began art directing and shooting fashion spreads in NYC, Reykjavik, Paris, and Rome.
Within weeks of receiving my diploma, I signed the lease on a 4,000 sq ft penthouse loft on 5th Avenue in Manhattan and got to work. I’ve stayed busy ever since. A bit of a dream career, really.
What was your first camera setup?
The first camera setup I bought was an inexpensive 35mm Mamiya-Sekor DTL 500 with a 50mm lens. The second piece of kit I acquired was a 500W, 3200K incandescent floodlight. The camera is long lost in the mists of time, but I still have that light. It’s a novelty keepsake at this point, but it serves as a reminder that creative lighting has always defined my shooting style – and kept me gainfully employed.
What camera gear do you use now and why?
I’ve shot everything from 35mm to 8”x10” film cameras for stills and 16mm to 70mm VistaVision cinema cameras, but now I’m 100% digital.
Canon is my platform of choice for both stills and cine, and I always use the latest versions. Currently, I’m really high on the Canon EOS 1Dx MKIII and excited about the upcoming mirrorless EOS R5.
Canon cameras always deliver amazing color, and Canon Professional Services are unequaled. And the lenses? I have a very large collection, from extreme wide-angle to super-telephoto.
Yes, who wouldn’t love this to be the back of their car?
People frequently ask me how much such a huge assortment of gear costs, and I always point out that it isn’t about how much gear costs me – it’s about how much it earns for me.
Just like a championship-winning race car mechanic, full-service professional photographers must eventually possess a very large toolbox. It pays for itself.
What area of photography do you specialize in, and why did you move into that field?
I get bored very easily, so over the years, I’ve worked to become a specialist in a lot of different categories.
I shoot editorial, fashion, beauty, automotive, nature, adventure, travel, extreme sports, underwater, environmental portraiture, aerial, and advertising – in both stills and cinema.
Are you working on any exciting projects you’d like to share?
Always! Unfortunately, the bulk of my commercial work is under a non-disclosure agreement, so I can’t be specific. Follow my Instagram feed, and you’ll see lots of cool stuff posted there – once I’m out from under the NDAs and able to freely share. My Instagram handle is: @dorn.bruce
Between professional gigs, I try to do as much mentoring as I can. I’m currently working with a fourteen-year-old Hopi Indian girl who simply loves landscape photography. We get together for shooting adventures around Arizona whenever our schedules allow!
If you could share any photography tips with our readers, what would they be?
Great photography is all about where you stand, both literally and philosophically. Work on discovering and polishing your own unique point-of-view.
With so much information instantly available online, it’s super-easy to mimic the work of others but don’t – that’s ultimately a dead-end journey. Focus, instead, on shooting a lot, and eventually, your own unique path will be revealed. Own it.
Oh, and light that faint little path…learning to illuminate your world with great lighting is the smartest thing you will ever do. Invest in quality lighting instruments and learn how to use them. I suggest looking at color-correct and dimmable LED units for the greatest versatility. Shine bright!
Bruce Dorn Biography
Bruce Dorn has been a professional photographer/cinematographer for 45 years and a member of the Directors Guild of America for 35 years.
Bruce is a Canon Explorer Light, an ARRI Ambassador, a SanDisk Extreme Pro, Western Digital Creative Master, Westcott Top Pro, Light & Motion Ambassador, Tiffen Steadicam Pro, Corel Painter Master, and a Member of the Adobe Dream Team. Bruce seems nice but Chuck Norris trembles at the mere sound of his name.
A newly launched NASA project called Satellite Streak Watcher aims to assess the night sky light pollution caused by low-Earth orbit satellites using images captured by the public. On its SciStarter project page, NASA asks anyone interested in participating to ‘Photographically record satellite streaks across the night sky to monitor this form of sky pollution.’
The space agency explains its concerns related to the satellites, stating, ‘As more satellites are placed into orbit, they will become an increasing problem to astronomers on the ground.’ Participants can use the Heavens-Above website to determine when and where satellites will pass over their local sky; images are uploaded and shared on the project’s website.
The new public science project follows announcements from a number of companies that have launched — or plan to launch — large numbers of small satellites into low-Earth orbit.
The most notable example of this comes from SpaceX, which has spent the past few years working on its Starlink mission. The private space company expects to ultimately launch thousands of small satellites into very-low Earth orbit (VLEO) in order to provide Internet access around the world. As of March 1, 2020, the company has delivered 302 of these satellites into space with plans to launch more throughout the year.
Critics have expressed concerns that Starlink and other projects like it will have a negative impact on the night sky, introducing light pollution that will disrupt astronomy. These satellites also impact astrophotography by adding thin, bright streaks of light to long-exposure images, prompting complaints from photographers who increasingly struggle to deal with light pollution.
DPReview reader Guido Forrier shared the below image in our Astrophotography forum, showing a series of fifteen Starlink satellites flying across the sky in one of his night sky photographs. When we asked what his thoughts on the matter, he said ‘I am surprised and incensed that apart from the already high light pollution, those satellites [have] also come to disturb. [There’s] a lot of rubbish is already flying in space and I see it regularly burning in the atmosphere.’
Photograph by Guido Forrier, shared with permission.
Until now, most efforts to combat light pollution have focused on the ground, not the sky. Light produced by street lamps, billboards, parking lot lights and more is reflected in the night sky, making it hard to see and photograph stars, particularly in regions close to big cities. The problem has spurred the creation of a number of Dark Sky Reserves throughout the world; these are regions of public and private land with ample natural darkness and starkly visible stars.
However, experts have expressed concerns over light pollution that results from satellites launched into low-Earth orbit, as well as more ridiculous future concepts like an artificial moon and space billboards. Because this type of light pollution comes from the sky rather than the planet’s surface, traveling to Dark Sky Reserves won’t help photographers avoid the issue.
According to Astronomy.com, the Starlink satellites are particularly disruptive to the night sky due to their shallow orbit, which is necessary for delivering Internet service to people on Earth. More than 40,000 of these small satellites may eventually be launched under the Starlink mission, and though SpaceX is experimenting with anti-reflective coating on the satellites, it is unclear whether that will be sufficient for reducing the disruption caused by the spacecraft.
MIT Technology Review points out that satellites depend on their reflective nature to help keep them cool; the experimental anti-reflective coating may cause thermal issues for the Starlink satellites. SpaceX applied the coating to the bottom of one of the 60 satellites it launched in December 2019 in order to test its potential impact on performance.
Harvard-Smithsonian Center for Astrophysics astronomer Jonathan McDowell had told Technology Review at the time that while the reflective coating is ‘worth a try,’ he fears it ‘will be offset by the fact that they are moving the constellation to a lower orbit.’
NASA anticipates its Satellite Streak Watcher operating as a long-term project in order to gather data on satellite light pollution over time. The project currently has 136 members and 20 images, which include shots ranging from bright dots on the night sky to several long streaks of light bunched together. Though NASA says citizen scientists can use a basic tripod and most newer smartphones to capture the images, astrophotographers who have more capable camera systems are also welcomed to share their images.
The post Learning to See, Read, and Interpret Light for Better Photography appeared first on Digital Photography School. It was authored by Herb Paynter.
In the game of photography, lighting conditions occasionally throw your camera a curveball. In the game of baseball, the pitcher and catcher must coordinate and communicate their actions precisely through a series of gestures or signs. By learning to read the signs that a scene tells you about the existing light, you will be able to capture the light exactly the way your eyes perceive it.
The catcher must know exactly what kind of pitch the pitcher is going to throw so he knows exactly where to position his mitt.
Interpret light for better photography
To learn to see, read, and interpret light, let’s first take a look at some typical lighting conditions that are best captured by certain photographic settings.
Golden lighting
When you take outdoor pictures (especially nature), try to schedule them during the golden hours, usually between 7-9 am and between 5-7 pm. This is when the lighting is at its richest intensity for photography. During morning and afternoon/evening hours, the light is warmer in color and more flattering to all colors of skin.
Even this faded wood fence took on a golden color during “golden hour.” f-4.5, 1/4000, ISO 1600, 35mm.
Conversely, try to avoid taking pictures of people when the Sun is directly overhead as the shadows it creates are very harsh and unflattering to facial features.
Mid-day sunlight
The light from direct sunlight is more intense than your camera’s image sensor can deal with.
Typically, your camera’s metering system caters to the brightest light in the scene. When this happens, the darkest parts of the image lose definition!
Despite the Sun providing ample light, the use of a fill flash illuminated the shadows caused by the noonday light. f-4.8, 1/500, ISO 200, 82mm.
Fill flash
Believe it or not, it is usually a good idea to use a flash during the brightest hours of the day. Simply interpret light and keep your subjects from displaying too much contrast.
Your flash won’t affect the lightest parts of the photograph, but it will shed some much-needed light in the darkest parts of the image. Unless you take preventative measures (using either a fill flash or a carefully positioned reflective surface), these “shadow” tones will print too dark!
Lighting and people
If you are outside, try to keep the Sun behind you and off to the side. This way, the light will illuminate their faces and create good definition and shading.
But watch out for your own shadow in the picture.
Outdoor pictures provide only a single light source. Be very careful about that big lights’ position. f-2.2, 1/1900, ISO 25, 29mm.
If you are inside during daylight hours and want to interpret light without a flash, set the camera’s white balance (WB) to Shade and brace yourself for a longer exposure.
If there is not enough available light for a good exposure, set the WB to Daylight and let the camera’s flash take care of the lighting.
Manual flash
If you must take a picture of people outside with the Sun in front of you instead of behind you, remember these two things:
Keep direct sunlight from entering the lens, and
Manually direct your camera to use the flash.
If you set your camera flash to fire “automatically,” it may misread the overall lighting and not fire the flash at all. Unless you are looking for a good silhouette, you won’t be pleased with the result.
The use of a flash inside requires you to pay close attention to distance. Standing too close to your subject (less than four feet) may put too much light on the subject’s face and wash out the skin color.
Alternatively, standing too far away (more than 25 feet), the flash could fail to light the skin tones correctly.
Skin is very picky about the light it likes. Light that is either too strong or too weak just doesn’t look natural.
Shooting indoors under mixed, existing light is best captured with the camera set to AWB (automatic white balance). This sets the camera to seek the most neutral color in the scene and to record balanced gray light. f.1.8, 1/35, ISO 320, 24mm
Light shaping
Your digital camera measures the brightest light, compares it with the darkest areas, and determines how to interpret the light and expose the picture based on an average of the two readings.
Always keep extremely bright light from entering the camera through the lens. And that includes camera flash lighting reflecting from shiny surfaces, like glass and mirrors.
Beware of specular light of any kind reflecting from any surface, as it influences these meter readings.
Cloudy and overcast lighting
Some of the very best lighting for color happens on cloudy and overcast days. Overcast days allow your camera to capture much more of the natural light and, therefore, provides a much more natural feel to your photos.
Softbox lighting softens harsh shadows even when used as a single light source in close proximity to the subject.
Softboxes
Professional photographers in the controlled setting of a photo studio use special lighting enclosures called “soft boxes” to limit the contrast created by their bright studio lights.
Direct lighting from studio flash units (called strobe lights) can be so strong and brilliant that it creates very harsh shadows.
To avoid these shadows, these lights are either enclosed in softbox tents or bounced off special photographic umbrellas to disperse the intense light.
Made from material similar to an umbrella, these enclosures are translucent and absolutely neutral white in color.
Nature’s softbox
An overcast day serves the same purpose outdoors as the tents and diffusers used in studios. The clouds soften and diffuse the direct Sun’s harsh light.
On an overcast day, the light is so evenly diffused that you can position your subject in almost any direction.
Since the clouds tend to make the scene color slightly bluish, your camera’s Overcast Mode setting interprets light with a slightly warm tone that neutralizes the bluish cast.
Cloud cover softens the harsh lighting of direct sunlight and allows the full tonality and saturation to show without either plugged shadows or blown-out highlights. f-4.5, 1/250, ISO 200, 105mm.
The three major outdoor lighting modes are:
Daylight,
Shade, and
Overcast (or Cloudy).
Daylight WB allows the natural coloring of the existing light to expose the shot.
Shade provides a slightly yellow cast to the scene.
Overcast WB applies an even more intense yellow cast.
All three WB settings attempt to record whites, grays, and blacks in the scene as completely neutral in color.
If you want to capture the natural lighting mood of any daylight color temperature, leave the WB setting on Daylight.
Low-key vs. high-key lighting
Photographs generally get divided into three groups: full range, high key, and low key.
Full range photos are the most common since they display a full range of tones from dark to light.
High-key photos contain more light tones than dark tones, while low-key photographs display a near absence of light tones.
High-key images contain more highlights than mid-tones and shadows, while low-key images contain more shadow tones than mid-tones and highlights. The most important challenge with either type of image is to maintain the distinction of detail in each.
Generally speaking, to properly interpret the light and record low-key pictures, set the camera’s Exposure Value (or EV) compensation to a minus setting.
Alternatively, to compensate for the lighting of high-key pictures, set this EV compensation to a plus setting. These adjustments will override the camera meter’s intent to expose all subjects as middle tones.
With shooting either high or low-key lighting, great care must be taken to preserve the minor presence of highlight tones in low-key scenes and the minimal shadow detail in high-key situations.
But as a general rule, the absolute extremes of pure black and pure white should be avoided unless the drama of the scene requires that level of contrast.
The post Learning to See, Read, and Interpret Light for Better Photography appeared first on Digital Photography School. It was authored by Herb Paynter.
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