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Steps For Better Product Photography in Natural Light

18 Jul

The post Steps For Better Product Photography in Natural Light appeared first on Digital Photography School. It was authored by John McIntire.

Taking photos of products can seem like a daunting task. If you look at a lot of advertising, you will find yourself inundated with a lot of high-end product photography that can seem (and probably is) out of reach for a novice. The thing is, not all product photography is equal. In many cases, a much simpler approach will do the job just fine.

This article will guide you through a process that can get you started taking product photos with minimal equipment. In these examples, you don’t even need a studio, just a backyard, and decent weather. You will also see that you can replace some dedicated kit (reflectors and diffusers in this case) with some basic and cheap substitutes.

What you need

With one optional exception, you will only need some basic kit to go through the process outlined here.

Camera – There’s not much to say about this one. You will need a camera.

Lenses – To get the best results you will want to choose a lens with a close focusing distance (if your products are relatively small) and a focal length that will give you the option to fill the frame.

If the products that you are photographing are quite small, you may want to opt for a macro lens. Fast lenses aren’t much of a concern here as you will want to choose an aperture that ensures complete focus on all parts of your subject.

Tripod – Because this is still-life photography, you absolutely should use a tripod. The reason should become clear as this tutorial progresses, but it will make your life so much easier.

An outdoor space – As for the where, all you need to get started with this tutorial is an open outdoor space. Even a small backyard will do. Anywhere that will lend you a decent, clean background will do.

Tissue paper – In lieu of a dedicated diffuser, you can use tissue paper. For ease of use, you can mount this in a frame of some description with clips or a bit of tape. This allows you to control and manipulate the natural light in your photos. I did use a dedicated diffuser in this tutorial, but tissue paper will work just as well.

White and black card (foamcore works well) – Use these as reflectors and flags respectively to give you further control over the manipulation of the light.

Backgrounds (optional) – Using the environment as a background will be fine a lot of the time, but sometimes you may need something different.

Don’t want to rely on what’s there? Bring your own backgrounds, such as these purpose-made boards or use plain colored paper. The choices are endless.

Color Management – Depending on what you are photographing and whom you are creating product photography for, color management may be optional, or it may be a legal requirement.

Tools like the ColorChecker Passport are indispensable for getting accurate colors in your images.

Even if it’s not necessary for your situation, it’s still a good idea. The word ‘product’ implies that you are selling something. Even if you’re only creating an eBay or Facebook Marketplace listing, ensure an accurate representation of what you are selling. It is a means of treating the people you are selling to with respect. If you’re providing commercial services to a paying client, then that accurate representation of the product may be a legal requirement. Do your research and find that out before you get started.

Note: While you can use tissue paper and foamcore to great effect, I still believe you should buy a 5-in-1 reflector or two. These give you access to white and silver reflectors, diffusers and flags. Godox sells one for $ 15, so there’s no excuse. You can also use 5-in-1 reflectors as a background in a pinch.

Getting started

With your gear collected, this process is relatively straightforward.

Step 1: Find a space

Finding a space that gives you plenty of room to work and gives you a decent background may be the most important step in all of this.

As long as you are photographing small(ish) objects, where you choose to set up isn’t very important. Since the focus of your image is solely the product, other elements like the background won’t be taking up very much space in your frame in most cases. As long as you can find a space that gives you a clean background (or somewhere to place your own) and gives you plenty of room to work, you will be fine.

If you are working with small objects at a close distance to the camera, work with small apertures like f/16. If you want an out of focus background, you will want to ensure there is a good distance between your subject and the background.

Without going into the math, the closer your camera is to the subject, the shallower the depth of field becomes. When you are really close (especially with macro lenses), the focal plane reduces to a tiny sliver. To combat this, use small apertures.

In terms of lighting, as long as there is light, you will be fine. If you have all of the equipment listed at the top of this article, you will be able to manipulate the light in most situations.

Broad daylight? No problem. Shade? No problem. Any time of day will work except for the night where you would probably need to add an external light source of some description.

Step 2: Set up

As this spot was lit by direct sunlight, I put the diffuser up before doing anything else.

Now that you are in your space, pick where you want to set up and decide where you are going to photograph your product. Place your camera on a tripod and ensure that you have a good idea of how you are going to frame your product.

You can now evaluate your lighting. If you’re in open daylight, setup the tissue paper as a diffuser over where your product is going to be. You can fine-tune this later, but any diffusion you may be using should be in place before you start anything else. Diffusion material is going to affect the color of your images. Having it in place allows you to see the light as it’s going to appear in your photos while you are working on your composition.

Step 3 – Color Management

With the light diffused, take your steps towards color management. You want to do this before placing your subject to avoid moving it.

If you are opting to replicate accurate colors, do it now. Place your grey card (or whatever tool you’ve chosen) where your product will be under the exact lighting conditions that your final images will be created with. Take a photo of the card. If you’re setting the white balance in-camera, do it now. If you’re using a tool like the ColorChecker Passport shown in the example images, you can save it for the software later.

Step 4: Place your subject

Place your subject where you want it for your desired composition. Once that’s done, you can begin modifying the lighting. (This image is with the diffusion panel removed)

The next step is to place your product in situ for the composition that you want. Adjust the subject and the positioning of the camera until you have your desired effect. I find it is important to get this right at this stage. With this done, you are free to adjust everything else (such as the lighting) while being able to compare any test shots. It also allows you to blend multiple exposures later (providing it would be permissible to do so).

Step 5: Choose your aperture

Details are essential when you are selling something. The image on the left is shot at f/4 and you will see many of the details are concealed by depth of field. In the right-hand image, all details are present, but the background is less obscured.

With products, most of the time, you will want to choose an aperture that provides maximum focus on the whole of the subject. Since the depth of field is most affected by the distance of the camera from the subject, small objects close to the camera (particularly with a macro lens) will lead you to use much smaller apertures than you might typically use in other situations. If you need to, take a few test shots at various aperture settings. Review the results until you have the desired effect. Depending on your camera, you may find the depth of field preview button useful here as well.

Shooting tethered is also a great way to be able to see if there is enough depth of field in your images.

Step 6: Evaluate the lighting

Here, the subject is lit with unmodified light. You can see that the contrast is high and there is missing detail in both the shadows and highlights.

With everything in place, you’re just about ready to go. Here is where you can fine-tune your lighting to your heart’s content.

Adding the diffuser above the subject helped to even out the exposure between the background and the subject. All details are now present.

Reflective

Use your white card(s) to fill in any shadows that may be providing too much contrast in your images. The beauty of using a card is you can cut it into any size and shape to match any need you have so that you are only reflecting where the extra light needs to be. For the most part, you are going to want to avoid heavy contrast in product photos, so feel free to use reflectors generously.

A bit of white mount board at camera left has filled in that side of the subject just a tiny amount. It makes the exposure evener.

Subtractive

In the event that there’s light falling on your subject where you don’t want it, use your black card as flags. For example, if the main source of light is coming from behind your subject, you can use a flag to shape that light so that it is only falling on your product where you want it. You can also use flags to darken areas around your subjects, such as the surface it is resting on, to put more emphasis on the product itself.

Introducing a flag to camera right has darkened that side of the subject. It has increased contrast just a bit and reduced the impact of the specular highlight on the droid’s head.

This step may seem optional, and to be fair, it pretty much is, but if you want your images to stand out, this is by far the most important step. The more attention to detail and effort you place into getting the lighting right, the better your photos are going to be.

It pains me to suggest that you could to move your camera at this point. However, as a last resort, if you’re having problems controlling the contrast in your images, you can set your camera to spot metering mode and evaluate where your reflectors need to be from there.

That said, if your light is suitably diffused, you shouldn’t have to resort to that. Alternatively, you could use a second body or a light meter if your subject is big enough.

Step 7: Final shot

The final image with minimal post-processing.

With all of the prep work done, you can now take your final shot. If all has gone well, you should have a well-lit, well-exposed image in the composition of your choice. Going through all of these steps should also mean there is very little to do in terms of post-processing.

That’s it

Is this the only way to take photos of products? Absolutely not. It’s not even close to the only way to do things outdoors. This is just one easy method to help you get results with minimal gear.

Hopefully, you’ve come to the conclusion that you don’t need a fully decked out studio and a myriad of specialist and obscure equipment to achieve better product photography results. Basic equipment, basic camera craft and attention to detail can take you a long way and get you results that will help you to sell whatever it is you are trying to sell.

The post Steps For Better Product Photography in Natural Light appeared first on Digital Photography School. It was authored by John McIntire.

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Alternative Automotive Photography: Capturing the Details

16 Jul

The post Alternative Automotive Photography: Capturing the Details appeared first on Digital Photography School. It was authored by Charlie Moss.

Cars and photography often seem to go hand in hand. Whether you’re a car owner with a camera or a photographer with a passion for the classics, the perfect automotive photo can often seem just out of reach.

Automotive photography can be both tricky and expensive. To get catalog-ready images of cars, the top commercial photographers often utilize huge specialist studios with large banks of powerful lights and massive pieces of equipment to block or reflect light. Each shot can take days to set up even with a team of assistants.

Realistically, most car enthusiasts don’t have this kind of space or equipment at their disposal. Instead, we seek out opportunities to photograph cars at racetracks or other gatherings. These events rarely offer “perfect” conditions to create flawless images of cars, so a bit of creative thinking is usually required!

The Rallye Monte Carlo Historique stops in Banbury every year so that enthusiasts can see these classic cars up close. But the backdrop is far from ideal for beautiful photos!

Car meets can often be busy affairs with cars parked close together, uninspiring backdrops, and lots of people milling around. Concentrating on the details is one way to get around some of these problems and still come away with shots that you love and can feel proud adding to a portfolio. Detail shots often do well on platforms like Instagram too where the small format allows close-up images to shine.

So with that in mind, here are some ideas for bagging great pictures of the cars you see on your travels if you can’t shoot them in a location of your choice.

Get up close… closer than you think!

By getting in close you eliminate many of the problems that would otherwise sneak into your picture; other cars in the background, or people in the corner of your shot. Focussing on just one small part of a car can remove all of those distractions.

Alternative-Automotive-Photography-1

Not having to take into consideration the background also frees you up to concentrate more on composition. No more worrying about if the backdrop will compliment the car, or what the sky is doing!

You can also use a shallow depth of field to blur out distracting elements in your photographs. Use just enough depth to highlight the detail that you’re photographing. Everything else will then melt away into the background, keeping your viewer looking just where you want them to.

Pick a theme

At some point over the years, I’ve picked up a habit of shooting the wing mirrors on cars. I don’t know which one was my first, but I soon started noticing the way that they were all different. Each mirror was only a small part of the car, but they pack a big punch when it comes to design! Now I can’t seem to walk past a classic car without taking a photograph of its mirrors!

Alternative-Automotive-Photography-2

By picking a theme, it will challenge you to go looking for shots that are different from what everyone else is shooting. Also, you’ll start to notice other details as you train your creativity. Before long, you will seek out creative and different images without even really having to think about it.

Shoot iconic details

Pick out just one detail to highlight and then try to take the perfect shot of just that part. Perhaps it’s a classic Cadillac fin or an elegant Rolls Royce grid that catches your eye. Whatever it is that you love most about a car, or is most iconic and well-known, use that as your starting point when you’re working out what pictures you want to take.

Alternative-Automotive-Photography-3

Cars are more than just machines that get us from A to B. The most iconic are beautiful and remarkable pieces of design that the original designer has spent hundreds of hours perfecting. Nothing on a great car is an accident; everything was designed to be exactly how you see it.

The good thing about iconic details is that they’re often instantly recognizable. It tells people what the photograph is of, even though it might be an abstracted close-up.

Portray the luxury

Beautiful cars are a luxury; there’s no debate to be had there. So challenge yourself to convey the luxury through your photographs.

Alternative-Automotive-Photography-4

Lifestyle photography with shallow depth of field, out of focus foregrounds, and toned colors are really in vogue right now for luxury brands. Now is the time to try this style out if you can get up close and personal with some top of the range machines!

Make sure that your focus is right on the nail if you’re attempting shots with a shallow depth of field. If you miss the focus even slightly, the shot won’t be worth keeping.

Stick to a neutral focal length

Extreme wide-angle photographs can look cool, there’s no doubt about it. And I know every car photographer has, at least once, got down at the front corner of a car with a wide-angle lens to try and make it look more imposing and dramatic.

But wide-angle focal lengths distort cars and change the carefully designed, and often iconic lines and features. Instead of grabbing the easy (and predictable) win when it comes to creating a dramatic image, try sticking to a neutral focal length and challenging yourself.

Keeping to a focal length like 50mm means shooting images that are much closer to how the human eye naturally sees the world. Using a focal length around 50mm means that you keep the cars much closer to the designer’s original vision when you photograph them.

This might mean that you have to work harder to look for different ways to produce impact with your photographs. However, it also means that you represent the cars in the way that they’re meant to be seen. It gives an element of authenticity to your images.

I’ve never been one for believing that photography is simply about recording the world around you exactly how it is. But when it comes to the design of cars, I’m pretty sure that the original designer knows more about how the car looks best than I do. So distorting it with wide-angle lenses is rarely high on my priority list!

Embrace reflections… and wear black

In ideal conditions, you’d be able to use black and white cards, and lights, to block and place reflections exactly where you want them on a car before you took a photograph. Realistically, though, you’re rarely going to get the opportunity to work with this kind of precision in the great outdoors.

Carry a 5-in-1 reflector in your kit by all means. Sometimes you just need to lift a shadow on a bit of paintwork or cut out a reflection in some chrome. But instead of trying to eliminate every reflection you dislike, try embracing them instead!

Reflections of the sky or foliage around you can make some interesting patterns when they reflect in the glass of a car. In the right conditions, with a well-polished car, they can even reflect in the bodywork. Use the reflections to add interest to your shots. They can focus the viewer’s attention exactly where you want them to look. Also, a well-placed reflection can blank out something messy that you don’t want to distract.

On that note, wear black when you go out with your camera to photograph cars! Too often have I ruined my own photographs by shooting the perfect image and then noticing afterward my own reflection while wearing a bright colored jacket. Wearing black won’t remove you from the image completely, but it will make you an awful lot less distracting when you do manage to capture yourself in a reflective surface.

Next time you head out to a car show to take some pictures, think smaller and capture the details for alternative automotive photography! And share them with us in the comments below.

Do you have any other tips you’d like to share?

The post Alternative Automotive Photography: Capturing the Details appeared first on Digital Photography School. It was authored by Charlie Moss.

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21 Tips for Doing Stock Photography

14 Jul

The post 21 Tips for Doing Stock Photography appeared first on Digital Photography School. It was authored by Kevin Landwer-Johan.

Being a stock photographer is a bit like being in a band. Not many make it to rock star status, but they love what they do and enjoy earning some extra cash on the side.

Producing photos to sell through stock photo agencies can bring more purpose to your photography. It can help you focus and build your skills more than if you are doing photography purely as a hobby.

21 Tips For Stock Photography Back Packer On The Train

Over the years the digital stock photography industry has gone through many changes. In the past, it was arguably easier to make some decent money, even very good incomes. But the percentage of contributors who made a full time living selling stock photos was proportionately very small.

Approach stock photography with a healthy attitude and without grand expectations. You may be surprised at how much you learn, how much you enjoy it and even how much you can earn.

Here are a few tips for doing stock photography that I’ve put together. They will encourage those of you thinking of dabbling in the stock photography market.

1. Treat it like a business

The more business-like you treat stock photography, the more success you will have with it. A casual approach will bring casual returns. There’s no problem with this if it’s what you want.

If you’re serious about making real money from stock photography set up a business right from the start. Make a plan and stick to it. Keep records of your expenditure and earnings. Dedicate time regularly to focus on the mechanics that will make it work.

Having no plan and a relaxed attitude towards producing stock photos will not get you very far. Maybe you don’t have the time or inclination to make it a full-time occupation. Having some kind of plan in place and a business attitude about what you are doing will still help.

21 Tips For Stock Photography Merlion Park, Singapore

2. Choose your niche

One of the biggest challenges you’ll face is getting your images noticed. The stock photography market is so saturated that it can be difficult to get your photos in front of buyers.

Choosing your niche, a few topics and concepts to concentrate on can help this. Pick some subjects you are passionate about. Purposefully become an expert at photographing them. Build up a portfolio of photographs that will grab attention.

21 Tips For Stock Photography Burmese Dancer

3. Study design trends

Designers buy stock photos. Study the current trends and stay up to date as they change. Look at styles, colors, and image usage to see what buyers need.

Flip through magazines. Browse websites. Watch TV. You’ll begin to see stock photos everywhere. Take note of the ones you like the best and mimic them.

21 Tips For Stock Photography Boy With A Note Book

4. See what’s worked before

Spend time on stock photography websites. Look at the best selling images and think about why they are so popular. What makes them work? Why have so many people bought them? How can you improve on them?

Trends and fashions change. Think about how you can rework older stock photos that have been very popular to make them more current.

21 Tips For Stock Photography Tropical Palm Tree Sunset

5. Aim at the market

Know your market. Find out what people are buying. Fill the gap with what’s missing.

Learn about the potential market for your niche. Study it and supply the type of images that will be popular. You may have to try different styles and ideas for a while before you hit on some that work. Experiment until you have a breakthrough.

6. Check out the masters

Find rockstar stock photographers. Look at their portfolios. How have they made it a successful enterprise?

If you can find successful stock photographers who work in the same niche as you, this is great. Search for trends and patterns in their work. Seek to find fresh ideas. Don’t copy, make sure you add your own flare.

21 Tips For Stock Photography Dancing Shoes

7. Polish your technique

Having technically strong photographs will mean more of them are accepted by the stock agencies. Standards appear to have slipped over the past years. This is still no excuse for not submitting technically correct photos.

Modern cameras, even on phones, and new software make it very easy to create high-quality photographs. The higher your standard, the higher your sales will be.

21 Tips For Stock Photography Sunrise Dinghy

8. Use lots of light

One trend that never has gone out of fashion in stock photography is photos with an abundance of light. Well-lit images often convey positive emotion. Advertisers like this and will buy feel-good photos.

Make sure to produce some photos from every session that have more light than you would normally use, especially if your photos tend to be dark and moody. There’s room for that style of image to sell as stock, but bright photos often sell better.

21 Tips For Stock Photography Empty Water Bottles

9. Make sure it’s sharp

Good sharp images will always sell. Clarity in your photographs is important to buyers. Too many images in your portfolio with a shallow depth of field will make it of limited appeal.

Be precise with your focus too, especially when using a shallow depth of field. Your photos must be sharp in the right place or they are not likely to make it through the inspection process.

21 Tips For Stock Photography Thai Sunset

10. Compose for copy space

Stock photos are often used in advertisements or design layouts which include text. Leaving some negative space in your compositions can make them much more practical for designers.

Experiment with your compositions. Leaving more space around your subject can mean the photo is more useful to a designer.

21 Tips For Stock Photography Red Umbrellas on a Tropical Island Beach

11. Take a series of photos

Whenever you’re creating a new set of photos for stock, make sure to take a whole series. Look at your subject from as many different angles as you can. Vary your compositions and aim to provide variety for the buyer.

Don’t only take the first angle you think of. Consider how the photo might be used and look at it in different ways. Producing a series of photographs is more practical for buyers as it gives them more choice.

21 Tips For Stock Photography Thai Traditional Costume

12. Be prolific

The more photos you take, the more you can upload. The more you can sell.

Make sure you supply a good variety of images as often as you can from a subject or concept. Building a strong portfolio of photos means you give buyers more options.

21 Tips For Stock Photography Thai Model and Elephant

13. Be practical

Don’t imagine producing photos set in a hospital or commercial kitchen if you don’t have ready access to such locations.

If you want to take product photos, set yourself up a good studio space, so it’s easy to take this style of photo. The more hassle-free you can work, the more photos you can take with less expense. Your profit will increase.

21 Tips For Stock Photography Old Bibles

14. Develop your own style

Style takes time to develop. Have a plan and purpose, and a clear idea of the type of photographs you want to produce. This will lead to the development of your own personal style.

Don’t stress over this. Letting it come about naturally will make it more distinctive. When buyers see your style consistently represented in your portfolio, they will watch what you do and buy from you more often.

21 Tips For Stock Photography Karen Grandma

15. Post-process consistently

The look and feel of your photos created during post-production have a lot to do with the development of your style.

Presets can help make this easier. Using the same set of preset actions to govern the way your images are rendered will help tie your portfolio together.

21 Tips For Stock Photography Sad Young Asian Woman

16. Diversify the agencies you upload to

If you have time, it’s a good idea to send your images to more than one or two stock photo agencies.

When you are starting out, this can take up a lot of your time. By uploading too many, you will see which ones sell and which ones do not sell so well. Look at the statistics, not only for your sales, but also for how many views your photos receive on each platform. If your images are not being looked at, consider uploading less to that site or not at all.

21 Tips For Stock Photography Hanging Asian Lanterns

17. Stick with one agency to save time

If your time is limited, you might find it’s best to enter into an exclusive contract with one agency.

Some stock photo agencies offer incentives if you only upload to them. This may mean they pay you a higher percentage of each sale.

21 Tips For Stock Photography Young Couple

18. Learn about copyright issues

Understanding copyright will help you when you are deciding what to photograph. There are two basic types of stock photo license. Commercial licenses restrict photos which are subject to copyright. Editorial licenses are less restrictive, but the use of the photos is more limited.

Any photo with;

A trademark,
design made by someone else,
commercial branding
or recognizable people

means you need a property or model release to sell them with a commercial license because of copyright laws.

21 Tips For Stock Photography Airport Plane

19. Use model release forms

Have every person you photograph sign a standard model release form. This means you can sell these photos with a commercial license. Having model releases makes photos of people more practical for buyers.

These forms are readily available on stock photography websites. A good generic release form can be used when uploading to multiple agencies.

21 Tips For Stock Photography Mad Scientist With Red Liquid

20. Keyword well

Good keywording of your images is essential. There is no point uploading photos if you don’t add appropriate keywords. Without them, your photos will never be seen.

Spend some time to research how to add the right words. Don’t load your photos with too many, just enough relevant information about them so they will show up in search results.

21. Upload a little and often

Uploading a few images every day will help keep your portfolio fresh. Stock photography agencies reward constant uploaders by making their photos float to the top of search results.

If you only upload occasionally, you will not sell so many. If you’ve had a major photo session and produced a lot of images, spread out when you upload them. As you start to post-process them, upload them in batches rather than waiting until the whole project is complete.

21 Tips For Stock Photography Close Up Table Setting

Conclusion

Experimentation is essential to find out which of your photographs will sell the best. Try different approaches using the tips I have outlined here, and find what works for you.

Stock photography is not a get rich quick scheme. It takes time and a lot of hard work to be very successful. The more methodical you are at creating images to sell, post-processing, and keywording them well, the more you will sell.

Do you have any other tips for doing stock photography that you’d like to share with us in the comments below?

The post 21 Tips for Doing Stock Photography appeared first on Digital Photography School. It was authored by Kevin Landwer-Johan.

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Weekly Photography Challenge – Fireworks

13 Jul

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

This week’s photography challenge topic is FIREWORKS!

Photo by Rick Ohnsman

Well, the 4th of July has just passed by and I’m sure there were plenty of fireworks going off in cities near you. Hopefully, you got out there with your camera and snapped some shots of the display. Share them with us! We’d love to see them.

Photo by Rick Ohnsman

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

Tips for Shooting FIREWORKS

8 Tips for Better Fireworks Photos

How to Photograph Fireworks

15 Tips for Successful Fireworks Photography

How to Edit Fireworks Photos Creatively

Neutral Density Filter Fireworks Photography

How to Use Bulb Mode for Long Exposure Photography

6 Tips for Shooting Long Exposure Night Photographs

Weekly Photography Challenge – FIREWORKS

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 #DPSfireworks 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 – Fireworks appeared first on Digital Photography School. It was authored by Caz Nowaczyk.

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Real-World Scenarios and Solutions to Deal with Too Much Light in Photography

11 Jul

The post Real-World Scenarios and Solutions to Deal with Too Much Light in Photography appeared first on Digital Photography School. It was authored by Erin Fitzgibbon.

Natural light is beautiful light

If you’re a lover of natural light when creating photographs, then you’re like me – you love light. You love how it streams in windows and how it creates shadows. There’s so much wonder in the way light naturally falls into place. In many situations, it’s amazing to let nature take its course and create a beautiful view.

The reality is, however, while we can always go with the flow, sometimes Mother Nature doesn’t cooperate with the requirements of human life. There are times when Mother Nature gives you way too much light.

So the question becomes, “How do I deal with all this light?”

Let’s look at some real-world scenarios and discuss solutions to deal with too much light in photography.

Scenario #1: Intense light streaming through a window

As someone who often shoots interior design photographs for a magazine, I run into this situation all the time. I arrive at a house to find big beautiful windows casting a lovely soft light on a part of the room and a bright glare in areas close to the window. We usually use HDR to solve this issue. There are times, however, when you can’t set up a tripod as space does not allow this kind of luxury.

In the situation below, the restaurant had amazing, huge windows. It allowed much light into the room – great for those who were dining. The situation was not-so-great for photographing clear, detailed images. If you take a look at the photograph below, shot during a family event, you can see how bright windows can affect your images in a more personal situation.

dealing with too much light in photography - shows shadows

The big windows behind the display are somewhat blown out, but not horribly so. The problem is the light on the cake and other items are very dull.

In this scenario, the bright light from the big windows behind the display detracts from the cake and the sign. The sign is in shadow if you expose the photograph to reduce the brightness of the background. If you expose for the sign, then the light behind becomes very distracting and detracts from the look of the photograph.

dealing with too much light in photography - overexposure

Using a different combination of settings and the light on the cake and sign is much better, but this image still is not great.

The final composition

In this case, the solution was to use the items being photographed to block out some of the light from behind. I changed the angle from which I was shooting and tried to fill the frame with the items from the display table. Now the photograph is exposed correctly, and have a more attractive memory of a family occasion.

dealing with too much light in photography - composition

I changed the angle to block out the brighter lights outside, creating an even lighting situation. If I post-processed this image, it will do quite nicely to document the day.

Scenario #2: Bright afternoon sunshine and you can’t move people into the shade

At family outings or special occasions, it can be difficult to get people to move. You have to deal with the shadows and squinting that the intense summer sun creates. And what if you don’t have a flash?

Last summer, I shot photographs and wrote an article about building birch bark canoes using traditional Indigenous methods. There’s no way I could ask the Elder working on the canoe to move his whole operation into a place to allow me to take nicer photographs of him. He was working, and he was not going to move everything for me.

Adapting to a situation is important

As you can see in the photograph below, the sun was quite bright, and I didn’t have a flash. He was wearing a white shirt, and his skin is darker, so there’s a challenge when exposing for this type of dynamic range. The color photograph is relatively flat. It doesn’t have the type of depth, or look I like to have for my images.

From an art standpoint, this image would never work. From a journalist standpoint, they are less picky about these types of issues, but there had to be a balance. The editor of the article, however, did agree that the bright light did take away from the photograph. Our solution was to post-process using black and white. The advantage of black and white is it allows you to hide washed-out colors and lessens the effect of blown-out whites. It is an option to consider when working in such harsh lighting conditions.

dealing with too much light in photography

Here is the unedited photograph. I did my best to balance the exposure for bright light and harsh shadows.

dealing with too much light in photography - to show extreme light

In black and white, I could control the image a little more and process it to show items like the strength in the Elder’s arms.

Scenario #3: Intense spots of light

In some situations, the light is just right in parts of a scene, but in others, it’s just too bright. It creates glares and reflections you don’t want in your photographs.

In this situation, you could once again use HDR. There are some other options to consider, as well. Consider using a flash to fill in shadows created when you balance out the lighting. In the situation below a flash and a diffuser were used to create more even lighting. The hanging lights are still bright, but unfortunately, there was nothing that could be done about those. The only way to minimize their distraction was to have the woman active. The viewer will notice that the woman is pouring the wine, and it helps to keep them focused on something other than the bright lights in the scene.

In some cases, you may have to accept defeat when it comes to light. However, you can take steps to minimize the influence the lights can have on your photograph.

dealing with too much light in photography - using a flash for lighting

By adding a flash I was able to reduce the shadows on her face.

Conclusion

Light is both a blessing and a challenge when your taking photographs. Sometimes you will have to think quickly. You will need to find ways to problem solve and manage the lighting effectively. There are lots of ways to create photographs, even in the most difficult situations, so try to think carefully about the scene before you. Try to be creative when managing challenging situations.

Please, by all means, share your toughest lighting situations and how you were able to deal with too much light in photography in the comments below.

The post Real-World Scenarios and Solutions to Deal with Too Much Light in Photography appeared first on Digital Photography School. It was authored by Erin Fitzgibbon.

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The 10 Best Pieces of Creative Photography Equipment

10 Jul

The post The 10 Best Pieces of Creative Photography Equipment appeared first on Digital Photography School. It was authored by Simon Bond.

Your dSLR is an incredibly creative tool, which when used correctly can give you dramatic results. A lot of techniques can be achieved with your camera body and a lens, such as panning, zoom bursts or bokeh. With some more equipment, you can really hit the ball out of the park. In this article, you’ll discover what that equipment is and some of the techniques that equipment will allow you to practice. So read on and discover the ten best pieces of creative photography equipment.

Digital blending is a powerful technique that can enhance sunset photos.

1. Tripod

This is almost always one of the first additional pieces of equipment a photographer will purchase, and with good reason.

A tripod allows for a lot of creativity, and you’ll want to get a good tripod. Avoid getting a cheap tripod that has unsteady legs, and instead, invest in a heavier sturdy tripod. If you’re traveling and need a lighter backpack you can compromise a little. You still want a strong tripod, and preferably a hook on the central tripod pole that allows you to add more weight to the tripod once it’s set up.

Now, let’s look at some of the techniques a tripod will allow you to try:

Digital blending – Digital blending requires a set of bracketed images for best results. While it’s possible to do this handheld, your results will be improved a lot by using a tripod.
Cloning – You can layer several photos together showing yourself or someone else.
Light painting – Use your own light sources, or external light sources such as car light trails to light paint across your photo.
Astrophotography – Even longer exposures will be needed for astrophotography, together with a lens that has a large aperture.
Long exposure – Long exposure also does interesting things during the day. Experiment with moving water, or perhaps on a windy day moving clouds.

A strobe is required to take this type of photo with a water drop.

2. Strobe

Strobes are a great piece of creative photography equipment. They are a little intimidating to learn, with many people preferring natural light. The advantage of learning to use them is great, so push yourself out of your comfort zone. The first step for many will be placing a strobe onto your camera, and bouncing light off a ceiling to produce a well-balanced exposure. Strobism requires more commitment than that though. Look to invest in radio triggers and receivers so you can practice off-camera flash with multiple strobes. Experiment with modifiers like snoots, umbrellas, softboxes and color gels.

The following are a couple of techniques you’ll need your strobe for:

Water droplets – Capture a water droplet mid-air by photographing it with a strobe. The idea is to bounce the light off a background behind the droplet, and the light will shine through the droplet.
Low-key – Use snoots and a darkened background to create low-key photos. This will often be portrait photos. The bright flash will light your main subject, allowing you to underexpose the background to be black.
Stroboscopic – Get repeated images in the same photo by using a high-speed pulse of multiple flashes. A tripod is also needed for this technique.

LED light sticks can be used to create light patterns, like the ones in this photo.

3. LED light stick

There are lots of ways you can create light paintings. The LED light stick is a game-changer for this genre. This is an immense piece of creative photography equipment. This is long exposure, so of course, a tripod will also be required. You can now use this gear to create more abstract light paintings, or use it for portrait work.

The great thing about these devices is they’re fully programmable. You can design the exact light you want to paint, how much color, stripes, pictures or patterns. At the moment the two main LED light sticks on the market are the pixelstick and the magilight.

Lensball photography is a lot of fun, this photo has used post processing to make the ball “float”.

4. Lensball

The lensball acts as an external lens optic, possibly one of the most creative lenses you’ll own. The price is right as well. How many lenses have you bought for less than $ 50? At first glance, this piece of creative photography equipment might not look that useful beyond a few landscape photos. How wrong you’d be, though. It’s like saying a 50mm lens can only ever be used for street photography. So look through your glass sphere, and try out a few of these photography styles with it.

Floating ball – Capture the ball in mid-air, this requires some photoshop work, and you’ll need to learn how to set up the three photos you’ll need to create this type of image.
Portrait – A little trickier to achieve. You’ll need to exploit techniques that avoid showing the background if you want to focus in on the ball, so the portrait appears within the ball. Alternatively, use the ball as more of a prop within a regular portrait photo.
Landscape – Use the lensballs’ fisheye like properties to capture a unique lensball landscape, and give locations that have been photographed many times before a creative twist.

Infra-red photography can create interesting scenes on a sunny day.

5. Filters

Is there a need for filters when post-processing is so powerful? The answer to that is certainly “yes” since the aim is to get as much of the photo you wish to achieve in-camera. You can add filters to the front of your camera that modifies the light coming into your camera, usually by reducing it, but there are other effects as well. Filters can be used for the following forms of creative photography.

Infra-red – Filter out all light except for infra-red. Doing so will likely mean you need to use a long exposure, and you’ll then need to post-process your results. The photo will appear red, so you’ll need to adjust the color channels so that the red areas of the photo become white.
Long exposure – The use of a strong neutral density filter will allow you to take daytime long exposures, with some very interesting effects.
Adding color – You can use filters to make your photo sepia or add more color to the sky during sunset. This is an area where post-processing offers an improved solution though.
Starburst – These filters make points of light into a starburst. The same effect can also be achieved by using a smaller aperture.
Softening – Portrait photos can be enhanced by using this type of filter, giving them a Hollywood glow. Alternatively, you could stretch a stocking over the front of your lens, and it will also soften the photo by diffusing the light.

Prisms will create double exposure-like images from a single photo.

6. Prism

Like the lensball, the prism alters the light coming into the camera through refraction. Other than holding this glass object in front of your camera lens that’s where the similarities end.

A prism is nevertheless an interesting object that can be used for creative results. You’ll be doing two things for your photographs with a prism. The first is redirecting the light to create interesting double exposure-like images with a single exposure. The second is projecting a rainbow spectrum of light onto a surface of some description, maybe even someone’s face.

Fractal filter

Fractal filters are to prism photography what LED light sticks are to light painting. They come as a set of three different filters, each offering slightly different results. So this is a handheld filter and one that works very well for portrait photos.

Wire wool is fun to use, but be careful with it.

7. Wire wool

Wire wool allows you to light paint with an urban industrial twist.

You’ll use the wool to create lots of flying metal sparks that light paint across your photo as they hurtle through the air. This is a really fun technique to try out, but the issue is safety. You’re creating 1000’s of red hot metal shards, and each of these has the potential to start a fire. You’ll need to exercise an abundance of caution when taking this type of photo. Avoid locations that could start a forest fire during the dry season.

The technique can also be used for portrait photography. Once again, ensure the safety of those involved in your photoshoot by making sure water is on hand just in case.

So how do you use wire wool to create these sparks? Check out this guide and learn how to do it.

8. Metal tube

Another piece of creative photography equipment you can hold in front of your camera lens is the metal tube! The diameter of the tube you’re holding will affect the result you get. The typical pipe to use is the copper pipe often used in household plumbing.

The idea is to photograph through this, and you’ll create a ring of fire within your photo. This ring of fire is in fact flare, and you’ll be able to use it to frame something or someone in your photo. The most obvious application of this photo is for portrait work.

This photo uses umbrellas to frame the subject.

9. Umbrella

This is a popular item for portrait photographers and can be used as a prop. There are several different ways you might use this with a model. If you’re photographing their whole body, the umbrella will take up a small part of the frame. Alternatively, you can use the umbrella as the entire background of your frame, with the model’s head and shoulders featuring in the photo. Not all umbrellas are designed the same.

The best options are the rainbow-colored umbrella, the traditional paper umbrellas, or the transparent umbrellas. The transparent umbrellas also offer the option of an object you can hold in front of the lens, with the spokes acting as a frame for your main subject.

Water droplets were added to the stem of this plant. The background was also added.

10. Water

Is water really creative photography equipment?

Taking water to the location you’re going to photograph makes it equipment. To do that, you’ll need to fill a bottle of water and take it with you to your location. Why might you decide to do this? The most obvious reason is to create reflections in your photo.

In order to do that, you’ll need to find somewhere that creates a natural puddle, and in a location that forms an interesting reflection. Not much water will be needed for this. A good wide-angle lens can make the most of a small reflection puddle.

Water has other uses as well, the following are some ideas you can try:

Splash – Use water to add dynamism to your portrait work by throwing it at your model, with their permission of course!
Droplets – In droplet form get your macro lens out, and see the little worlds within the droplet caused by refraction.
Ice – Take photos of object frozen in ice, to give your still life photos a different feel.

Which creative photography equipment will you use?

There are many items you can use to boost your creativity. Perhaps you use a magnifying glass or a mirror to add something to your images, or even an empty picture frame. There are lots of ways you can curate your photo by adding creative photography equipment to the scene. Have you tried any of the items listed in this article? What’s your favorite item to use, and are there items you use that are missing from this list? Please share your ideas and photos in the comments section of this article, so everyone in the digital photography community can enhance their photography.

The post The 10 Best Pieces of Creative Photography Equipment appeared first on Digital Photography School. It was authored by Simon Bond.

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Get Moving – Four Ways to Create Abstract Light Trail Photography

08 Jul

The post Get Moving – Four Ways to Create Abstract Light Trail Photography appeared first on Digital Photography School. It was authored by Megan Kennedy.

Light trail photography is a unique facet of photography. By combining slow shutter speeds with light and camera movement, fascinating abstract photography can be made. Here are four abstract light trail photography techniques to experiment with in your own photographic practice.

What is abstraction?

Before we get started, let’s talk about abstraction. Abstract photography (often called non-objective, experimental or conceptual photography) is photography that does not have an immediate association with the visual world. Instead, abstract photography uses aspects like color, light, texture, shape, and form to evoke an emotional response from a viewer.

Often, in light trail photography, light trails complement a scene or subject. However, in abstract light trail photography, it’s the light trails themselves that are the sole conveyor of meaning. By erasing any other context, the viewer relies solely on the nature of light and photography to read a photograph. This creates intriguing photography that captures and holds the attention of the viewer as they visually unpack the image before them.

When to make abstract light trails

Although it can be done in daylight, abstract light trail photography is best carried out in the evening, at night, or in a dark room indoors. This is to minimize distraction and enhance the efficacy of our chosen light source/s.

What to photograph for abstract light trails

Traffic lights, building lights, car lights, phone light, glow sticks, torches, neon signage… there is an abundance of light sources available to photograph at night. With the right camera settings and technique, almost any point of light can be used to create an interesting light trail.

Camera tossing

Abstract light trail photography rests on the nature of the light source/s (brightness, movement, color etc) and the behavior of the camera (exposure settings, camera movement etc). For example, during a long enough exposure, a set of car lights will leave a trail as they pass by, whereas a stationary light source requires camera movement to activate an abstract light trail. Camera tossing predominantly involves the latter, physically moving the camera to achieve interesting abstract light trail results.

Taken over two seconds at f/4 and ISO 100, this tangle of lights demonstrates the path of the camera as it is tossed in the air.

A disclaimer…

Camera-tossed abstract light trails involve the tossing of a camera into the air during an exposure. Purists argue that a true camera toss means that the camera is tossed without the use of a guiding hand or camera strap. This is why for this method, I strongly advise you to use an old, cheap camera. A compact camera works well. You can even use a phone with a durable case.

I wouldn’t recommend taking your DSLR out for some air-time (although I must admit I did use my 5D MKII with a 50mm lens for some camera tossing sessions). If you aren’t keen on risking your camera, (which is totally understandable) skip forward to camera swinging and keep an eye out for old tossable cameras on sale or in local charity shops.

How to camera toss

The first step to camera tossing is to find somewhere safe to toss. Camera tossing in a quiet location, over grass or carpet is a good idea.

Once you’ve found a good spot with an interesting light source or two, it’s time to organize your camera settings. I went with a shutter speed of one or two seconds to allow the camera movement to really gain traction. I then set my aperture to f/4 and my ISO to 100.

Set your focus to manual. Aim your camera lens at the light source/s and adjust your focus. You can aim for the sharp rendering of the light source/s, or take intentionally unfocused shots for softer light trails.

Depress the shutter button and quickly toss the camera in the air (10-30 cm is high enough, though you can go higher if you’re game). Catch the camera as gently as possible and have a look at your results. Make any amendments to your exposure and have another go.

When you are happy with your exposure and focus, start introducing different throwing methods. Try spinning the camera as you flick it into the air, or throwing it carefully so that the lens is orientated at a particular angle for the duration of the exposure. The results between different throwing techniques can be quite pronounced, so take some time to experiment a little.

Taken at f/8 at 1/4th of a second, I left my lens unfocused to introduce a soft quality to the resulting photograph.

Camera swinging

A variation on camera tossing, camera swinging involves swinging your camera by your (firmly secured) camera strap.

Find a light source and take a few photographs to determine exposure and focus. Just like camera tossing, you want a longer shutter speed to give the camera movement time to take shape. For camera swinging, I started with an exposure of two seconds at f/4 with an ISO of 100.

Once you’ve settled on an exposure, make certain that your camera strap is fastened to your camera. Double-knot, even triple-knot your strap to hold it in place. You really don’t want your camera to go flying once you start swinging.

Two examples of camera swinging. Different light sources make varying light trails.

When you’re ready, depress the shutter button and have a go at gently swinging your camera back and forward like a pendulum. When the exposure finishes, check your results and make adjustments to your camera settings or technique as required.

The possibilities for camera-swung imagery are endless. Each swing creates unrepeatable paths of light from one image to the next, so again, don’t be afraid to experiment a little. Try jumping while swinging your camera or spinning around in a circle with your camera fastened to your wrist.

Moving your body

Not all abstract light trail photography is based around swinging and tossing your camera. Light trails can also be created by moving your body with a camera in hand.

Locate an interesting light source and figure out your exposure with a few test shots. I found that the combination of a one-second exposure at f/4 with an ISO of 100 was a good starting point.

Depress the shutter button and start moving. Ever seen those inflatable tube men, dancing around in the wind? Well, you don’t have to go THAT crazy, but shifting your arms up and down, twirling around, doing a little dance or moving from a sitting position to a standing position are great examples of camera-body movement.

As long as the shutter is open, and the lens is pointed toward a light source, the movements you make will be recorded in the image, creating kinetic abstract imagery.

Moving subjects

As an alternative to moving yourself around, photographing a moving light source can create dynamic light trail imagery too.

Star trail photography is the photography of stars as they appear to transit the night sky. Though it is us that is rotating on earth, the star trails illustrate our perception of the celestial sphere as a moving body.

Car trail photography records the movement of car lights in darkness, revealing trails that trace the routes of traffic in a given setting. For a more abstracted image, isolate the car trails from the surrounding landscape.

Physiography is a method of light painting that can be done in your darkened living room. Suspend a light source on a string and let it swing over your camera during a long exposure. The results are often surprising and intricate, documenting the path of the light source as it swings through the air with diminishing momentum.

This physiogram traces the path a moving light source has taken while suspended over a camera

Burning steel wool photography is another form of recording light trails. Though it can be a little hazardous, the results are quite spectacular.

Burning steel wool leaves golden trails of light not dissimilar to this example of camera movement.

Conclusion

When the day turns to night, many pack up their photography gear and head home. But night time doesn’t necessarily mean that photography is over for the day.

Creating abstract imagery with light is an intriguing aspect of photography. Through the use of camera and/or subject movement you can create fascinating imagery that engages and intrigues an audience.

Go out and try these techniques for yourself, and share your abstract light trail photography with us in the comments below.

The post Get Moving – Four Ways to Create Abstract Light Trail Photography appeared first on Digital Photography School. It was authored by Megan Kennedy.

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Generalist vs Specialist Photography – What Best Describes You?

08 Jul

The post Generalist vs Specialist Photography – What Best Describes You? appeared first on Digital Photography School. It was authored by Mat Coker.

Are you a photographer who drills deep and specializes in one area, or a generalist who casts a wide net and photographs everything?

From these two worlds come specialists such as Ansel Adams (black and white landscapes) and Yousuf Karsh (portraits), as well as generalists such as Joe McNally and Steve McCurry.

Types of photography

Sometimes specialists and generalists have a hard time understanding each other’s approach. To the generalist, you’re too narrow, and to the specialist, you need to settle down and find your niche.

There are arguments (many of them coming down to skill level or money) as to why you should be one or the other. But I think that being a generalist or a specialist is connected with your nature as a person. If you’re a generalist at heart, try as you may, you’ll likely never specialize. If you’re a specialist, you’ll never see the sense of photographing such a wide variety of subject matter. And that’s okay. You can love what you do either way, and you can make a living with it either way.

Let’s look at the nature of specialist and generalist photography and discover the value of each. Understanding what you were built for will give you the confidence to stop doubting your approach and move forward with purpose. You’ll also better appreciate what other photographers are up to, even if you feel like the opposite of them.

Specialists

A specialist digs deep into one area of photography and masters a constantly growing number of details. Things are often more predictable for the specialist, they know all the ins and outs of their branch and style of photography.

It may be the same subject matter over and over but the variety is in the details. This may sound rather monotonous to the generalists, but there is great joy in digging deep for the specialist.

As a result, specialists have a clear niche. It’s never in question, it’s never difficult to explain what they do.

Waterscapes are not what I’m best at, but I pay attention to everything I’ve learned and those who specialize in waterscapes so that I’m able to take a nice photo when there is a chance.

Specialist photographers are organized and excellent at managing their shoots because they’ve done it the same way so many times. They notice the tiniest details that the generalist easily overlooks (and perhaps doesn’t see the importance of). There is often more concern about the details of this one branch of photography than the big picture of photography in general.

As a specialist, you may photograph the same thing for your whole life or career. It’s not that you never try anything new, it’s that you have drilled deeply into one thing and know it well. You are also well-known for it. As a specialist you can say, this is what I’m good at, this is what I do.

Among DPS writers, Darina Kopcok (food photography), and John McIntire (portraiture) are good examples of specialists. We might also think of:

Richard Avedon – fashion and portrait photography
Diane Arbus – B&W portraits of people on the fringes of society
Ansel Adams – B&W landscape photography

Generalist landscape photo

Generalists

Generalists work with many different types of photography. If you’re a generalist, you’re happy to learn from all the specialists, but can’t narrow it down to one thing yourself. You can’t help but photograph whatever ends up in front of your lens. Photography is unpredictable, and spontaneous for generalists. You never know what the day is going to look like. Newborns, landscapes or sports cars could be your next project!

Generalists love road trips and exploring new places. They take what they’ve learned from the specialists and explore the world with it.

There is a good chance that your specialist photographer friends will find your approach a little too chaotic or whimsical. On the other hand, they may envy you a bit as you seem so free to explore. Perhaps the same way you envy them for their deep technical skills in areas that you tend to skim over.

Generalists are a little more comfortable with the chaos and unpredictability of pursuing different types of photography. There is a great joy in the variety of discovery for the generalist.

Inspired by those who specialize in travel photography, I had in mind all those interesting situations and colors you see in travel photos. The colors pop against the neutral background and there is an awkward sense of balance (or is it imbalance?) to the photo.

As a generalist, you should certainly stick with one thing until you get good at it. But it definitely be will more about learning the principles of photography and then applying them broadly, rather than digging in as deep as you can. You’re more “big picture” than detail-oriented.

You’re often exploring, experimenting, and consolidating what you’ve learned, then repeating the process until a distinct body of work begins to appear over time.

You can’t stick to one thing because so many things excite you. But look for the common link in your work. For me, it’s awkward, candid, gritty, real human nature. Even a landscape has got to have character.

I couldn’t resist the reds and the shadow.

As a generalist, you will shoot your own style across many types of photography. You accept the joy and challenge of applying techniques to new unexpected situations. Even if you feel overwhelmed, leap in, and figure it out.

Among DPS writers, have a look at Andrew Gibson. Then lookup:

Steve McCurry
Joe McNally
Jay Maisel

As we walked down the street in a small town, I noticed this man repainting a house. I thought that’s the sort of thing a street photographer might photograph. So I did likewise.

Is one way the right way?

Sometimes generalists feel inferior because they don’t have an obvious specialty. They are often referred to as a “Jack of all trades, but master of none.”

The specialist can confidently say, “I shoot stylized, strobe-lit weddings.” While the generalist says, “I do weddings too… and newborns and sports cars and landscapes and, and, and.”

But here is what they have in common. They have both studied light, moment, color and gesture among other things. But one applies that knowledge deeply in one specific scenario, while the other applies it broadly in many scenarios.

So the generalist is not so much a “Jack of all trades” but someone who has ‘mastered’ light (as has the specialist) and applies the knowledge more broadly.

Whether you’re a generalist or specialist, there is always going to be more to see and more to learn. When I hit slumps in my photography, I stop and ask what I’m missing. What interesting things are right in front of me that I’m not noticing?

It’s not that either approach is right or wrong. They are different paths. They are different ways to explore, learn and apply.

Being a generalist doesn’t mean that people can’t point to anything specific about your work. And being a specialist doesn’t mean that you never try anything different. But you can find a home in either approach and visit the other every now and then.

So which are you; a generalist or a specialist?

The post Generalist vs Specialist Photography – What Best Describes You? appeared first on Digital Photography School. It was authored by Mat Coker.

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How to Control Depth of Field in Your Photography

07 Jul

The post How to Control Depth of Field in Your Photography appeared first on Digital Photography School. It was authored by Kevin Landwer-Johan.

It’s a common misconception that the f-stop you use will control depth of field (DOF). Aperture setting certainly has an influence, but there are other factors to consider.

DOF is the area in a photograph which is acceptably sharp. Lenses can only focus at a single point. There is always a certain amount in front and behind the focus point which is acceptably sharp.

How To Control Your Depth of Field Thai dancer

This varies depending on:

Aperture setting
Lens focal length
Camera distance to the subject
Sensor size.

The transition between what’s sharp and what’s not is gradual. It’s important to learn how to manage the variables to create the look you want in your photographs.

How sensor size affects DOF

The physical dimension of the sensor in your camera affects DOF. Unlike the other variables, it’s not possible for you to change, unless you use a different camera.

Small sensors, such as in phones and compact cameras, give you the most DOF. This is one main reason people upgrade from a phone to a camera. Because they are not able to achieve a shallow depth of field with their phone.

Phone manufacturers are trying to mimic shallow DOF in various ways. But as yet it appears to be little more than a poor gimmick. There is no substitute for size.

Basically, cameras with smaller sensors make photos with more DOF at the same aperture and distance settings. To make comparisons of DOF from different-sized sensors, you must calculate the same effective focal length and aperture settings.

Larger sensors in DSLR and mirrorless cameras have made them popular with video producers. This is because of their capacity for shallow DOF. Traditional video cameras contain small sensors so therefore generally have deeper DOF.

How To Control Depth of Field Thai models

How camera to subject distance affects DOF

The closer you are to your subject, the less DOF you will have at any given aperture setting, with any lens on every camera. Move further back, and your DOF increases.

This is why it can be challenging when taking close-up photos to have enough DOF. Being very close to your subject may mean you do not get it all in focus. Using macro lenses and close up attachments amplifies this problem.

So if you are still only using your kit lens, you’ll need to move in close to achieve a shallow DOF. This is because these lenses do not have a very wide maximum aperture or long focal length.

Remember that from the point you are focused on 1/3rd of the DOF will be closer to you and 2/3rds of it will be further away. Knowing this can help you choose your point of focus to control you DOF more precisely.

How To Control Your Depth of Field Model and Mask

How lens focal length affects (apparent) DOF

The longer focal length lens you use the shallower the DOF appears. But it doesn’t actually change.

If you take photos of the same subject with two different focal length lenses, the images made with the wider lens appear to have a deeper DOF. The aperture should remain constant. When you crop the image made with the wider field of view, so the elements in the images are the same size, you will see no real difference.

The idea that longer focal lengths produce a shallower DOF is a myth. Peter West Carey has already written an article for DPS about this based on Matt Brandon’s experimentation. Matt’s images prove the point clearly. It can be a difficult concept to comprehend. Especially if you are predisposed to the popular idea that focal length affects DOF.

How aperture affects DOF

The aperture is an adjustable opening within a lens. The primary function is one of the controls used to control the amount of light entering the camera. A narrow aperture setting lets in less light than a wider setting. The settings are measured in f-stops.

Adjusting the aperture setting, (changing the f-stop value,) not only controls the amount of light entering, but also the DOF. Changing the aperture is the most common way photographers choose to control DOF. The wider aperture the shallower the DOF. So the lower f-stop number you choose (eg. f/1.4), the less of your image will be acceptably sharp. Choosing a narrower aperture, a higher f-stop number (eg. f/22), will render more of your photo in focus.

Lenses are made with differing maximum apertures. Typically a kit lens will have a widest aperture value of f/3.5 when the lens is zoomed to its widest focal length. This value changes the more you zoom in. So the widest f-stop at the longest focal length may only be f/6.3. For information please read the article ‘What The Numbers On Your Lens Mean.’

Prime lenses usually have a wider maximum aperture. This is why they are often favored by photographers who like creating photos with a shallower DOF. Popular 50mm lenses have f-stop settings of f/1.8, f/1.4 or even wider. For more information about zooms and prime lenses please read ‘Primes Versus Zoom Lenses: Which Lens to Use and Why?’

How can you see the DOF when composing a photo?

Cameras with digital viewfinders or monitors will display the DOF as it will appear in the photo. Because of the small size, it can be difficult to see clearly unless you zoom in.

Cameras such as DSLRs with optical viewfinders will not allow you to see the effect of the DOF unless you use the DOF preview button. This is because the aperture is automatically set to the widest possible. It is adjusted to the f-stop you’ve chosen as you press the shutter release button. If the f-stop were able to be altered while composing, at narrow apertures, the image would appear dark in your viewfinder. You can see this when you use the DOF preview.

How To Control Depth of Field Thai Model with Elephants

Manage your DOF well

Keeping all these variables balanced may seem complicated. But it’s important to know how each of them affects DOF so you can manage it well in your photos.

To help you learn how each aspect of DOF works try setting up a few photos and experimenting with them. Not for the sake of making great pictures, but to understand how changing each one affects the look of your images. It will be good to set your camera on a tripod or stable surface for this exercise.

Line up a few objects in your frame which are at different distances from your camera. Set your aperture to its widest – the lowest f-stop number (eg. f/1.4). Get as close to the first object as you can so that your lens will focus on it.

Take a photo of it, then focus on another object further away from you and take another photo. Repeat this with each object further away from you as you have in your frame.

Now repeat this process with a middle range aperture setting and then the narrowest your lens has. Try this with different focal lengths as well.

Then move back and make another series of photos the same way. Repeat this process as you move further back from your subject.

Compare the photos side by side on your computer and take note of the differences in DOF between them. Look at the EXIF data so you can see what your aperture and zoom settings were.

Working through an exercise like this will help you learn to control depth of field. As you can see the effects in your photos it will become less complicated.

Let me know in the comments below how you get on.

The post How to Control Depth of Field in Your Photography appeared first on Digital Photography School. It was authored by Kevin Landwer-Johan.

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Weekly Photography Challenge – Contrast

06 Jul

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

This week’s photography challenge topic is CONTRAST!

Cody Davis

Go out and capture absolutely anything from still life to street photography, landscapes, and portraits. They can be color, black and white, moody or bright. Just so long as there is strong contrast! You get the picture! Have fun, and I look forward to seeing what you come up with!

Nicholas Green

Greg Jeanneau

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

Tips for Shooting CONTRAST

How to Make Your Photos Stand Out Using Color Contrast

How to Use Shadow and Contrast to Create Dramatic Images

Add Contrast to Your Images by Using Complementary Colors

How to Improve Your Composition Using Juxtaposition and Contrast

Creating a Black and White High Contrast Portrait Edit in Lightroom

Improving Composition with Tonal Contrast

Getting Better Contrast In Your Photography

Weekly Photography Challenge – CONTRAST

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 #DPScontrast 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 – Contrast appeared first on Digital Photography School. It was authored by Caz Nowaczyk.

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