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Posts Tagged ‘Photography’

Apple patent application details tech to improve mobile underwater photography

29 Mar

Underwater photographers and cameras have to deal with less than ideal conditions. Light levels are low, water can be murky and add color casts to your images. Underwater modes on rugged cameras and (waterproof) smartphones are not new but now a patent application filed by Apple suggests mobile users could soon benefit from a more sophisticated version and achieve better underwater imaging results in the future if the system is ever implemented.

Apple’s patent application is titled ‘Submersible Electronic Devices with Imaging Capabilities and describes a system that automatically detects when the shutter button is pressed under water and makes the necessary adjustments to optimize image quality.

The device uses a range of sensors to detect if it is underwater and determines what steps are required to improve image results. A color ambient light sensor could be used to measure ambient light spectra above and under water and help calculate how much light is absorbed by the water. Depth, distance, pressure, and orientation sensors can be deployed to measure the water´s murkiness as well as the distances to the surface and subject. Backscattered light could be measured as well to find out how it affects the image.

With the data from all sensors collected, the system would then make adequate adjustments to camera settings and image processing, for example modify the white balance to avoid greenish color casts, or enhance exposure and texture rendition on the subject in murky conditions with low visibility.

As usual, there is no way of knowing if the patent ever makes it into a final product but given most of the sensors mentioned in the document are already present in current iPhone models, the system could probably be pretty easily implemented via a software update.

Articles: Digital Photography Review (dpreview.com)

 
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Photoshoots that Go Wrong – the Challenges and Beauty of Working in Photography

28 Mar

The post Photoshoots that Go Wrong – the Challenges and Beauty of Working in Photography appeared first on Digital Photography School. It was authored by Erin Fitzgibbon.

The illusion of perfect experiences

I haven’t used any images from the anecdotes I discuss. I don’t want to create targets. Instead, the images in this article are from successful photoshoots but also some very challenging shoots.

It’s time to talk about the photoshoots that go wrong.

Most people write about the tricks and tips that guarantee success. That’s an illusion. I won’t say the word “lie” – it’s too harsh. Those articles promise success where none can be assured.

Don’t get me wrong – the advice is useful and good to know. It does help the shoot go smoothly; however, life has this funny way of throwing a wrench into even the best-laid plans. Sometimes no matter what you do or how prepared you are things can and do go wrong.

It’s okay! It doesn’t mean you’re a bad photographer. It’s just a part of the daily grind. It is real life and you cannot escape this reality.

Sometimes photography, just like every other endeavor, hands you a bag of hammers. The important thing is to handle the situation. You need to come out of the proverbial lion’s den with all your faculties intact.

Hopefully, the following stories will lift your spirits. I also hope they will give you some inspiration and some courage to continue when all you see before you are roadblocks and negativity. Knowing you’re not the only one may make it easier to get out bed tomorrow and to keep working hard.

Note: As I mentioned in the photo caption above, I haven’t used any images from the anecdotes I discuss here. I don’t want to create targets. Instead, the images in this article are from successful photoshoots but also some very challenging shoots.

The family that hates each other

The oldest boy was being rather grumpy in this session. Allowing him to poke and pester his brothers actually made for a great image. This is the family that loves each other. The total opposite of the family in the anecdote below.

When you shoot family portraits you witness some interesting family dynamics. Most of the time scenarios are pretty average. Perhaps there’s a bossy mom or a grumpy. You might run into the moody teenager or difficult children. All of these issues are relatively easy to manage. Bossy moms need a little encouragement to focus on being relaxed. Grumpy dads are easy to appease with a few jokes and a promise that the session will be over quickly if he can try to have fun. Teenagers are usually easy to bribe if you take a few photos and then promise to give them their favorite for social media.

However, what happens when you meet the family from hell? What do you do when the situation is far more complicated than you expected? Imagine trying to get images that portray love and caring in a family when there is none present. Imagine a situation in which family members are staring each other down across a picnic table. I never imagined that I would meet one of those families until I did – and it shocked me.

The family members were making thinly veiled insults towards each other. When I asked them to pose, they began to throw a few snide comments my way.  I was not impressed. When clients don’t treat you with respect, it’s really difficult to create images that are appealing and unique.

It seemed like a situation in which nothing was going right. Truthfully, nothing was. The shoot became far worse the moment the grandmother pulled out her point and shoot camera. She proceeded to stand behind me and shoot over my shoulder.  Normally, I would have stopped the shoot and walked away. The clients would have received a refund when I returned home, and that would have been the end of the whole event.

I should have followed my instincts and walked away, but I didn’t. Knowing when to get out of or turn down a job is as important as taking amazing photographs. The only thing that stopped me was the woman who booked the shoot. I’d known her for a long time and felt wrong about lumping her in with her mother in law. That was my mistake. The advice is simple. Never let personal relationships affect your professional nature. The client was being rude and overstepping her boundaries. That was reason enough to walk away.

Instead of creating the best possible images I made the bare minimum effort and didn’t try to add in any of my usual fun creativity. The shoot ended with the client receiving some pretty basic images.

The behavior of a client affected my ability to produce the best possible portraits. That’s not good. Never allow that to happen. If you can’t produce great images in the situation, then don’t take them. Don’t deliver sub-par work. It will only affect you later on. Those who view your work won’t know that the client was impossible; they’d see the photo online and assume your talent is limited.

In this session the challenge was lighting. It was rather harsh in the end.

The client who wants you to “Photoshop” them until they look 20 again

We’ve all run into this situation. We end up with clients who want you to turn them into something they are not. They show you pictures of themselves from 20 years earlier and 30 pounds lighter. They expect you to create the fountain of youth for them. This becomes the challenge. You have to convince your clients that they are beautiful just the way they are. That’s probably more than you can accomplish in 90 minutes.

The advice is simple – be gentle, be kind. Do your best to put the client in poses that show off their best features but at the same time be firm. If you create portraits that address the insecurities of your client, and the images are photoshopped and look fake, it will once again reflect badly on you.

Instead, work with the client to achieve the look while still holding to your vision. The work must reflect your skills and aesthetic as well as satisfy the client.

In this case, I asked the client to show the photos to her friends. I knew the images were great, but the client couldn’t accept her own body. The comments and praise from friends helped. She purchased the images, but I’m pretty sure she did so to be polite.

A few months later, I saw her new real estate signs around town, and in the end, she had used a different photographer. The images were highly photoshopped and looked nothing like her. There’s nothing you can do when a client wants a certain look. You either have to deliver or hold to your vision.

Part of me wishes I had caved and given her what she wanted. Perhaps I would have landed more jobs from her if I had, but it just didn’t feel right. I didn’t want to create an image that wasn’t true to the beautiful person I saw before me. The lesson in this situation is that photography cannot repair someones damaged self-image. Be prepared for the client who dislikes your work.

I find photographing animals quite challenging. I’m able to connect with humans much more easily.

The day the hurricane blew through town

This final scenario presents a situation in which no matter how much you prepare, you cannot prevent mother nature from wreaking havoc on your photoshoot. The family requesting the portraits had just the one day available. Family members were visiting from the west coast of Canada, and it was a do-or-die type of scenario. There was no option to reschedule, and just our luck, the remnants of a hurricane decided to blow through the Toronto area making the option for shooting outdoors impossible.

The challenge here was to create a warm family atmosphere despite the raging wind and rain outside. The family was understanding, but they were adamant they needed their photographs completed then. The hurricane forced us to have to improvise a setting and deal with bad lighting.

We moved some furniture and tried to create a nice setting with a large couch. I moved the couch to face the large window to add natural light to go with my flash. My strength as a photographer is in shooting solely with natural light and in outdoor settings. I don’t do well inside in confined spaces without the opportunity to improvise and add some physical activity. However, we had no choice.

In this case, the resulting photographs were not up to my usual standards, and I was unsatisfied with the work. While the client seemed satisfied with the product, there was the issue of personal pride in the work. This experience resulted in a personal decision to improve my studio photography skills so that in the rare circumstance when I cannot shoot outdoors, I can still create work with which I’m satisfied. The lesson here is knowing your limits and then working to improve your skills.

The skies opened up suddenly and we had to rush to finish the shoot in the pouring rain.

In Conclusion

Photography can be unpredictable. That very factor makes it exciting.

For those of us who crave some variety and challenge within our work, we embrace this fact about the photography world. It can cause frustration and anger, and sometimes you might wish you had a different career or hobby.

Then in the next moment, the truth hits you, and you know the unpredictable challenges keep you going. You’d be bored otherwise. The idea of knowing how each day begins and the end makes you cringe. So take a deep breath and dive into the business. You can handle all the challenges life throws your way.

The challenge here was pure exhaustion. We had been working for 6 hours without a break.

The post Photoshoots that Go Wrong – the Challenges and Beauty of Working in Photography appeared first on Digital Photography School. It was authored by Erin Fitzgibbon.


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Basics of Landscape Photography

28 Mar

Successful landscape photography is made up of multiple elements, such as location, composition, proper depth of field, lighting, equipment used and other aspects. In the guide below on the basics of landscape photography, I will attempt to shed some light on what these elements are and how they work together to make landscape photos that stand out differ from ordinary Continue Reading

The post Basics of Landscape Photography appeared first on Photodoto.


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Experimenting with Low Key Black and White Photography

28 Mar

The post Experimenting with Low Key Black and White Photography appeared first on Digital Photography School. It was authored by Kevin Landwer-Johan.

Think dark, moody shadows. Sparse illumination and a somber atmosphere. No color. This is low key black and white photography.

Experimenting with Low Key Black and White Photography Dark Male Portrait

© Kevin Landwer-Johan

Usually one main light, or ‘key’ light, falls on your subject and the background fades to black. It’s all about the highlights and shadows and how they define the shapes in your composition.

Subject selection for shape

Low-key lighting will not suit every subject. You will find bold subjects and bold composition of subjects are best for low-key photography.

Busy scenes with a lot of detail end up looking jumbled and are best avoided. Or at least composed in such a way as to make the content in your photo minimal.

Experimenting with Low Key Black and White Photography Novice Monk Portrait

© Kevin Landwer-Johan

A novice monk in a shrine was the center of my attention. Around him was clutter. Bright sunlight shone through an opening with a grid, making the light directional.

By selecting to make my exposure based on the highlight on his face I have made the scene work in low-key black and white. The candles, people, Buddha image, and other distractions in the background are insignificant. Had I included them in my composition the impact of the simple outline of his face would be lost.

Exposure choice is essential

Low-key lighting is as much about the shadows as it is about the light.

Let the darkness envelope all but your main subject. Even let it consume most of your subject. So long as it enhances what you want to show.

Taking an exposure reading from the highlight area, when the light is harsh and the background is darker, creates a moodiness.

Experimenting with Low Key Black and White Photography High Structure Harsh in Silver Efex Pro

Small Buddha statue photographed on a bright, sunny afternoon

Set your ISO for the overall amount of light. Outside on a sunny day you need to keep your ISO low. Inside, or in other situations where there’s not much light, choose a higher ISO.

Balancing your aperture and shutter speed to the brightest parts of your composition will expose well.

This method of exposure will provide you highlights with detail and shadows rendering black, (or close to black.)

Experimenting with your settings will help you understand this principle. If you haven’t tried this, don’t make one exposure, make many of the same subject at various settings. When you view them on your computer, look at the metadata for the settings you used and make comparisons. Which settings give you the most pleasing results?

See in black and white

How will the tones of what you are seeing in color translate to black and white?

Complementary colors will help provide contrast in your black and white photos. Blue, violet and red convert to darker tones. Green, yellow and orange will convert to lighter tones.

Experimenting with Low Key Black and White Photography Muddy Ceramin Artist

© Kevin Landwer-Johan

Setting your camera monitor display to grayscale will help you learn to see in black and white. When you try this at first look at the colors in your composition and see how they are shown in grayscale.

Color contrast is more critical when the light is softer. When the light is soft, it’s more challenging to make low-key photographs because the overall tone values are evener.

Squint your eyes to help you see

When you’re not sure if there’s enough contrast in a scene for a low-key black and white photo, squint your eyes. Doing this reduces what you see and contrast becomes more apparent.

Compare the brightest and darkest areas in what you are looking at. Train your eyes to understand when there will be enough contrast.

Experimenting with Low Key Black and White Photography Low Key Bottles

© Kevin Landwer-Johan

With your eyes open you can see a broader tone range than your camera is capable of recording. By squinting your eyes you are effectively narrowing the tone range which is visible to you.

The importance of post-processing for low-key digital photography

Even though your camera records a reduced tone range compared to what you see, it’s still recording more than you want for a low-key photo. Certainly more than photographing with black and white film.

Post-processing your photos to achieve the contrast and minimal tone range requires a different technique than it does for images showing a wide range of tones.

When you’ve made photos where you expose for the highlights it’s easy to darken the shadows during post-processing.

Experimenting with Low Key Black and White Photography Low Key Eyes

© Kevin Landwer-Johan

These are the tools I most frequently use when processing low-key photos to reduce the shadow detail:

  • Contrast
  • Blacks
  • Shadows
  • Highlights and Whites
  • The Burn tool (or similar)

Enhancing the overall contrast boosts the highlights and diminishes shadow detail. Increasing the blacks and decreasing the shadows will help gain the effect you want also.

Manipulating the whites and highlights will help you keep some detail in the brightest parts of your image. If the detail is totally removed low-key photos can still look okay, but it’s good to be mindful of this and make sure it’s a deliberate choice.

As with all post-processing there are many different ways to achieve the same or similar results. Experiment and find what works best for you with each photograph you work on. The more you try different methods the more skilled and quicker you will become.

Plug-ins and apps can make post-processing easier

I love using the Silver Efex Pro plug-in with Photoshop. There’s a good selection of presets which can also be customized after you have applied them.

Don’t get stuck thinking you need to use the Low-Key presets. If you’ve got your light and exposure right, other options will be more effective.

Experimenting with Low Key Black and White Photography Fine Art Process with extra burning in

I used the Silver Efex Pro preset ‘Fine Art Process’ and added extra burning in. © Kevin Landwer-Johan

Conclusion

Photography is very subjective. Like any form of creative expression, I believe there’s no real right or wrong way to express yourself.

Most important is that you take your photos and post process with intent. Knowing what you want before you press your shutter release will help you obtain the look and feel you want.

These few techniques outlined here are by no means exhaustive or complete. I want to encourage you to experiment. I hope these points give you some foundation to work on when experimenting with low key black and white photography.

Once you’ve had a chance to try some on your own please post your pictures and leave your comments below.

The post Experimenting with Low Key Black and White Photography appeared first on Digital Photography School. It was authored by Kevin Landwer-Johan.


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10 Ways to Use the Beauty and Complexity of Reflections in Photography

27 Mar

The post 10 Ways to Use the Beauty and Complexity of Reflections in Photography appeared first on Digital Photography School. It was authored by Anthony Epes.

I’m a huge fan of simple ideas that will create immediate effects for your photography.

Photography is a vast subject and learning all the intricacies of your camera, shooting on manual, as well as processing can seem overwhelming.

But there are so many ways to take wonderful photos, using simple ideas you can play with, that will create compelling photos for you right now.

When you take great photos, it inspires you to keep learning and pushing yourself on this intensely fulfilling creative journey.

In this article, you’ll learn how the simple idea of reflections can bring a wonderful complexity, beauty, and depth to your images.

The fantastic thing is reflections are everywhere! In the puddles you pass on your way to work, on shop windows, and on the sun-soaked sea of your holidays. They are on shiny cars, floors, walls, rivers, and streams. They are, of course, wherever you can find a reflective surface.

Reflections are fun to play with – bringing humor, abstraction, and patterns into your images. Here I’ll suggest many different ways to use them in your photography and give you tips to use right now, to create new effects and new looks in your images.

And, by focusing on one technique or one concept and really learning how to use that, you will become incredibly strong in that area.

By picking up one technique at a time, you can build a toolbox of skills that will help you feel confident and able to create magnificent photos.

Let’s get started. Let’s look at all the different aspects of capturing reflections in photography.

1. Reflections create depth

A reflection can create a feeling of depth within an image.

In the photo above taken in the early morning in Venice, the subtle reflection in the puddle on the street creates an image with a strong midground, background, and foreground – so the image isn’t so flat.

Here is another image from Venice, where the rain on the streets creates long reflections from the street lamps. They enhance the journey down the street and help draw you into the scene.

Tip: To get a smoother look for your reflection, use a long exposure, like in the photo above.

2. Reflections create eye-pleasing patterns

The eye finds symmetry and patterns very pleasing. In the photo below, I needed absolutely perfect positioning.

Tip: Finding the best angle for your shot is incredibly important. Many people get so awed by their subject they just start shooting instead of working out where the very best angle for that subject is.

So go up somewhere high, or lie on the ground. Move around until you find the perfect angle for your composition.

Try capturing patterns in the world around you, that when photographed as reflections, become an intriguing abstract image:

3. Reflections can create humor

As well as wicked patterns, reflections can be used to enhance or create humor.

I am not a particular ‘humor’-driven photographer – but occasionally I find something funny I want to capture.

Tip: There are two focal points in most reflections: the surface and the subject of the reflection. Shoot reflections using different shutter speeds and this will blend the colors. This sounds tricky, but with practice, you can nail it.

4. Reflections can create mystery and abstraction

“In photography, there is a reality so subtle that it becomes more real than reality.” – Alfred Stieglitz

I have taken a lot of photos of reflections in shop windows. I love to play with the different shapes you can create, superimposing the outside reflection onto the items in the shop window.


Of course, don’t include yourself in the image – unless you want to! I sometimes do for added interest, but generally, I keep out of my photos.

The photo below has a very intriguing reflection. What is it? Where is it? I know, of course, but I sometimes like to create mystery. To remove reality from reality and play with shapes, textures, color, and reflections.

When I am wandering around, I look everywhere. I look up, look around – and then my favorite – I look down.

I think we get so used to our environments we often don’t look all around us – particularly upwards or downwards. Think of a street you walk down every day. Do you look at the tops of the buildings, the roofs, the upper floors? It’s the same with the world at our feet. There is so much going on down there that we don’t notice.

Colorful, strong light reflecting off the wet pavement.

5. Reflections create texture

In the photo below, whilst walking past a canal, I noticed some strong yellow light that, with the texture of the water, created a sensual reflection and a lovely pattern.

When you see a reflection it’s not always obvious where it is coming from, look for the source, seek the light!

6. Reflections to enhance your photo

I often like to use reflections in quite subtle ways in my photography. It doesn’t have to be a big obvious reflection to be engaging.

One question I always ask my students on my workshops is, what is the light doing here in this situation?

We are all able to see the apparent sources of light, but what about the more subtle ways that the sunlight is bouncing off the glass and into the puddle on the floor?

In the photo above you have reflections in the water which are quite subtle but add a nice complexity and depth to the image.

In the image below the scene is made intriguing by the reflected light of sunrise in the windows of the buildings. Without it, the scene would be flat and boring.

The glint of golden light on a dark morning brings beautiful color as well as a hint of magic and mystery. The scene has turned into something quite compelling.

Tip: Always be looking to see what the light is doing, and how it’s affecting everything around you.

7. Reflections are beautiful, passing moments

I feel that reflections are little pretty moments, bringing an appreciation of the present moment of lovely light:

“Photography is a way of feeling, of touching, of loving. What you have caught on film is captured forever… It remembers little things, long after you have forgotten everything.” – Aaron Siskind

In the photo above of some birds in Istanbul on a foggy day, the reflections are subtle but create some depth to the photo. I think the movement of the birds is brought to life by the reflections.

8. Reflections create an alternative reality

Wherever I have beautiful light and reflective surfaces I am looking for reflections. In the photo above I like that the water is moving just enough to make what would be quite a bland photo a little surreal.

Tip: As you often have a lot of different and contrasting light sources in a reflection, expose for the brightest part of your photo.

9. Reflections of light create exuberance

Here is a simple photo with the sunrise reflected in the sea. Warm, beautiful sunshine is a wonderful thing to photograph. Sometimes it’s the simplest elements in your image that create the most impact.

In the photo below it’s also the sea, but this time the reflection of the moonlight:

What a gorgeous scene, right? And to show the wash of reflected moonlight makes the image stunning.

10. The sheer joy of light reflected on water

Water is involved in so many of my reflection photos. Here we have gorgeous light reflecting off the moody sea with the clouds reflecting the light around them.

I find clouds endlessly fascinating to photograph – they create wonderful texture within an image.

Last, but not least, I love having fun taking my own portrait using reflections. I mean, why not?

I hope this lesson has helped you with new ideas and ways to capture the complexity and beauty of reflections in photography.

What I love about photography is how much it helps us see the world in new, fresh ways. So keep going on your photography journey. There is always more to capture, more to see and more to learn. It’s a wonderfully enriching life pursuit.

“Through this photographic eye you will be able to look out on a new light-world, a world for the most part uncharted and unexplored, a world that lies waiting to be discovered and revealed.” – Edward Weston

I’d love to know what you thought of these ideas – let me know in the comments below.

The post 10 Ways to Use the Beauty and Complexity of Reflections in Photography appeared first on Digital Photography School. It was authored by Anthony Epes.


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SkyPixel Reveals Winners of its 2018 Storytelling Drone Photography Contest

27 Mar

SkyPixel Contest 2018 Winners

DJI’s SkyPixel, one of the world’s largest photography and videography communities, has announced the winners of its 2018 Aerial Storytelling Contest. Over 30,000 entries were submitted by professional videographers, photographers, and hobbyists from 141 countries.

The grand prize-winning entry in the photo category, pictured above, was taken in Northern France by Deryk Baumgartner. He used a Mavic Pro to capture the sunbathed Mont Saint Michel monastery, shrouded in a thin layer of fog, and framed with snaking ribbons of water.

“I was sitting on a rock fighting with stubborn wind and thick rain for the whole morning. The sun came up when I was just about to stand up and go home,” Baumgartner said. “This photo tells a simple story of you and me. Stick to it for a little longer in life when you are just about to fold, the silver lining would often unveil itself.”

In addition to the Grand Prize, First, Second, and Third prizes were awarded to images spanning four categories: Nature, Fun, Architecture, and Sport. A panel of six judges including Ben Nott, ACS, an award-winning cinematographer and Josh Raab, the Director of Instagram at National Geographic, selected the winners with the exception of People’s Choice Prize.

To view all the winners, nominees, and People’s Choice, for both photography and videography, visit the official SkyPixel Contest 2018 hub.

Hungry hippos

‘First Prize’ category winner, Nature: Hungry Hippos by Martin Sanchez (@zekedrone)

About the photo: “There’s no party like a hippo party” said photographer Martin Sanchez about this top-down perspective, taken in Tanzania, of a group of hippos convening in a small body of water. Sanchez used a DJI Mavic 2 Pro.

Alien footprints

‘Second Prize’ category winner, Nature: ????” by ? ??

About this photo: Snow in the Taklimakan desert, located between two mountain ranges in Northwest China, combined with ice formed a unique texture on the lake during the winter. The photographer captured this image at 400 meters AGL with a Mavic 2 Zoom and likened the patterns as “alien footprints.”

Nature Engraving

‘Third Prize’ category winner, Nature: “Nature Engraving” by ???

About this photo: Using a Phantom 4 Pro in the Utah desert, the photographer used golden hour light, the texture of the badlands, and the icy hues resulting from shadows cast against patches of snow to his advantage.

Flowers on the water

‘First Prize’ category winner, Fun: “Flowers on the Water” by Khánh Phan

About the photo: Using a Phantom 4 Pro V2.0, Phan created an aerial perspective of three women methodically cleaning gun flowers, arranged in a circle, for bundling to sell in the markets.

Salt harvest

‘Second Prize’ category winner, Fun: “Burden Salt Harvest” by Tu?n Nguy?n

About the photo: Hon Khoi is the largest salt field in Vietnam. Using a Phantom 4 Pro, this nadir perspective fixates on the shadows of workers carrying buckets of salt on one of their daily shifts that range from 3:00 to 7:00 am.

Ducks in black and white

‘Third Prize’ category winner, Fun: ???” by ? ??

About the photo: A Phantom 4 Pro was used to capture this black and white image containing dozens of white peking ducks clustering around piles of food.

Hong Kong small planet

‘First Prize’ category winner, Architecture: “Not a Small HK Island” by Panvelvet

About the photo: Panvelvet used a Phantom 4 Pro to create 43 images of Hong Kong. They were stitched together into a tiny planet sphere, and inverted for a visual effect of a city circling toward a bright orb.

Myanmar temples

‘Second Prize’ category winner, Architecture: “Bagan” by Witold Ziomek

About the photo: Bagan used a Mavic Pro to capture the sunrise reflecting off a temple in Bagan, Myanmar.

Golden hour in Macau

Third Prize’ category winner, Architecture:?????” by ??

About the photo: Golden hour light brightens up the Grand Lisboa hotel in Macau, China. The photographer used a Phantom 4 Pro.

Running through sand dunes

‘First Prize’ category winner, Sport: “Running Through the Sand Dunes” by Trung Pham

About the photo: Pham used a Mavic 2 Pro to get an aerial perspective of children running through sand dunes in Phan Rang, Vietnam, early in the morning. The black and white image accentuates the vastness of the dunes in relation to the children.

Shadow skier

‘Second Prize’ category winner, sport: “Shadow Skier #5” by Christoph Oberschneider

About the photo: A Mavic 2 Pro was used to capture a lone skier gliding down a slope in Austria.

Hammer throwing

‘Third Prize’ category winner, Sport: “Throwing IT to the Moon” by Taavi Purtsak

About the photo: Purtsak used a Mavic Pro and set the shutter speed at 1/2500s to freeze the motion of Estonian hammer throw champion Kati Ojaloo mid rotation.

Articles: Digital Photography Review (dpreview.com)

 
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DIY Photography Backlighting for Beginners

26 Mar

The post DIY Photography Backlighting for Beginners appeared first on Digital Photography School. It was authored by Ana Mireles.

Have you ever noticed how the subject stands out in professional portraits? How about the beautiful contours of bottles and glass objects in advertising photography? Do you wonder how they do it? You can achieve these and many more effects with backlighting.

Keep reading to learn what it is and how to DIY your way into it.

Backlighting means that there is a source of light coming from behind your subject and pointing directly (or almost) at your camera. This can be used as the only light source or as a supplement, and it can create depth in the image.

For example, in the above photo, I used backlighting to highlight the feathers and clearly separate the subject from the background. This is often used in portrait photography to highlight the hair of the model.

1. Wider light sources

The sun can be an excellent source for backlighting even if you are indoors. Just by placing your subject in front of the window, you are already using this technique. Although, more often than not, it will need some form of manipulation. For example, if the view from the window is not the best backdrop for your subject or the sun is coming in too bright, you can add a diffuser.

A cheap and easy solution is to tape some oven paper, tracing paper or a thin white fabric to the window to soften the light.

The photo on the left doesn’t use a diffuser. The sun was so incredibly bright that I couldn’t blur the background with a shallow depth of field. The shadows were also very dark and distracting.

In the image on the right, I had a white, even background to showcase the subject, which also worked as a diffuser to soften the shadows.

This kind of lighting works well for transparent objects. However, you can always complement with another light, or you can put a reflective surface in front to bounce the light if your subject (or part of it) is opaque.

To show you how it looks, I used the same setting for this bottle but placed a hand mirror in front of it next to the camera.

Most locations are bound to have windows unless you find yourself inside a dark room or something with a specific use where daylight is not wanted. However, if you find yourself in one of these places, you can always use the screen of your computer or tablet. You can look for a nice booked photo, or just open a blank document to create a white background.

2. Narrow light sources

Narrow light sources such as small spotlights create a very bright center diffusing towards the edges, and it’s usually a hard light, so it creates strong shadows. To create this effect, you can use a lightbulb, a candle, a torch or even the LED light from your smartphone. Add a creative element into it, by putting some color in it, like this example:

To create the silhouette of this little coyote, I placed the figurine in front of the background, which in this case was a red semi-transparent folder.

Remember we are getting creative here. If you don’t have a folder like this, you can use other things as long as they are thin enough or transparent enough to let the light pass through.

After this, as backlighting technique dictates, I placed a smartphone which was my light source directly behind the red background pointing directly at the figurine and the camera. Also, I used clothes pins to hold everything in place and for standing them up.

Keep in mind that the closer you put the light, the smaller the light spot will be. So move the phone (torch or whatever you’re using) back and forward to achieve different results.

These DIY hacks don’t substitute professional lighting equipment. However, they certainly allow you to get some creative images, practice your photographic skills and keep your budget intact. And, the most important thing is to keep practicing.

Have fun and let us know any other tricks you come up with in the comments.

The post DIY Photography Backlighting for Beginners appeared first on Digital Photography School. It was authored by Ana Mireles.


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The Importance of Shadows in Portrait Photography

25 Mar

The post The Importance of Shadows in Portrait Photography appeared first on Digital Photography School. It was authored by John McIntire.

When you’re starting out with learning how to light your photography, it’s easy to fall into a pattern of blasting your subjects with light from all angles. The results are often bright images without a hint of a shadow anywhere. Sometimes that’s exactly what the job calls for: bright, cleanly lit images with very little contrast. However, obliterating the shadows in your images can have a negative impact.

The difference between heavily lit images and those with the shadows maintained can be astounding.

Deliberate and effective use of shadows in your images can help to create a natural contrast and depth, convey drama and emotion, and provide you with powerful compositional elements in your photography.

This article will discuss these reasons why it’s not only important to retain the shadows in your imagery, but to keep them in primary consideration while you are still planning your images. There is also an outline of a simple exercise you can do to help you to start better seeing shadows, and how they affect your images, that you can use to improve your understanding of light.

Not just low-key

Obviously, low-key images rely heavily on shadows, but shadows are important in all styles of photography.

It is important to clarify one thing here. This concept doesn’t just apply to low-key images where the vast majority of the space in the frame is dominated by shadow tones. In fact, shadows are just as important to brightly lit images as they help to define the shape and features of your subject.

Why shadows are important

Retaining the shadows in your images can do a lot of things for you, especially in terms of image design. Listed below are a few of these for you to consider.

Depth and contrast

Retaining shadows in your images can help give you a natural contrast and add depth to your images.

Contrast, in terms of this article, is the tonal difference between dark and light. This contrast is how we see things in three dimensions and it’s exactly how you can create the appearance of three dimensions in your two-dimensional imagery. The thing is, it’s hard to do this without shadows. (It’s also difficult to do it without specular highlights, but that’s a different discussion for a different day.)

For example, to illustrate the three-dimensional nature of a nose, you need a highlight that graduates into mid-tones. The highlight indicates the closest point of the nose to the light. Assuming the light is above your subject, shadows will fall underneath the nose. This provides a visual indicator that the nose is protruding from the face. Without the shadows, there will be little, if any, differentiation between the nose and the rest of the subject’s face. This results in a flat, unsettling image. Even if your viewers cannot figure out what they’re looking at, they will still be aware that something seems wrong.

Ensuring that you have shadows in your images will help to have pleasing, natural-looking images in any type of lighting.

Add drama and evoke mood

Shadows are a fantastic tool when you are trying to create images that evoke mood and emotion.

Generous use of shadow tones in your images is one of the quickest and most effective ways to evoke a sense of mood and helps you to create images with bags of drama.

You can do this in a number of ways including:

Backlighting and short lighting

Short lighting is a great tool to help you place shadows where they have the most impact.

Lighting your subject from behind will render most of the foreground of your frame as shadow tones, with only certain aspects of your subjects rendered with highlights.

To control the strength of your shadows, you can change the size and shape of your light source, change the distance between the light source and your subject, or fill the shadows with a secondary light source.

Lighting choice

Making a deliberate lighting choice (like the 2’x2′ softbox used here) to emphasize your shadows is one of the easiest ways to take control of the shadows in your imagery.

If you use a small(ish) light source in close to your subject, you can make use of the faster rate of light fall off to help introduce shadows into your images.

For an even better grasp of this, pick a few movies or television shows (especially dramas) and study the lighting choices during dramatic scenes with a lot of dialogue. In a lot of cases, you will find that there was a conscious choice to light the actors in a way that highlights specific features while throwing most of the rest of the actor in shadow.

Compositional elements

Shadows are a great way to help compose your images and can help you to draw attention to your focal point.

Shadows can be used to wonderful effect in crafting compositional devices within your images. Using darker tones to frame your subject, or to lead your viewer’s eye to what you want them to see can help to make more dynamic and interesting images.

Fill

Shadows don’t have to be dark. Even filled in with additional lights, you can still use shadows for contrast and depth.

When you’re talking about shadows, that doesn’t mean you have to stick to ultra dark tones with little or no visible detail. By using fill lights, you can still light every single part of your image while retaining shadow tone. If you expose your fill light two or three stops below your key light, you will still have the appearance of contrast in your images, but you will retain all the finer details that would be missing if you hadn’t used fill.

An exercise in shadows

To get the grips with this concept, try this simple exercise with a lot of different subjects.

First, choose a subject. Any subject will do, but you might want to start with something static.

Take a good, critical look at what you’ve picked to photograph and start thinking about the lighting. However, instead of thinking about the highlights, try to focus only on where you want to place your shadows.

With that decided, pick a light source (a desk lamp will do) and light your subject so that you have the desired effect.

If you want to take this further, once you have your shadows in place, you can further modify and manipulate your light so that the highlights behave in a way that compliments the shadows.

That’s it

While this is a simple concept, it can seem counterintuitive. When you’re approaching lighting, of course it makes sense to think about the highlights first; however, incorporating some extra thought about your shadows can help take your lighting skills to a new level. Try the exercise above with a few different subjects, and evaluate if and how you can make shadows work for you in your photography.

The post The Importance of Shadows in Portrait Photography appeared first on Digital Photography School. It was authored by John McIntire.


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3 Simple Tips to Help You Master Photography Composition [video]

23 Mar

The post 3 Simple Tips to Help You Master Photography Composition appeared first on Digital Photography School. It was authored by Caz Nowaczyk.

In this video, Nigel Danson shares three simple photography tips to help you master photography composition. He uses seascape photography to illustrate his tips.

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Here are the Three simple tips to help you master photography composition that Nigel covers in his video:

1. Tell the story

You are trying to portray the story of the place you are photographing in your image. Look for things that might make a difference to your shot. With seascape photography, look for things like rocks, and waves, and where the light is coming from. Is it windy? How can you show that? Do you want to capture the isolation, or busyness of the location? Is there a significant landmark you want to capture?

2. Be mindful of the foreground

One of the most important things in landscape composition can be getting the foreground right. Something that is really simple, perhaps with repeating patterns can work really well.

Use leading lines to draw the viewer into your image. A beach or seaside location is a great place to do that.  Use the shoreline as your leading lines towards rocks or other parts of the landscape that may be significant.

Danson says four things are important in achieving a good photograph: Timing, subject, composition, and light.

Try to include secondary compositions within your main composition to better tell the story.

Shutter speed is also important – do you want soft water and movement in the clouds? Or do you want them sharp and crisp?

3. Try different focal lengths

Explore different focal lengths. Try macro, go super-wide, or use long-lenses to bring backgrounds closer in an image.

You may also want to try intentional camera movement (ICM) for interesting effects.

 

You may also find the following articles helpful:

Composition Tips for Drawing the Viewer’s Eye Through Your Photographs

4 of the Most Common Composition Mistakes In Photography

Divine Composition With Fibonacci’s Ratio (The Rule of Thirds on Steroids)

Four Rules of Photographic Composition

Composition Checklist for Beginners

 

The post 3 Simple Tips to Help You Master Photography Composition appeared first on Digital Photography School. It was authored by Caz Nowaczyk.


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Weekly Photography Challenge – Autumn

23 Mar

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

This week’s photography challenge topic is AUTUMN (fall)!

Bright, Victoria, Australia in autumn © Caz Nowaczyk

Your photos can include anything includes anything that is autumn/fall. It can be motion-blurred, cropped, minimalist, color-based, use nature, objects or anything really! It doesn’t have to have autumn leaves – it could just use autumn colors! They can be color, black and white, moody or bright. You get the picture! Have fun, and I look forward to seeing what you come up with!

Mount Wilson, Australia in Autumn © Caz Nowaczyk

Some Inst-piration from some Instagrammers:

 

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A post shared by ? Esma ? (@esma.23) on

 

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A post shared by Turkey Traveling (@turkey_traveling) on

 

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A post shared by Ela Kurek-Szczepa?ska (@rockingintheclouds) on

 

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A post shared by ? ? ? ?? ? ???????? ? (@_.beetle._.daisy._.rose._) on

 

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A post shared by Christina Malmström (@christina.malmstrom) on

 

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A post shared by Drone Photo Community (@dronemperors) on

 

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A post shared by Sergio R. (@sergiano93) on

 

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

Tips for Shooting AUTUMN/FALL

4 Tips for Capturing Autumn Colors

3 Tips to Help You Take Better Autumn Photos

7 Ways to Take Advantage of Autumn in Your Portrait Photography

Autumn (Fall) Photography – Capturing Colours

Photographing Autumn Leaves – DIY Studio

8 Tips for Fall Landscape Photography

Photographing Autumn Leaves – Panning Technique

Add Motion to Your Fall Photography to Help it Stand Out

 

 

 

 

 

Weekly Photography Challenge – AUTUMN/FALL

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 #DPSautumn 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 – Autumn appeared first on Digital Photography School. It was authored by Caz Nowaczyk.


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