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Posts Tagged ‘Photography’

Tips for Doing Fine Art Underwater Bubble Photography

04 Nov

The post Tips for Doing Fine Art Underwater Bubble Photography appeared first on Digital Photography School. It was authored by Joanne Taylor.

tips-for-doing-underwater-bubble-photography

Doing underwater bubble photography is both fun and challenging! Read on for easy-to-follow techniques, tips, and tricks for you to try no matter which underwater environment you’re in!

underwater-bubble-photography

Safety

For your safety, have someone on land, in a boat or in the water with you to act as a spotter. Have them keep a floatation device with them at all times too. Underwater photography can be tiring, and you might feel the need for assistance from time to time.

Have drinking water accessible regardless of the weather. Be sure to have sunscreen on and beware of the sun reflections off the water: sunburns hurt!

underwater-bubble-photography

Equipment

There are many devices you can use, including a GoPro, underwater phones, and the disposable ones they sell at the drug store. However, the best way to achieve shots like these is to have an SLR camera within a professionally-made underwater housing. You can still try these types of shots with whichever device you do have, but it is easier to take them with a lot of control going in.

I achieved these shots with a Nikon D7100 and a custom Ikelite housing.

You can shop for professional underwater equipment from a variety of places, but Ikelite – www.ikelite.com has a strong reputation internationally, and for good reasons. You can also check out Mozaik Underwater Camera – www.housingcamera.com

Both websites sell camera and housing packages for underwater photography and also individual housing cases. You definitely want reliable, trustworthy equipment to achieve consistent, sharp images.

Equipment check

Please note that human error causes most floods (where water breaches the housing compartment, and you risk losing your camera and every photo you’ve taken). Common causes of floods are sand, hair, or dust in the O-ring (which you should lightly lubricate every so often) and improperly secured latches.

With a professional underwater housing, you have the same capabilities underwater as you do on land. This saves much time if you’re in deep water – no need to climb in and out of the boat or in and out from the beach. Same for scuba diving – sometimes coming up from a deeper depth is simply not an option. For those using other devices, be sure to know the depth limit of the device, or you risk losing everything!

Tips for Doing Fine Art Underwater Bubble Photography

Camera settings and taking the first few shots

Make sure the lens on both the camera and the housing is clean. There is nothing worse than getting underwater, taking some fantastic bubble photos, and then seeing a sunscreen finger smear in the corner of each shot.

In underwater photography, your body will be moving, so too is the water and the bubbles. So if in doubt, use your camera in Auto Mode the first few times. Alternatively, try setting your camera to F22 and F20 at 1/2000th, 1/4000th, and rely on natural light.

Next, you are ready to get into the water and don’t forget to defog your goggles before putting them on (spit or a defogging spray work great).

Bring your equipment in and determine if it’s working underwater with a few test shots (aim at your feet) and then check the image on your viewfinder. Make any adjustments necessary.

Tips for Doing Fine Art Underwater Bubble Photography

Water and weather

Take into consideration the appearance of the water. You are looking for water clarity. Sometimes, the bottom can be churned up by a recent storm, and there can be a lot of debris. Debris can cause low visibility and definitely with underwater photography, the clearer the water, the better.

If you are in a controlled setting such as a pool, the clarity of the water will depend on the chemicals added. If the water is cloudy due to improper chemical balance, there will be a hazy quality in all of the photographs.

The weather affects the light in your photographs. A cloudy day will allow you to use a flash if you have one. Only add a small amount of flash, or you run the risk of blowing out the bubbles entirely.

If you don’t have a flash, keep shallow and try taking photos in the top two feet or so as the light will only decrease the further down you go. If it’s raining, you can still take photographs. It is fun to get the water droplets falling on the surface of the water while bubbles are rising towards them.

When it’s a sunny day, light streams through the water surface and lights up the bubbles from behind. Try to take a few pictures with the sun in the shot as well.

underwater-bubble-photography

How to create bubbles with containers

Use a variety of containers for different sized bubbles. Try sand buckets, Tupperware, or other plastic bowls. Children’s stacking cups are great too, as long as they don’t have a hole or holes in the bottom. Anything can work (re-usable drinking bottles are great too) but avoid all breakables like glass.

Bring them one by one into the water, so they don’t float away. You would benefit from a helper to pass them to you, so it’s easier to juggle your camera and the buckets.

Start with the smallest, easiest to manage container, and work up to the largest as they are the hardest to maneuver underwater.

Take the container underwater by holding the opening directly over the surface and pushing it down underwater to catch the air inside. Practice tilting the cup slowly underwater to let the air trickle out in a trail of bubbles and practice tilting the cup quickly to let all the air out at one time.

Now take a few test shots of the air escaping the container. You might have to practice a few times not to catch your hand or the container in the shot.

Try taking the container deeper. Be patient until you get the right balance of speed of the bubbles versus shutter speed. Check your viewfinder and make any necessary adjustments regarding shutter speed, focal length, or the strength of your flash if you’re using one.

Tips for Doing Fine Art Underwater Bubble Photography

Try taking a series of images of bubbles using multi-shot (continuous shooting) for a better choice of images later.

Move into another section of the water for a variety of images. If you’re using the sun as a backlight, you may also have to angle your camera up towards the surface of the water to get a better shot.

How to create bubbles without containers

Take the containers out of the water and try kicking your feet and making lots of tiny bubbles.

Tips for Doing Fine Art Underwater Bubble Photography

Editing

Once you have downloaded your images, you are ready to edit.

Adobe Lightroom will make editing easy – though, you can use any editing software of your choice. Cropping will be your most used tool as you eliminate any hands, containers, or debris. Cropping is also necessary to zoom in on a section as you attempt to create the most aesthetically pleasing bubble photograph.

Tips for Doing Fine Art Underwater Bubble Photography

Occasionally, you may want to adjust the color of the photograph by making it bluer or taking all color away to see the bubble shapes in black and white.

Tips for Doing Fine Art Underwater Bubble Photography

Conclusion

Fine art underwater bubble photography takes a lot of patience, so relax and have fun. Bubbles are fragile, finite, and often hard to predict. Your best shots may be a string of bubbles, a cloud of little ones, or a single, large one.

Let’s see what you can do! Please share your underwater bubble photography with us in the comments!

The post Tips for Doing Fine Art Underwater Bubble Photography appeared first on Digital Photography School. It was authored by Joanne Taylor.


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Weekly Photography Challenge – Black and White

02 Nov

The post Weekly Photography Challenge – Black and White appeared first on Digital Photography School. It was authored by Caz Nowaczyk.

This week’s photography challenge topic is BLACK AND WHITE!

Image: Photo by Jim Hamel

Photo by Jim Hamel

Inspired by our Black and White Photography e-book sale, I decided to make this weekly photography challenge Black and White. Black and white offers so much depth and emotion and has a timeless nature to it.

So go out and capture anything in black and white. You can use Monochrome Mode on your camera, or turn them into black and white with your favorite post-processing application.

They can be street photography, landscapes, architecture, patterns and textures, automotive, or use creative techniques such as slow shutter speeds, night photography, or intentional camera movement. Whatever you decide to photograph, just be sure they are black and white!

Check out these inspiring pics by some of the dPS writers, have fun, and I look forward to seeing what you come up with!

Black and white photography

Photo by Andrew S. Gibson

Image: Photo by Simon Bond

Photo by Simon Bond

Check out some of the articles below that give you tips on this week’s challenge.

Tips for Shooting BLACK AND WHITE

A Beginner’s Guide to Doing Black and White Photography

Avoid These 5 Common Mistakes in Black and White Photography

How to Make Brilliant Black and White Photos with Dramatic Composition

How to Use Color Temperature in Black and White Conversions

Mastering Monochrome Mode

Black and White in the Outdoors: Learning to see in Monochrome

The Pros and Cons of Black and White Versus Color for Street and Travel Photography

Experimenting with Low Key Black and White Photography

How to Use a Black and White Filter to Improve Your Photos

How to Create Silky Split Toned Black and White Photos Using Luminosity Masks

How to Enhance your Black and White images with Infrared Photography

Weekly Photography Challenge – BLACK AND WHITE

Simply upload your shot into the comment field (look for the little camera icon in the Disqus comments section) and they’ll get embedded for us all to see or if you’d prefer, upload them to your favorite photo-sharing site and leave the link to them. Show me your best images in this week’s challenge.

Share in the dPS Facebook Group

You can also share your images in the dPS Facebook group as the challenge is posted there each week as well.

If you tag your photos on Flickr, Instagram, Twitter or other sites – tag them as #DPSblackandwhite to help others find them. Linking back to this page might also help others know what you’re doing so that they can share in the fun.

The post Weekly Photography Challenge – Black and White appeared first on Digital Photography School. It was authored by Caz Nowaczyk.


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Are Photography Competitions Good for Your Soul?

01 Nov

The post Are Photography Competitions Good for Your Soul? appeared first on Digital Photography School. It was authored by Charlie Moss.

are-photography-competitions-good-for-your-soul

Are photography competitions good for your soul? The idea of diving headfirst into the promising ocean of photographic competitions is one that can be appealing. Imagine yourself surrounded by admirers – fame, and accolades aplenty for your work. The thought is pretty appealing, isn’t it?

Are-Photography-Competitions-Good-for-your-soul

But for most of us, that cool blue water of success turns out to be little more than a dream. Most competitions for most photographers and artists end with little more than a rejection letter, or a place on the shortlist if you’re very lucky.

What is there to gain?

Well, to be quite frank, there’s an awful lot to gain from entering your photography work into competitions. And pretty much all competitions will help you grow and improve as a photographer if you put some thought into the images you’re selecting.

Image: Internet competitions can be a good way of working out which are your better images.

Internet competitions can be a good way of working out which are your better images.

You can use competitions for different purposes. For instance, local club competitions or some of the online competition sites can be good for working out which variations of images appeal to people more. If you’re a little stuck with an image, then entering a local club competition might help you see some of the flaws in your shot.

Prizes, notoriety, or self-improvement?

At the top of the scale, there are huge cash awards and even residencies to win through photographic competitions. Of course, you can’t just make a living by winning competitions with your photos, but the kind of cash prizes that some competitions award will certainly pay a good chunk of your living expenses for a while!

Are-Photography-Competitions-Good-for-your-soul

But for most of us, what we gain is a wider audience and a better sense of our work. And these things are both important to photographers in their own way.

Having an audience isn’t just important for pros, it can open all kinds of doors for amateurs too. Plus, as much as we sometimes loathe to admit it – nice comments and ‘likes’ can go a long way to making us feel good about our work.

The process of selecting images to enter into a competition can be extremely powerful for your work. Trying to narrow all the photos you’ve taken into just a small handful that fit a brief is a difficult process. But this process should tell you something about yourself and your work, and perhaps even push your future work in a particular direction.

Entering competitions can be a great learning experience.

Protecting your mental health

We don’t always win competitions. Of course, it would be impossible for everyone to win every competition that they entered. Not placing in shortlists time and time again can be tough on our mental health.

Are Photography Competitions Good for Your Soul?

You must make sure you’re entering competitions for good reasons, and not those that end up lowering your mood when you face rejection. Finding these reasons can be difficult even for seasoned photographers.

So how can you change bad reasons to good?

Think about why you’re entering competitions

Every now and then I like to reassess where I am with my competition goals to make sure I’m on track, and I invite you to do the same right now. Take a notepad and a pen and spend no more than five minutes jotting down the reasons that you might want to enter competitions.

Once you’ve taken some time to make that list, grab a coffee and review it. Take particular note of reasons that relate to your self-esteem. They could be reasons such as “I want to win competitions to prove I’m not a bad photographer,” or “I want to win competitions to show that time spent on my hobby is worthwhile.”

By framing your ambitions in this way, you’re dangerously close to resting your photographing (and personal) self-esteem on the result of the competition. Screw up the competition, and your photographic self-esteem drops. Photography should be pleasurable and fun to participate in, and competitions should support that.

Setting better goals

Instead, try to focus on goals that aren’t tied to your self-esteem. Hone in on more positive reasons to enter competitions such as “I want to enter competitions to help me develop my photographic voice” or “I want to enter competitions to encourage me to shoot a wider variety of subjects.”

Are-Photography-Competitions-Good-for-your-soul

These goals are not only much more achievable, but we don’t face the same kind of mood drop if we end up not winning. We have met our goal because our goal was simply to refine our work or shoot more variety. Anything additional, like placing on a shortlist, is a bonus.

Don’t forget to be kind to yourself

It’s important when entering competitions to be kind to yourself. Winning a competition can be a glorious feeling, but allow yourself to fail too. Failing is a very human trait, and it’s not something you will be able to escape.

Have compassion for yourself when the lows happen. Treat yourself to something you enjoy photographically and then go back out and get those goals on track.

Ultimately, you mustn’t allow competitions to have power over you. If the results of competitions become tied to the worth of your photography, then you’re on a rocky path that could end up with you falling out of love with photography. And you wouldn’t be here on this site if you didn’t love taking pictures.

Finding competitions to enter

If you start building your network of photographers who also enter competitions, you’ll start hearing about opportunities via word of mouth. But that’s not the only way to find new places to enter your photographs.

Are Photography Competitions Good for Your Soul?

I use a service by Google called Alerts to keep up to date with what competitions are opening for entries. All you need is a Google account, and you can set the service up to send you regular alerts every time it picks up new content using the keywords you define.

These alerts have led me to hear about some interesting photography competitions that I wouldn’t have otherwise found.

So are photography competitions good for your soul?

In my opinion, they certainly can be. I feel that they help me develop my practice as a photographer, allow me to experiment freely, and allow me to be judged amongst my peers. Those three things are very important to me.

Competitions can also be a great chance to meet new photographers and discover new work. Going to your local camera club, or even the exhibition from a larger competition can be both productive and exciting!

But you must take steps to understand why you want to enter competitions with your photography and if you’re entering for good reasons. When stepping into the competitive photography arena, you first of all need to take steps to protect your mental health and ensure you’re not putting yourself at risk.

Do you think photography competitions good for your soul? Share your thoughts with us in the comments!

The post Are Photography Competitions Good for Your Soul? appeared first on Digital Photography School. It was authored by Charlie Moss.


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Do You Need A Flash For Travel Photography?

31 Oct

Packing for a trip is arguably the worst part about travel. As photographers, not only do we have to choose which of our vast wardrobe of clothes to take with us, but we also have to decide which pieces of our ever-expanding portfolio of camera equipment to take with us. From picking which lenses and camera bag to remembering your Continue Reading

The post Do You Need A Flash For Travel Photography? appeared first on Photodoto.


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Why Branding Your Photography is Important

30 Oct

The post Why Branding Your Photography is Important appeared first on Digital Photography School. It was authored by Anabel DFlux.

branding-your-photography

Being a photographer is awesome. You get to play with amazing equipment, capturing smiles and beauty. But if you want to do this for a living, your title of “photographer” gets hyphenated to become “Photographer-Business Owner.” No matter which way you spin it, if you want to be a photographer who doesn’t work under someone else, you become a small businessperson.  Businesses are made up of a variety of moving components, such as a business license, insurance, equipment, marketing, and… branding. It’s likely one of the most overlooked and forgotten-about aspects of a successful business. In this tutorial, you’ll learn why branding your photography is important to a successful photography business.

Business sense in photography

branding-your-photography

As much as I wish that photographers only had to worry about the picture-taking process, the reality is they need to develop a strong business sense to be successful. When it comes to the general running, management, and marketing of your business, it needs to be run a lot of the same ways you would run a clothing store, plumbing company, or any business.

You can think of your branding as your business’s DNA. It expresses your personality and who you are, and perfectly infuses it into your business. This helps attract the right customers and ward off the wrong ones.

As with any business, you will need to go with the flow and adapt to the tide of how society is expecting your small business to function. In the modern age of internet prevalence, society is looking towards businesses that have their aesthetics on-point.

Pleasing and striking imagery is reigning supreme when it concerns advertising your business and attracting new customers. You need to be recognizable to stand out from the sea of competition. This is where having a good brand is super important.

What is Branding? 

So, what is branding? I’ve heard so many people have different definitions for this one simple little word. 

In business, a brand is a name, term, design, symbol and/or any other feature that identifies one seller’s good or service as distinct from those of other sellers. As such, branding is a practice in which a company creates these features that identify their brand. Branding is what sets you apart from the other photographers in your area, in the nation, maybe even the world! 

Branding doesn’t even hold exclusive to just your name, logo, and slogan. Branding is prevalent in all facets of the business experience, from customer acquisition, customer correspondence, and advertising. Even just creating a custom business header for all paper documents that your client receives (such as the contract and invoice) is a form of branding for your business. 

Image: Patrik Michalicka

Patrik Michalicka

Why is branding your photography important? 

I’d argue that branding is extremely critical for businesses, despite being something that not all business owners concern themselves with. The legalities of running a business are very important to get squared right away, but branding should come pretty close after that. Without branding, your business won’t have a distinct voice, and that can cost you a lot in the end.

Branding your photography is important for these reasons:

Branding helps you gain recognition

Think of a brand as the face of your business. What do people recognize first when they see someone? Their face! Your brand – the combination of your business name, logo, and other identifying features – will ensure people recognize you, and your business stands out from the rest of the photography business tide. People tend to differentiate businesses by their logo first and foremost, and an appealing logo is a great way to garner attention.

Image: Deliquesce Flux Photography Facebook Page

Deliquesce Flux Photography Facebook Page

Increases your value

Did you know that branding can increase the value of your business? Branding can give a business more leverage in the industry and significantly improve client acquisition. The more clients you are able to acquire, the more valuable your photography becomes. As branding aids in recognition, which in turn leads to an establishment in the industry, your photography service becomes a more appealing investment for a client.

Can help you charge more for your services

I don’t think anyone has ever complained about making a little more money. Have you? Branding can help you when setting your prices. Having a beautifully tailored and professional brand can help vouch for your prices because you give a very professional impression. The amount you invest in your business can also justify the pricing set by you, and branding is a big part of that investment.

Creates trust

If customers see that you’ve invested the time, effort, and finances in making your business well branded and beautiful, they’re more likely to be convinced by the confidence you have in your own work. This generates deeper trust.

People are more likely to do business with a company that has aesthetically pleasing and well-polished branding. This gives an immediate impression of professionalism versus a lack of branding, which screams “amateur.”

Can create customer loyalty

Branding also helps with customer loyalty. Customer loyalty is the likelihood that the customer will keep coming back to you, referring you, and vouching for you versus going to someone else. 

Think of your own habits. How often do you go to either Coffee Bean, Starbucks, Joe’s Coffee, or some other coffee shop with a strong brand rather than going to a different coffee shop? This has to do with more than just the taste of the coffee and convenient proximity. It’s familiarity, and the familiarity is established with unique and recognizable branding the speaks very loudly.

Supports advertising efforts

Image: Deliquesce Flux Photography Voucher

Deliquesce Flux Photography Voucher

A big part of the business equation is advertising. If clients can’t find you or don’t know about you, how can they book you? Marketing is extremely important, especially in the social media age. Marketing is the act of spreading awareness about your business, whether it be through digital advertising, partnering with local businesses, or launching billboards!

Branding goes hand in hand with advertising, as your advertisements will portray your brand. Adding your business logo to all of your advertising material is fundamental, and that’s a part of branding!

Your brand can help you stay focused

Most of us have a crux of comparing ourselves to others within the industry. I know I’m guilty of looking at other photographers and wanting to do work similarly. Whether you’re a sunshine and rainbows photographer who is loving the moody, gothic look of another photography business and vice versa, sometimes we shift our work to match that of someone we like. However, this can sometimes be a bit bad from a business perspective. Having a brand helps you stay focused on the business you’ve created, and not stray to a business that really isn’t yours. 

Final thoughts

Image: Balázs Kétyi

Balázs Kétyi

Now that we’ve established that branding your photography is important, what now?

Review the brand you have and see what may need some improvement. Or, start thinking about creating your brand from scratch. A good place to start is your business name, logo, and slogan. Work with a professional designer to help you realize your vision for your brand. They will work with you to implement your logo across all of you print and digital collateral. This is their area of expertise, so utilize that.

It’s not a great idea to do your branding yourself, but if you have to do so, pick a font you love and then a color scheme. Be sure your font translates well across different mediums and reads well in both large and small formats as well as in print and on-screen. Don’t use too many fonts in your design either – this can look messy.

Your design should also translate in both color and black and white too because there will be times when your logo may be printed or used in black and white.

Then continue on to your website, marketing materials, price sheets, contracts, invoices, even email signature, and watermark!

It may seem overwhelming at first, but once you get going, you’ll find that branding your photography becomes quite easy!

Do you have any other tips for branding your photography that you’d like to share with us? Do so in the comments!

 

The post Why Branding Your Photography is Important appeared first on Digital Photography School. It was authored by Anabel DFlux.


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Landscape photography with a drone: disadvantages and limitations part 2

27 Oct

In the previous article I wrote about the basic disadvantages and limitation of the drone: it depends on batteries, has limited range, flight altitude and speed, all of which put it at a disadvantage compared to shooting from a manned aircraft. Granted, the drone is a very different tool to a manned aircraft, but I compare the two to emphasize that the photographer should be aware of the advantages and limitations of each option when planning a shoot.

This time, I would like to discuss another disadvantage of the drone: it’s VERY easy to lose.

To a drone user, crashes are a part of life. Drones keep getting better and safer, they are fit with sensors to avoid collisions, programmed to fly back to the home point when connection has been lost with the remote, but they are still not completely safe from tumbling down from the sky, and they still get lost quite often. Iceland’s Glacier Lagoon and Greenland’s Disko Bay must be a few meters shallower with all the Phantoms and Mavics that have been drowned there over the last decade. A colleague of mine’s clients lost 2-3 Mavics in one photo workshop in Disko Bay! Wow, just wow.

But why is that? How come drones just keep falling from the sky or become lost, never to be found again? If you disregard animal attack and hostile interception (both very rare events), there could only be two main reasons: human error and technical malfunction. Sometimes it can be both factors working together.

Human error

Earlier in this series I referred to drones as being ‘idiot proof.’ That was probably overstating it. Drones are by no means idiot proof, or even not-so-idiot proof. A better term would be ‘idiot resistant,’ as a drone can only correct its user’s mistakes so much – it is, after all, just a machine.

One of my workshop clients once lost a drone when we were shooting next to a lake. The problem was that the lake was a natural wind-tunnel, and a temporary stillness encouraged us to take the drones up. Upon feeling the wind getting stronger I brought my drone down and alerted my client to do the same. He chose to keep on flying, and once the wind grew even fiercer, he quickly lost orientation. A few minutes later the drone crashed down, while still keeping in contact with the remote.

DJI’s remotes have a distance indicator, showing how far the drone is from the home point, and we could see that the drone wasn’t too far away. My client started walking in the direction that kept reducing the distance, but eventually understood that the drone was resting on a mountain on the other side of the lake. It’s probably still there.

There is a lesson to be learned here. First of all, once you feel the winds getting dangerously strong, there’s no shame in bringing a drone back down. Secondly, if you lose orientation, don’t let the drone just drift with the wind. Instead, try your best to fly it back toward the home point. A lower flight altitude usually means gentler winds, so in case the drone isn’t progressing home, try flying lower.

The winds above this beautiful lake in the Argentinean high-altitude desert were blowing so strongly, the drone was being swept farther and farther even though I was flying it at full speed back home. It’s important to keep cool when something like this happens. The best thing you can do is bring it down and fly a few meters above ground – the winds will be much calmer and you’ll be able to get the drone back.
DJI Mavic II Pro, 1/240 sec, f/9, ISO 100. Puna de Argentina

Another very common avoidable mistake is stretching the battery for too long. A drone’s remote will start protesting when battery level is below some (adjustable) figure. The default for DJI drones is 30%, but this depends on the drone’s distance to the home point. When the battery drops further, the drone will usually alert the user that it will automatically go home in a few seconds. This too can be overridden by the user, in case he or she wants to keep controlling the drone and shoot some more.

Lastly, when the drone is at 10% battery or less, it will automatically and autonomically start landing. But even this can be avoided if the user actively uses the joysticks to keep the drone airborne.

An experienced drone user can sense when they need to bring the drone back. In perfect conditions, without wind, when flying low and close to the operator, there is no real reason to bring the drone back home at 30%, 20% or even 15% battery. If you can bring the drone back in a matter of seconds, by all means, keep flying until you reach 10% and then land it. But when conditions get harder, that’s when experience is critical and you have to keep a close eye on the battery status.

Depending on distance, altitude and (mainly) wind conditions, the amount of battery power needed to bring the drone back may increase significantly. Yours truly has almost lost a drone when wind picked up significantly during an afternoon shoot in a pumice-stone field in the high altitude desert of Argentina. I struggled to fly the drone, which was facing harsh head-winds, and by the time I managed to land, I was on 1% battery (!).

It’s easy to be caught up shooting this beautiful Pumice-stone field, but the place is huge and the photographer must account for the drone’s distance and sudden increases in wind forces, or they’re risking the battery emptying before being able to bring the drone back to the launch point.
DJI Mavic II Pro, 1/25 sec, f/5.6, ISO 100. Puna de Argentina

I will conclude the discussion of human error-related crashes with a story from my recent Greenland photo workshop. My group was slowly sailing in an iceberg-packed part of Disko Bay. Since we were going to stay in that area for a while, I took out my drone and started shooting aerials of the icebergs.

When the battery was about to run out, I decided it was time to bring the drone back home. But then I realized that the captain had moved the boat several hundred meters, so the home point indicator was useless.

The remote started screaming when battery level reached 10%, and when it hit 5% I knew I had to do something

Moreover, the fact that the boat was sailing between thousands of iceberg – and it was a white boat – made finding it close to impossible. I had no indication of where the boat was or how to get to it. Using the larger icebergs as reference points was also futile, as the distances are huge and I couldn’t judge their location relative to the boat when looking at the remote’s screen.

I was getting nervous. Minutes passed and battery power was continuing to dwindle. For the life of me, I simply could not find the boat. The remote started screaming when battery level reached 10%, and when it hit 5% I knew I had to do something, or lose the drone.

This iceberg, and many next to it, were constantly collapsing, which filled this part of the bay with icebergs. That was great for foreground, but less beneficial in other ways.
DJI Mavic II Pro, 1/25 sec, f/6.3, ISO 100. Disko Bay, Greenland

I started to drop the drone’s altitude, desperately looking for any possible landing site. At this point I was about 80% sure I would lose the drone. But then, I saw a large, relatively flat iceberg. I decided to land on the iceberg, without knowing if I was going to be able to retrieve the drone from it, even if the landing went well. After landing, the situation was looking grim. I was in a huge bay, with literally thousands of icebergs, one of which had my tiny drone on it. There was no way in hell I would find the drone without help.

What do you know – my drone was peacefully resting on the iceberg

But then our captain’s assistant, who had been though a similar situation, suggested that I use the “find my drone” feature on the DJI app. I had never used this feature, since I always knew how to get to the home point. But in this case, the home point was no longer where the boat was. I used the feature to see the drone’s last GPS location, asked the captain to sail there, and what do you know – my drone was peacefully resting on the iceberg. Luckily, the iceberg was big enough for me to hop onto it from the boat, get the drone and return safely. It was quite a surreal experience.

In retrospect, I could’ve done things differently and avoided the iceberg landing. I subsequently learned that it’s possible to change the home point on the fly in the DJI app, so the return to home feature directs the drone to the current location of the remote. Live and learn! At least I have a good story, and by sheer luck, no harm was done and my drone lived to fly another day.

Technical malfunction

Drones, as mentioned, are machines. And as machines, they can sometimes fail or operate in unexpected ways. The difference between a drone malfunction and a DSLR malfunction, however, is that when the former happens, the drone might not be seen or heard from ever again.

There can be different reasons for a drone malfunctioning. In the past, DJI drones crashes numbered in the thousands due to people flying them when batteries were too cold. This has happened to me too, in Iceland – an event on which I’ll elaborate at a later stage. Due to public outcry, DJI has had to include a better temperature warning system in its newer products.

Greenland’s famous Disko Bay is particularly notorious for drowning drones aplenty. This is mainly due to the large amount of iron in the bedrock, leading the drone’s navigational systems to go haywire. Personally, I’ve never lost a drone in Greenland, but I’ve had my fair share of GPS malfunctions. When GPS fails, the drone starts drifting away with the slightest breeze, which, in extreme cases, can lead to a crash into the water.

It’s hard to resist the allure of flying a drone between the ice giants of Disko Bay. Be be wary of GPS malfunctions – they can cost you your drone.
DJI Mavic II Pro, 1/30 sec, f/8, ISO 100. Disko Bay, Greenland

Again, the important thing is keeping cool, regaining orientation and preventing the drone from being swept too far away. The GPS system usually comes back up in a short while.

Drones are constantly getting better and more fail-proof. They don’t crash nearly as much as the used to, which is a very good thing. If the worst happens and you do crash a drone just remember: you’re not the first and definitely not the last.


Erez Marom is a professional nature photographer, photography guide and traveler based in Israel. You can follow Erez’s work on Instagram and Facebook, and subscribe to his mailing list for updates.

If you’d like to experience and shoot some of the world’s most fascinating landscapes with Erez as your guide, take a look at his unique photography workshops in The Lofoten Islands, Greenland, Namibia, the Argentinean Puna, the Faroe Islands and Ethiopia.

Erez offers video tutorials discussing his images and explaining how he achieved them.

More in This Series:

  • Landscape photography with a drone: Gear basics
  • Landscape photography with a drone: the advantages – part 1
  • Landscape photography with a drone: the advantages – part 2
  • Landscape photography with a drone: the advantages – part 3
  • Landscape photography with a drone: disadvantages and limitations – part 1

Selected Articles by Erez Marom:

  • Parallelism in Landscape Photography
  • Winds of Change: Shooting changing landscapes
  • Behind the Shot: Dark Matter
  • On the Importance of Naming Images
  • On Causality in Landscape Photography
  • Shooting K?lauea Volcano, Part 1: How to melt a drone
  • The Art of the Unforeground
  • Whatever it Doesn’t Take
  • Almost human: photographing critically endangered mountain gorillas

Articles: Digital Photography Review (dpreview.com)

 
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Weekly Photography Challenge – Halloween

26 Oct

The post Weekly Photography Challenge – Halloween appeared first on Digital Photography School. It was authored by Caz Nowaczyk.

This week’s photography challenge topic is HALLOWEEN!

Image: Photo by Jon McIntire

Photo by Jon McIntire

Seeing as though it is the week of Halloween, I decided to make that the weekly photography challenge this week. If there is no Halloween celebrations where you live, then just take some spooky photos and share with us!

So go out and shoot those spooky things that pop up for Halloween! Decorations, black cats, pumpkins, witches, creepy houses, trick or treaters, or anything that is spooky and resembles Halloween. Alternatively, shoot images of people setting up for Halloween.

Have fun (or get spooky), and I look forward to seeing what you come up with!

Image: David Menidrey

David Menidrey

Image: James Lee

James Lee

Image: Jen Theodore

Jen Theodore

Check out some of the articles below that give you tips on this week’s challenge.

Tips for Shooting HALLOWEEN

26 Spooky Images for Halloween Week

Creating Ghostly Images for Halloween

How to Light Creepy Halloween Masks for Added Drama

27 Sinister Images for the Week of Halloween

5 Tips for Creating Creepy Halloween Photos

Halloween Photography Tips

 

Weekly Photography Challenge – HALLOWEEN

Simply upload your shot into the comment field (look for the little camera icon in the Disqus comments section) and they’ll get embedded for us all to see or if you’d prefer, upload them to your favorite photo-sharing site and leave the link to them. Show me your best images in this week’s challenge.

Share in the dPS Facebook Group

You can also share your images in the dPS Facebook group as the challenge is posted there each week as well.

If you tag your photos on Flickr, Instagram, Twitter or other sites – tag them as #DPShalloween2019 to help others find them. Linking back to this page might also help others know what you’re doing so that they can share in the fun.

The post Weekly Photography Challenge – Halloween appeared first on Digital Photography School. It was authored by Caz Nowaczyk.


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These are the winning photographs of the 2019 Nikon Small World photography competition

25 Oct

2019 Nikon Small World photography competition

The winning photographs of the 2019 Nikon Small World have been revealed, showcasing an incredible collection of shots captured in the contest’s 45th year.

Founded in 1974, Nikon Small World aims ‘to recognize excellence in photography through the microscope’ and ‘is widely regarded as the leading forum for recognizing the art, proficiency and photographic excellence involved in photomicrography,’ in Nikon’s own words. Below is a list of the judges for this year’s competition:

  • Dr. Denisa Wagner, Edwin Cohn Professor of Pediatrics at Harvard Medical School and the head of the Wagner Lab at Boston Children’s Hospital.
  • Dr. Rita Strack, Senior Editor at Nature Methods.
  • Tom Hale, Staff Writer at IFLScience.
  • Ben Guarino, Science Reporter at The Washington Post.
  • Eric Clark (Moderator): Research Coordinator and Applications Developer at the National High Magnetic Field Laboratory at Florida State University.

Over 2000 entries were submitted for the 2019 competition from scientists in nearly 100 countries. After being ‘evaluated on originality, information content, technical proficiency and visual impact,’ microscopy technician Teresa Zgoda and university graduate Teresa Kugler took home first prize for their incredible capture of a turtle embryo that was created using fluorescence and stereo microscopy. The image is a result of the duo taking hundreds of images and stacking them together to create the final image, ‘as the organism’s size meant only very small parts of the turtle could be imaged on the focal plane at a time,’ according to Nikon’s press release.

We’ve rounded up the top 15 images from the contest and shared them in the following gallery to enjoy. Images and information were kindly provided to DPReview through Nikon Small World.

1st Place

1st Place — Teresa Zgoda & Teresa Kugler, Fluorescent turtle embryo

Location: Campbell Hall, New York, USA

Methodology: Stereomicroscopy, Fluorescence, 5x (Objective Lens Magnification)

2nd Place

2nd Place —Dr. Igor Siwanowicz, Depth-color coded projections of three stentors (single-cell freshwater protozoans)

Location: Ashburn, Virginia, USA

Methodology: Confocal, 40x (Objective Lens Magnification)

3rd Place

3rd Place — Daniel Smith Paredes & Dr. Bhart-Anjan S. Bhullar, Alligator embryo developing nerves and skeleton

Location: New Haven, Connecticut, USA

Methodology: Immunofluorescence, 10x (Objective Lens Magnification)

4th Place

4th Place — Jan Rosenboom, Male mosquito

Location: Rostock, Mecklenburg Vorpommern, Germany

Methodology: Focus stacking, 6.3x (Objective Lens Magnification)

5th Place

5th Place — Caleb Foster, Snowflake

Location: Jericho, Vermont, USA

Methodology: Transmitted Light, 4x (Objective Lens Magnification)

6th Place

6th Place — Javier Rupérez, Small white hair spider

Location: Almáchar, Málaga, Spain

Methodology: Reflected Light, Image Stacking, 20x (Objective Lens Magnification)

7th Place

7th Place — Dr. Guillermo López, Chinese red carnation stamen

Location: Alicante, Spain

Methodology: Focus Stacking, 3x (Objective Lens Magnification)

8th Place

8th Place — Garzon Christian, Frozen water droplet

Location: Quintin, Cotes-d’Armor, France

Methodology: Incident Light, 8x (Objective Lens Magnification)

9th Place

9th Place — Andrei Savitski, Tulip bulb cross section

Location: Cherkassy, Ukraine

Methodology: Reflected Light, 1x (Objective Lens Magnification)

10th Place

10th Place — Jason M. Kirk, BPAE cells in telophase stage of mitosis

Location: Houston, Texas, USA

Methodology: Confocal with Enhanced Resolution, 63x (Objective Lens Magnification)

11th Place

11th Place — Dr. Yujun Chen & Dr. Jocelyn McDonald, A pair of ovaries from an adult Drosophila female stained for F-actin (yellow) and nuclei (green); follicle cells are marked by GFP (magenta)

Location: Manhattan, Kansas, USA

Methodology: Confocal, 10x (Objective Lens Magnification)

12th Place

12th Place — Anne Algar, Mosquito larva

Location: Hounslow, Middlesex, United Kingdom

Methodology: Darkfield, Polarizing Light, Image Stacking, 4x (Objective Lens Magnification)

13th Place

13th Place — Dr. Emilio Carabajal Márquez, Cuprite (mineral composed of copper oxide)

Location: Madrid, Spain

Methodology: Focus Stacking, 20x (Objective Lens Magnification)

14th Place

14th Place — Antoine Franck, Femail Oxyopes dumonti (lynx) spider

Location: Saint Pierre, Réunion

Methodology: Focus Stacking, 1x (Objective Lens Magnification)

15th Place

15thPlace — Marek Mi?, Pregnant Daphnia magna (small planktonic crustacean)

Location: Suwalki, Podlaskie, Poland

Methodology: Modified Darkfield, Polarized Light, Image Stacking, 4x (Objective Lens Magnification)

Articles: Digital Photography Review (dpreview.com)

 
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What You Need to Know to do Successful Restaurant Photography

25 Oct

The post What You Need to Know to do Successful Restaurant Photography appeared first on Digital Photography School. It was authored by Darina Kopcok.

successful-restaurant-photography

If you want to be a food photographer, you’ll likely start your career shooting restaurant photography. This is how most food photographers get their start. Restaurants have smaller budgets, so they’re open to working with new photographers.

However, photographing for restaurants isn’t that easy. Not only do you have to be skilled at shooting food, but you also need to be able to shoot interiors and portraits of the chef and other staff.

Restaurant photography can be a lot of work, and there are a lot of ins-and-outs you should know to make sure you don’t end up getting burned by this very specific type of shoot.

What You Need to Know to do Successful Restaurant Photography

Ask for a shot list

Before you can give a potential client an estimate, you need to know what you’ll be photographing in order to estimate how long the shoot will take you. For example, beverages can take longer to photograph than a plate of food, as managing reflections in glass can take time and be challenging.

You should base your estimates on the project scope. If you can’t estimate how long the shoot will take you, you can’t price your services accordingly. Get a breakdown of how many food images will be required, how many drinks etc.

Some restaurants want you to bring in your own surfaces, dishes, linens etc. for a more magazine editorial feel. In this case, note that it will take longer to shoot this type of scene than it will shooting their own dishes on the restaurant tables.

Scout for the location and light

Check out the location beforehand so you know what you’ll be up against in terms of lighting. You’ll also need to figure out where to set up your equipment and workspace. This should be done with agreement from the manager or proprietor.

It’s important that if the restaurant is open when you shoot, that you’re as unobtrusive to the patrons as possible. See if the client can close off a section of the restaurant where you can work without bothering anyone, and vice versa. 

successful-restaurant-photography

Discuss styling the food

When shooting for restaurants, you should make clear on the outset that you’re not a food stylist and therefore are not responsible for how the food looks.

Food styling is a different occupation. It requires a separate skill set from photography. Your job is the lighting and image capture, not the plating of the food.

Of course, you should always be aware of garnishes and stray crumbs, and generally, make sure the food looks its best for the camera. I’ve been known to send back a sloppy looking burger or two.

The point is that clients need to make sure their chef is up to the task. Otherwise, they should hire a food stylist to guide them. A food stylist can be pricey and not feasible for an already tight budget. In the case that a client refuses to hire one, they should know that the look of the food on the plate ultimately falls on them.

Make sure you state this in your contract. You have a contract, right?

What You Need to Know to do Successful Restaurant Photography

Bring a food styling kit and some basic props

While you won’t be plating and styling the food, you should still bring along a basic food styling kit that includes items such as tweezers, cotton swabs, and small brushes to tame errant garnishes or clean unwanted crumbs and drips from the plate. You want to do the best job you can with what you’re given.

It’s a good idea to come prepared with some props as back up. Bring a stack of linens in various shapes, sizes, and colors, and maybe some cutlery. Sometimes clients want their own tables, flatware, and dishes shot as they are experienced by the patrons, but many have a branding direction in mind that requires a specific look or ambiance. 

For example, when clients wanted me to create dark and moody images for them, I bring in small, dark dishes and vintage cutlery – the opposite of the large, white dishes you see in most restaurants. 

successful-restaurant-photography

Use a tripod

If you shoot only in natural light, be aware that most restaurants are too dark for food photography.

You’ll need to shoot by a window and use a tripod so you can decrease your shutter speed and make a longer exposure. This won’t work for photographing people, however, as they will be blurry with a slow shutter speed.

If the images will only appear on the web or in social media, you can crank up the ISO and fix the noise in your images later in post-production.

When I scout the location, I try to take a few test shots and see how they look in Lightroom before making my lighting decisions.

successful-restaurant-photography

Shoot horizontally

Have a conversation with the client about how they would like the images shot. Most restaurants only need images for their website. Interactive web design often requires that images be shot in landscape orientation.

If the client will be printing some of the images on a menu, this may require a vertical format (and a higher resolution). Make sure to discuss the best picture orientation with the client. Make note that if they want both, it can take you up to twice as long to shoot the images, as not only will you have to adjust the camera, but you’ll have to recompose each image.

Shoot tethered 

I always hook up my camera to a laptop so the client can view the images captured by my camera. Shooting tethered allows you to see a larger, more accurate rendition of your shot than you can get from the screen on the back of your camera. You can use Lightroom or Capture One Pro for tethering. Make sure you have a high-quality tethering cord. 

What You Need to Know to do Successful Restaurant Photography

Work with the client

Ultimately, you want to produce good work that makes the client happy. For this, the client needs to be involved in the process. They must be present at the shoot to provide creative direction and approve the images that are captured. That way, they can’t come back and tell you they don’t like them, or that they don’t align with the branding or aesthetic they had in mind.

I have a clause in my contract stating that I will not begin a shoot without someone representing the restaurant present. Also that the client will forfeit the deposit if I need to pack up my things and leave. Believe me, you don’t want to get into this situation. 

Collaborate with the chef

Involve the chef in the process as much as possible. When you make an appointment to scout the location, ask if you could meet the chef.

Making the chef feel like an important part of the process can make a big difference in the outcome of your shoot. The shoots that end up being the most easy and fun are the ones where the chef is enthusiastic about working with you and making the food look its best for its moment in the spotlight.

What You Need to Know to do Successful Restaurant Photography

In conclusion

One more thing. Before you set foot in the restaurant with your camera, make sure you have liability insurance. Many restaurants won’t always think about this, but bigger clients will often ask for proof of liability insurance. If someone trips over an extension or tethering cord and decides to sue the restaurant, you can be included in that lawsuit. 

Shop around for the best insurance for you, and read the fine print carefully. You need insurance that is specific to the photography industry so you can make sure you’re covered in the types of situations you will be faced with.

You should also insure your equipment against theft, loss, and damage, including that from fire or flood.

Restaurant photography can be a great way to start building up your professional portfolio. Just make sure to do it right to avoid any headaches along the way, and to get your clients to hire you as their preferred photographer whenever they update their menu.

Do you have any other tips or experiences you’d like to share with us about Restaurant Photography? Do so in the comments!

The post What You Need to Know to do Successful Restaurant Photography appeared first on Digital Photography School. It was authored by Darina Kopcok.


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A Step-by-Step Guide to Using Light in Flower Photography for Awesome Photos

23 Oct

The post A Step-by-Step Guide to Using Light in Flower Photography for Awesome Photos appeared first on Digital Photography School. It was authored by Simon Ringsmuth.

using-light-in-flower-photography

Flowers are brilliant subjects for photography. They are bright, colorful, and are stay perfectly still for you as long as the wind is calm. You don’t need any special equipment or lenses to take great photos of flowers either. You can get great photos with just a mobile phone or a basic DSLR with a kit lens. If you really want to elevate your flower photography to the next level, you need to pay very close attention to one thing – the sun – because the light in flower photography is everything.

Image: 85mm, f/2.8, 1/3000 second, ISO 2200

85mm, f/2.8, 1/3000 second, ISO 2200

Of course, there are other sources of light besides the sun, but this is the most obvious and easily-accessible one when considering flower photography. Unfortunately, you can’t position the sun exactly where you want it, but you can position yourself to make the best use of it. You can also take note of the lighting conditions when you go out to shoot flower pictures. Understanding how the sunlight, and your angle of view, affect the finished product is key to getting great shots.

Don’t let anyone tell you that if you want to get good pictures of flowers you have to do it in certain conditions like a cloudy day or the evening. In truth, you can get great flower photos almost any time as long as you pay attention to the sun and the shot you are trying to get. Let’s take a look at some different scenarios and see how they affect flower photography.

Time of day

The time at which you shoot, such as early morning or mid-afternoon, can have a huge impact on your flower photos. In addition to altering the amount of light available, shooting in the morning or evening changes the type of light. It also changes the angle at which it hits your flowers and the surrounding area.

I shot the picture below just as the sun was coming up. The blurry triad in the background is a street lamp that had not yet turned off. It added a nice background touch to the picture. This would have looked entirely different had I taken the picture a few hours later.

Image: 50mm, f/1.8, 1/180 second, ISO 400.

50mm, f/1.8, 1/180 second, ISO 400.

If you want your flowers gently illuminated for a soft, almost hazy appearance, then early morning or late evening is going to work great. However, if you want your flowers bright, sharp, and punchy, then harsh overhead lighting is ideal.

It all depends on the type of picture you want to take and knowing how the lighting conditions affect the final image.

using-light-in-flower-photography

50mm, f/2.8, 1/1500 second, ISO 200

A monarch butterfly joined me as I was taking the above picture in the afternoon. The bright overhead sun made the reds, yellows, and greens bright and crisp, which doesn’t happen in the early morning or late in the day.

The sun was directly overhead when I took the picture below. This caused each of the colors in this picture to shine. It turned out I wasn’t the only one interested in this particular magnolia flower.

using-light-in-flower-photography

50mm, f/1.8, 1/6400 second, ISO 200

You can get great pictures of flowers at any time of the day. Just make sure you know where the sun is and how it will impact your pictures. Armed with that knowledge, you’ll be able to make better choices about the pictures you are going for.

Types of light in flower photography

Backlighting vs. front lighting

Backlight is when the main source of light comes from behind your subject. This can lead to some creative scenarios, especially when used to shoot subjects with rim lighting. Conversely, front light is when the main source of light comes from the front of your subject, usually behind the photographer.

Either one of these types of lighting works great for flower photography. However, you need to understand how backlighting and front lighting affect your flower pictures, so you know which one to use. I photographed the flower below with front lighting. The sun was behind me as I took the picture.

using-light-in-flower-photography

85mm, f/1.8, 1/3000 second, ISO 100

Front lighting makes the purples really stand out, especially against the background. There are also some prominent shadows along the left-hand side and at the base. These are neither good nor bad, just a result of using front lighting.

A similar flower, shot in the same location a few minutes later, reveals a much different image when employing backlighting.

Image: 85mm, f/2.8, 1/500 second, ISO 560

85mm, f/2.8, 1/500 second, ISO 560

Notice how the petals almost look like they are glowing as the sun shines through them. The shadows are more diffused, which is also due to the late hour of the day at which this was shot. Both pictures are good but in different ways. If you traditionally shoot flowers with front lighting, try doing some backlit shots and see if you like the results.

Image: Another backlit flower, where the shining sun made the yellow flower appear bright and radian...

Another backlit flower, where the shining sun made the yellow flower appear bright and radiant.

Sunny vs. overcast

There’s a common perception among photographers that cloudy, overcast skies make for some of the best lighting conditions. While I certainly enjoy shooting on days like that, the truth is, you can make any lighting condition work for flower photography. You just need to know how the light will affect your images.

One of my favorite flower photos I have ever taken was in the middle of the day just after a bit of rain. It’s a few coneflowers low to the ground. The overcast sky led to even lighting across the entire frame and rich, deep colors. There are no harsh shadows, no translucent petals, and no bright spots in the background. Instead, the frame is a mix of saturated greens, purples, and reds that I really like.

using-light-in-flower-photography

50mm, f/1.8, 1/640 second, ISO 200

Another example of this is the following picture, which I took in the morning after a night of thunderstorms. The clouds overhead dispersed the sunlight into all directions, which gave me an evenly-lit scene that worked great for this particular show.

Image: 85mm, f/1.8, 1/200 second, ISO 125

85mm, f/1.8, 1/200 second, ISO 125

However, these two pictures don’t mean you can’t take great flower pictures in bright sunlight. Far from it! Just know that flower images in bright sunlight will look much different than their cloudy-skied counterparts. The picture below is similar to the one above, but I took it on a bright sunny day.

using-light-in-flower-photography

50mm, f/1.8, 1/8000 second, ISO 360

This picture is neither better nor worse than the one above it, just different. Bright sunlight makes the red petals leap out of the frame. The rich blue sky and deep shadows of the grove of trees add a sense of space and depth that is missing in this picture’s counterpart.

Similarly, I photographed the purple magnolia flower below on a bright sunny day, but with just a bit of cloud cover. It’s kind of a cross between sunny and overcast and yields an interesting picture.

using-light-in-flower-photography

85mm, f/1.8, 1/200 second, ISO 140

The sun was off to the left, making the white inside of the flower petal shine out and compete with the purple in the foreground for the viewer’s attention.

I show all these examples as an illustration that you can get great shots of flowers in a variety of lighting conditions. The key is to use the sunlight (however it happens to be at the moment) to your advantage by knowing how it will affect your flower photos.

A comparison

If you can’t control the light in your flower photography, you can still control the angle from which you shoot your pictures. This has an amazing impact on how your flower photos turn out.

I shot the three photos below on a bright sunny day in about three minutes. The same flower is in each shot, and I used a 50mm lens with an f/2.8 aperture. The only difference is the angle from which I took each photo but that one simple thing changes each picture a great deal.

In this first picture, the flower is front-lit, meaning the sun was behind me and almost directly overhead as I took the photo. Notice the bright orange colors and stark shadows, which create a sense of depth and isolation. The background is shrouded in shadow because of the overhead light and the angle from which I took the picture. I see a lot of pictures similar to this online, especially on social media sites.

Image: 50mm, f/2.8, 1/2000 second, ISO 100

50mm, f/2.8, 1/2000 second, ISO 100

For this next photo, I stood in the exact opposite spot, looking up from below into the sun. Notice how the petals have become brilliantly translucent, and the greenery on the left is bursting with blurry bokeh.

It’s an entirely different version of the same flower and didn’t require anything on my part other than a simple perspective change.

Unlike the first picture, I don’t often see flower shots like this on social media. This is most likely because it’s just not something a lot of people think about doing.

Image: 50mm, f/2.8, 1/2000 second, ISO 100

50mm, f/2.8, 1/2000 second, ISO 100

I photographed this final image from the side, and what’s interesting here isn’t necessarily the flower but the background. From this angle, the background was entirely green, making the oranges and reds of the flower scream out by comparison. The lighting is similar to the first image, but this one is a lot more interesting to me because it’s a mix of colors instead of a flower against a mostly black background.

using-light-in-flower-photography

50mm, f/2.8, 1/2000 second, ISO 100

I really want to stress that none of the pictures in this tutorial are objectively better than any others. What I hope to have illustrated is that paying attention to the light in flower photography, as well as considering alternative viewpoints from which to shoot, can dramatically impact your flower photos.

Image: 23mm, f/5.6, 1/160 second, ISO 200. I had to hold my camera high above my head and fire off a...

23mm, f/5.6, 1/160 second, ISO 200. I had to hold my camera high above my head and fire off a series of shots hoping one of them would turn out. It did, and I’m so glad I didn’t just shoot a single sunflower from my normal eye level.

If you enjoy taking pictures of flowers, hopefully these images will give you some new ideas to consider. And if you haven’t spent much time out in nature capturing the beauty of blossoms like this, I hope you can find some time to go out, look at the lighting in flower photography and give it a try. You might be surprised at what you can get!

I’d love to see some of your shots – please share them with us in the comments below.

The post A Step-by-Step Guide to Using Light in Flower Photography for Awesome Photos appeared first on Digital Photography School. It was authored by Simon Ringsmuth.


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