RSS
 

Posts Tagged ‘portraits’

Tips for Making the Most of Morning Light for Portraits

12 Jan

There’s something about taking photos in the magical morning light that makes my heart so happy. Maybe it’s because of the extra effort it takes to be outside in the crisp morning air when your family is still in bed. It could also be because morning sessions are more uncommon, so they feel a little more special. Most likely it’s because that soft, beautiful light just glows, and looks just a little different from the light later in the day, or evening.

How to Make the Most of Magical Morning Light

If you’re a night owl, and can’t imagine getting out of a nice warm bed just to take some pictures, let me try and convince you to give it a try. You might become a morning person, just for that incredibly gorgeous morning light.

Time it Right

The best time to start a morning session is right around sunrise. I have an app on my phone that will tell me what time the sun rises in my area on any date. I like to start about 15 minutes after sunrise. The light level is usually fairly low right at sunrise, so I give a little bit of time for things to lighten up before starting.

The nice thing about using that morning golden hour versus the evening golden hour is that you can take as much time as you need. In the evening you have to decide when it’s the exact right time to start. You want to use the best light right near sunset, but you don’t want to start too late and not have enough time before it’s too dark. If you start too early, you could be done before the beautiful golden sunset light shows up.

Morning light at sunrise takes care of that problem. You start with that gorgeous glowy light and shoot until you’re done. No light is ever wasted.

How to Make the Most of Magical Morning Light - portrait

Morning Weather is Usually Good

Depending on where you live, you might have better luck with the weather in the morning. In my area, it’s usually less windy than it can get in the afternoon. Most mornings are calm and still. Oftentimes there’s a light hazy cloud cover that makes any shooting direction work, so you can use your backgrounds to their fullest extent.

More often the rain and storms come a little bit later in the day. It’s not always the case that you get beautiful weather in the morning, but more often than not, it’s perfect conditions for shooting.

The only negative would be during the colder times of the year when mornings are brisk, or even downright freezing. I just instruct my subject to dress warm, and I wear fingerless gloves and a coat with pockets, so I can try to keep my hands as warm as possible.

How to Make the Most of Magical Morning Light - golden portraits of two girls

Morning Light has a Special Quality

There’s a softness to morning light that you just don’t see most afternoons and evenings. It feels like it wraps around the subject a little more, and has a bit less intensity compared to light later in the day. It can be easier to work with because you won’t have as much glare in your lens when backlighting (facing your subject away from the sun).

You can face your subject toward the sun easier too, because the light isn’t quite as harsh, so they don’t squint as much. The shadows on faces aren’t as pronounced, and everything feels a bit softer. The light isn’t usually as warm as it is in the evening, so sometimes I warm the photos up a bit more in post-processing, but there are times when the cooler light is simply stunning.

How to Make the Most of Magical Morning Light

Be Different, Learn Something New

Many times when I’ve shared photos from a morning session, people have told me that they love the photos, but they don’t quite know what makes them so special. Most photographers are out there during the evening golden hour, and that little bit of difference you’ll see in a morning photo will set you apart from everyone else.

Your photos will have a quality to them that other photographers might not be able to put their finger on. I don’t do every photo session in the morning, in fact, most of my sessions are later in the day, but doing something different, outside of the norm, sets you apart from other photographers, and it also opens you up to more inspiration and creativity.

Every time we do something a little different, we learn new things, and sometimes discover something new that takes our photography to the next level. Shooting in the morning is just one of those things you can do differently, but it’s a big one. It might even be a game changer for you.

How to Make the Most of Magical Morning Light

Wake Up

How do you convince your next photography subject to get up early in the morning and get ready for a photo session when they could be sleeping longer? How do you convince yourself to get out in the brisk morning air with your camera when you could be snuggled under the covers?

The best way to convince anyone is to look at the results. I’ve had clients get up at 4:00 am to be ready for a session because beautiful photos were more important than a little bit more sleep. They can always take a nap later. If you can convince one person to give it a try, you might convince a lot more to do it too, once they see those photos.

You will love the feeling of accomplishing something wonderful first thing in the morning, and then having the rest of the day to edit and play. So, set that alarm and give that morning light a try!

How to Make the Most of Magical Morning Light

Are you a lover of a beautiful sunrise and glowing morning light? Share your morning photos, people or nature, in the comments. I’d love to see what you’ve captured while your neighbors were still in their pajamas!

How to Make the Most of Magical Morning Light

The post Tips for Making the Most of Morning Light for Portraits by Melinda Smith appeared first on Digital Photography School.


Digital Photography School

 
Comments Off on Tips for Making the Most of Morning Light for Portraits

Posted in Photography

 

Weekly Photography Challenge – Black and White Portraits

16 Dec

There is something very appealing about the simplicity of a portrait in black in white. It becomes less about the setting, background and environment and more about the person being photographed.

This week we want to see what you can do to create your best black and white portraits. Here are some articles to help if you need assistance:

  • How to Create Good Black and White Portraits
  • 5 More Tips for Making Better Black and White Portraits
  • 3 Simple Steps to Craft Better Black and White Photos
  • Avoid These 5 Common Mistakes in Black and White Photography
  • A Guide to Black and White Conversion in Photoshop
  • A Guide to Black and White Conversion in Lightroom

Weekly Photography Challenge – Black and White Portrait

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. Sometimes it takes a while for an image to appear so be patient and try not to post the same image twice.

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.

The post Weekly Photography Challenge – Black and White Portraits by Darlene Hildebrandt appeared first on Digital Photography School.


Digital Photography School

 
Comments Off on Weekly Photography Challenge – Black and White Portraits

Posted in Photography

 

How to Use an On-Camera Speedlight as Fill Flash for Portraits

03 Dec

Using a flash or speedlight on-camera can be daunting at first. This was certainly how I felt when I first purchased my Nikon speedlight. My biggest worry was calculating all the light ratios involved to get a proper exposure as you cannot take into account the actual flash output when metering in-camera. I was also nervous about using a light meter – all that trial and error and faffing, the thought of it all used to make me quake in my boots and swear I’d forever be a natural light photographer. But that was not to be, thankfully.

My main reservation about using flash is the harshness of the light. I hate the “flashed” look on people’s faces, the shadows under the jaws, the bright circular catchlights right in the middle of the iris. As well, the flatness of the face with the direct flash obliterating all possibility of sculpting shadows on the face.

But I live in London where it rains quite a bit, it’s hardly sunny at all, and half the year is cold. All these factors affect natural light and I felt I just had to put aside my reservations and take the leap. And I’m so glad I did.

How to Use an On-Camera Speedlight as Fill-Flash for Portraits

Let me share with you how I use flash to help me achieve the look I am after and without having to do the mental calculations of light ratios!

#1 Put a diffuser on the flash

It may only be a little plastic thing that goes on top the flash head but I find it makes a difference.  The light is less harsh – I know many will disagree about whether it softens the light or not as that is mainly due to the size of light and distance to subject  – but I notice a softness from a diffused flash head compared to a bare one.

Left: without a diffuser. Right: with a diffuser.

I only use a flash bare and pointed towards the camera when I am using it as a kicker light and want starburst effects coming from it.

#2 Control the flash manually

Set your flash to manual and choose the power. I’m usually at 1/32 or 1/16 and leave it there. Adjust the flash power only when absolutely necessary. Instead, make the frequent necessary adjustments to your camera settings.

Now I know there are many big fans of ETTL / TTL mode out there. I have tried it too. However, I have gone back to Manual as I find the TTL does not give me the look I want. Essentially, I only want my flash to be a fill light, not the main light and never too strong so that you can see a huge difference between the light coming from the flash and the ambient light. The ETTL / TTL mode is too smart for my needs and increases the output to a pretty high level if it senses that the ambient light is too weak, and vice versa. I felt I’d get an inconsistent output of light for the look I am after although that output may be “correct” in terms of the calculations.

For portraits, I find that the greater the contrast between the dark background and the illumination of the subject with a flash gun, the more I dislike the image. For dancing shots (like at a wedding), however, where I want to illuminate the subject well and freeze the action, I DO point my flash directly at the subject, stop down my aperture to between f/5.6 and f/8 and lower my shutter speed between 1/20th and 1/60th in order to capture ambient light and light trails or background blurring to give the effect of movement.

This image was created using a bare bulb flash (no diffuser) located behind and pointing directly at the couple (off-camera flash). I also had a second flash on-camera with a diffuser, and the flash aimed upward.

This image was created with a diffused flash pointed directly at the couple (camera in front of the couple, flash on-camera) while they were dancing. The motion blur was created by using a slow shutter speed and “dragging the shutter” after the flash has fired.

What I’m after is always a natural look, which, depending on where the main light is coming from, may not be achieved well without some kind of fill or reflected light to illuminate areas that are too dark for my intentions. This is the reason why I always bounce or angle my flash gun for most scenarios other than dancing as explained above.

#3 Bounce it

On some newer models, there is also a little white pull-out bounce card that is extremely useful if your ceilings are too high for the light to bounce off or you just want to point reflected light in a particular direction. When I shoot weddings where the rooms have very high ceilings or dark beams and ceilings. So I pull out the bounce card and use it to deflect the light coming from the flash. The handy swivel action helps me direct the reflected light wherever I want it to go.

My speedlight with the white bounce card extended.

As an aside, I use this setup for off-camera flash too. When I’m putting two speedlights opposite each other in a room to provide directional light during speeches, I point the flash heads upwards and pull out the diffuser so that all the reflected light is pointed inwards towards the center of the room.

#4 Angle it

The head of most speedlights can swivel right and left up to 90 degrees each way and forward and upward to 90 degrees in incremental angles. It is an awesome functionality that you should take advantage of especially for fill flash.

In the photos below, bright sunlight was coming from camera right at 45 degrees on a bright day. All I wanted was a bit of fill flash on their shadowed faces, just enough to lift the shadows a tad. What I really wanted to avoid was for the image to look like there was another light source other than that from the sun. To achieve this, I angled my speedlight upwards towards the back by one increment.

How to Use an On-Camera Speedlight as Fill Flash for Portraits

Flash as a fill light

As you can see, these photos below have very strong sunlight coming directly at the subjects and towards the camera, a very strong backlit light. It is extremely difficult to overpower this type of light without using a strong flash.  What I did was angle myself slightly to one side and pointed my flash directly at the subjects’ faces to try and counteract the sunlight.

This is when I adjust my flash power and increase it accordingly. The result is not as clean and sharp as if I had a big softbox firing at 70% ratio to the sun’s power but it still shows the faces clearly enough with some diffused hazy light in the background, which was also my intention for these shots.

How to Use an On-Camera Speedlight as Fill Flash for Portraits

Compare the two images below. The one on the left was taken in a big open space with a dense foliage background which blocked the light. There was enough light here to illuminate their faces that I could have done away with the flash altogether, but I pointed the flash backward to add just a tiny bit of light over my head. I don’t think it made a huge difference but it made me feel better and consistent!

The image on the right was taken in a shaded open area surrounded by tall trees which diffused the light coming from the background. Without the trees, it would have had the unfiltered effect as above, but despite the trees, this is still very much a backlit position as the background was very bright still. More fill light was needed there so I pointed the speedlight slightly upwards, with one increment down towards the subjects but not directly at their faces.

How to Use an On-Camera Speedlight as Fill Flash for Portraits

You can see the same flash angle as above on these close-up portraits below.

How to Use an On-Camera Speedlight as Fill Flash for Portraits

Make it moody

In the same spot as above, I wanted a look that was a little moodier than those close-ups so I pointed the speedlight directly upwards this time. So although their faces are still amply lit up, the image to feels like they are being enveloped by the diffused light behind them.

How to Use an On-Camera Speedlight as Fill Flash for Portraits

Tricky situations

The couple wanted a shot showing the lake and the trees in the far distance. The distance was too great to get the couple and the background sharp enough without using a really small aperture and a lot of artificial light (flash). Note that we were also in the shaded part of the lake which made it more difficult. I decided therefore that I would take a cozy shot that focused mainly on the background. The couple looking towards the trees, although they are not the lit focal point, they are still clearly visible and sharp. I pointed the speedlight slightly forwards to give them just a hint of light and shot with a small aperture.

Contrast the top image below to the photo directly underneath it where the depth of field has changed massively – the background now is blurry and the couple is in focus. This had the same angle of flash, slightly forwards, but of course, my camera settings changed to a wider aperture and lower ISO to balance the exposure. Now with the couple still in the same shaded spot, the angled flash was clearly essential here. Had I pointed the flash directly to their faces, it would have been too obvious and would kill the natural light ambiance that I was aiming for.

How to Use an On-Camera Speedlight as Fill Flash for Portraits

For this ring shot below, we sat on a bench with the sunlight coming from camera left. I put the ring on my phone to get a dark background and a nice reflection. With ring shots, I always stop down to at least f/7 with a macro lens. Therefore I need to make sure there is plenty of light for the shot as macro lenses tend to suck light.

I also always use a speedlight pointed directly opposite the main light. So in this case where the light is at camera left at 8 o’clock (if you’re looking at a clock face with the diamond at 6 o’clock), I swiveled my flash head to the opposite at around 4 o’clock to give off a bit of reflected light on the right side of the ring.

How to Use an On-Camera Speedlight as Fill Flash for Portraits

Likewise, on the photo below, you can clearly see where the sunlight is coming from so I pointed my speedlight slightly upwards to camera left, opposite the sunlight. This angle helped me achieve a gradual decrease of light from right to left as opposed to a dramatic one where you can see a clear cut-off from light to dark.

How to Use an On-Camera Speedlight as Fill Flash for Portraits

Your turn to try doing fill flash

If you haven’t tried using flash like this before, I encourage you to do so. Experiment and see how it could work for you. You don’t need to learn the lighting ratios and calculations off by heart to be able to get images you are after, although that could be handy.

Sometimes all you need is confidence, common sense, and a willingness to try. I hope you found this little tutorial useful. If you have more tips, share them in the comments below.

The post How to Use an On-Camera Speedlight as Fill Flash for Portraits by Lily Sawyer appeared first on Digital Photography School.


Digital Photography School

 
Comments Off on How to Use an On-Camera Speedlight as Fill Flash for Portraits

Posted in Photography

 

How to Shoot Engaging Travel Portraits from Start to Finish

19 Nov

I love travel portraits. Not only do they test your photography skills but also challenge you to interact with people in unfamiliar environments. The end result directly reflects your subject’s personality along with your ability to make them feel at ease, read the light, select optimal settings, and compose a great shot.

How to Shoot Engaging Travel Portraits from Start to Finish:

A boy named Ashim and his father at Dasaswamedh Ghat – Varanasi, India.

Every photographer has a slightly different approach, which evolves with every new person you meet and country you visit. Join me as I walk you through an encounter from start to finish and share tips on how to shoot engaging travel portraits.

1 – Approach the person and get permission

As a photographer, it’s up to you to develop your own code of ethics. However, I implore you to seek permission and not just stick a camera in someone’s face. The initial approach can often be the hardest part; taking the shot is comparatively easy.

Aim for a consensual, mutually enjoyable exchange from which you can both walk away with a happy story to tell. Be open, smile, and pay people compliments.

How to Shoot Engaging Travel Portraits from Start to Finish:

Boy monks at Rumtek Monastery – Sikkim, India. I kept my camera at my side, introduced myself, and asked their names. Their answers made me regret leaving my notebook in the car (Sikkimese names are notoriously long). They wanted to talk about soccer. When I asked for a photo, the boy on the right jumped and said “I know a good place. Follow me!” It was a fun encounter and their personalities shone through in the pictures because they’d had a chance to chat about their favorite topic.

If it’s a firm no, you can smile warmly, tell them it’s absolutely fine, and ask them if they would like to see photos you’ve taken of the local area. This way, you can both still walk away having had a pleasant experience, and sometimes, they even change their mind.

2 – Communicate for a meaningful experience

Your challenge now is to make your subject feel at ease. The best portraits come when people are relaxed and open to you. Most crucially, don’t rush the photo, say goodbye, and walk away. Show genuine interest in their lives.

Ask questions if you can speak a mutual language. If not, remember that much of your intentions and warmth can be communicated through body language, facial expressions, and gestures.

How to Shoot Engaging Travel Portraits from Start to Finish:

Ba-An, an 81-year-old lady, in front of the Banaue rice terraces – Luzon, Philippines. I will remember Ba-An because I had the longest and most interesting conversation I’ve had with anyone before taking their portrait. “These? They’re chicken feathers,” she said when I asked about her headdress. “Sometimes I tell people it is tradition, but really, we just started doing it a few years ago!”

3 – Read the light and use it to your advantage

With permission granted and your subject warming to you, the next step is reading the light. Whether it’s day or night, look at the lighting conditions around you. Consider asking your subject to turn their body or move completely to seek the best light.

How to Shoot Engaging Travel Portraits from Start to Finish:

While waiting for a Hindu ceremony to begin, this gentleman wobbled his head enthusiastically and motioned towards my camera – Varanasi, India. Sometimes, as in this situation, when people see you photographing others in a respectful manner, they may prompt you to take their portrait. I asked him to turn so that the light from a spotlight would be cast across his face at a less harsh angle.

4 – Select your settings

Ideally, you have a fixed focal length (prime) lens with a wide aperture attached to your camera body. However, if you’re traveling, you may have an all-purpose zoom lens attached. I like portraits that I’ve taken with both types.

With my fixed focal lens, I often shoot portraits at f/2.8 or slightly above. If you shoot any wider, the focal plane can be so thin that you risk your subject’s eyes being in focus but having their nose out of focus. For a zoom lens, I recommend selecting your widest aperture but standing further away from your subject. Zooming in on their face will accentuate the shallow depth of field effect that works so well for portraits.

How to Shoot Engaging Travel Portraits from Start to Finish

A Muslim traveler at Haji Ali Dargah, an Islamic shrine off the coast of Mumbai – India. My settings and lens for this portrait were f/2.8 | 1/1600th | ISO 160 | Sigma 35mm 1.4 Art lens. The fast shutter speed allowed by using f/2.8 picked out fine details on the man’s face. Such a fast shutter wasn’t necessary for this level of sharpness but it was an extremely bright day in Mumbai.

For engaging portraits, the most important element requiring sharp focus is the eyes. I suggest setting your camera to spot focus on the center AF point. Next, aim the center point at one of your subject’s eyes. Use the focus and recompose method or even better – the back button focus method to lock in on the eyes. This will ensure they’re in sharp focus in the finished photo.

5 – Choose a strong composition

Numerous compositions can work for portraits. The rule of thirds can work incredibly well but try not to wear it out or all your travel portraits will look the same.

Another one to try is placing one of your subject’s eyes directly in the center of the frame; a study proved that portraits composed this way appeal to viewers on a subconscious level. I promise I’m not making that up. This can be applied in portrait or landscape orientation.

A general rule exists in travel portraiture that you shouldn’t place your subject directly in the center of the frame; however, rules are made to be broken sometimes.

How to Shoot Engaging Travel Portraits from Start to Finish

As I stood taking pictures of the Banaue rice terraces, I heard a frail voice saying “Photo? Who is taking a photo?” It belonged to a 96-year-old woman named Bah Gu-An. She was completely blind. I wasn’t sure how to communicate as I normally would for a portrait so took her hands in mine to let her know I was there. Her friends translated back and forth for us. I decided on a rule of thirds composition because I felt the blue umbrella added extra visual interest and balance to the frame.

6 – Come down to their eye level

Try not to stand above your subject if they are sitting. This is intimidating and works against your goal to relax them. Positive psychological things happen when you come down to someone’s eye level. Take a look at the example below.

How to Shoot Engaging Travel Portraits from Start to Finish

A Hindu holy man on a tiny island in the Brahmaputra River – Assam, India. This is not a touristy location in India so he is the real deal. I sat down on the step to receive a blessing. Accompanied by mystical chanting, I drank some lukewarm tea of unknown provenance, had air blown all over my face, and ash spread across my forehead. We chatted after and I felt in no rush to suggest a portrait. It was a fascinating experience. What do you think when you look at his facial expression – Is the time spent together palpable?

7 – Shoot different styles of portrait

Posed versus candid portraits

Posed refers to approaching a person and asking them to sit for a portrait, whereas candid portraits refer to catching a person in an unguarded moment. This doesn’t have to mean without permission.

For the image below, I’d already gained this lady’s trust and permission but waited until she’d forgotten that I was there to continue shooting. Later, I showed her all of the photos, which she seemed happy with.

How to Shoot Engaging Travel Portraits from Start to Finish

A devotee watches the nightly Ganga Aarti ceremony – Varanasi, India. This image could be called a candid environmental portrait.

Headshot versus environmental portraits

A headshot refers to filling the frame with your subject’s face. The background is not important for setting the scene, although you might consider finding one of a complementary color to your subject’s clothing, skin tone, or eye color. Environmental portraits are zoomed out to allow your subject’s surroundings into the frame to add to their story.

8 – Shoot a series with the same subject

When you have someone’s permission and have bonded with them, consider staying with them a while and shooting a series of images. This is what I did when I met one man in the Philippines recently. I directed him gently for a series of shots after telling him how interested people would be to learn about his culture. He was happy to oblige.

How to Shoot Engaging Travel Portraits from Start to Finish

I would have kicked myself if I’d walked away without getting a side profile shot of this man and his headdress that featured the real heads of a long-dead bird and monkey.

How to Shoot Engaging Travel Portraits from Start to Finish

I decided to fill the frame here to draw attention to his excellent smile, patterned clothes, and monkey headdress.

9 – Always remember aftercare

Aftercare means bringing the encounter to a close in the best possible manner. I believe an extra layer exists as to why the verb is to “take” a portrait. You are taking something from them, but what are you giving in return?

Make sure you show the person their image on the back of your camera, pay them a compliment, and thank them sincerely. So much joy can come from this simple act.

How to Shoot Engaging Travel Portraits from Start to Finish

A man named Ibrahim at the Haji Ali Dargah, Mumbai. As we sat together cross-legged on the ground enthusiastically shaking hands at the side of a busy walkway, I could tell from his reaction and those of passersby that this wasn’t a common occurrence. The overall encounter lingered with me for the rest of the day, and I sincerely hope that Ibrahim remembers it fondly too.

Conclusion

I want to know your best advice for shooting travel portraits and see the images you’re most proud of. Be sure to share them in the comments section below.

The post How to Shoot Engaging Travel Portraits from Start to Finish by Ben McKechnie appeared first on Digital Photography School.


Digital Photography School

 
Comments Off on How to Shoot Engaging Travel Portraits from Start to Finish

Posted in Photography

 

Behind the scenes: Capturing creepy Halloween wet plate portraits

01 Nov

While most people will be out experimenting with a little chemical called Ethanol on Halloween, at least one photographer decided to use some Ethyl Ether and Silver Nitrate instead. Markus Hofstaetter—whose work we’ve featured in the past—decided to take a few wet plate collodion portraits this Halloween, and documented the entire process in a creative 360° video.

The main shot Hofstaetter was after is actually not the hard-core looking skull portrait in the GIF at the top. Instead, he wanted to take a self-portrait in the style of Walter White “Heisenberg” of Breaking Bad.

“I feel always like him when I prepare the chemicals for my collodion wet plate process,” Markus writes on his blog. He also went for an imperfect look. By not cleaning the edges of the plates after the silver bath and not cleaning the plate holder. “It’s not always about perfection.”

Here are a few BTS shots, the final images, and a couple of high res crops from the wet plate scans Markus sent over:

$ (document).ready(function() { SampleGalleryV2({“containerId”:”embeddedSampleGallery_3515928389″,”galleryId”:”3515928389″,”isEmbeddedWidget”:true,”standalone”:false,”selectedImageIndex”:0,”startInCommentsView”:false,”isMobile”:false}) });

Speaking to DPReview, Markus explained some of the particulars of his process:

I like to use trays for sanitizing my plates much more than typical silver bath tanks. That’s because mamut plates are easier to handle, the alcohol (that comes from the collodion coating into the silver bath) can easier evaporate in a tray and it’s so much easier to fill 2 Liters of nitrate back in a bottle with a tray.

All Chemicals I use are self-made and the collodion is typically done on the day before the shooting to get the plates more sensible to light. I make developer and fixer occasionally – these are very stable. The silver bath is Maintained two to three times a year.

As you can see in the video, I forgot to wear my glasses when I put the plate into the silver bath tray the first time – this is very dangerous!!! Because one drop of silver nitrate in your eye will blind you. Never happened before – but I was kind of busy with the 360 cam 🙁

Normally I wear masks too (the Ether in the Collodion is unhealthy), but I didn’t want to get indents on my face from the mask. You would have seen that in the picture.

To see more from Markus, be sure to visit his website, check out his blog, or follow him on Facebook, Twitter, and Instagram.


Photos, GIF and Video by Markus Hofstaetter and used with permission.

Articles: Digital Photography Review (dpreview.com)

 
Comments Off on Behind the scenes: Capturing creepy Halloween wet plate portraits

Posted in Uncategorized

 

Adobe Scribbler uses AI to colorize black-and-white portraits and sketches

25 Oct

At the Adobe MAX 2017 conference last week, the engineers at Adobe Research showed off a deep learning system called Project Scribbler that can transform a line sketch or black-and-white portrait into a fully colorized and realistic image. The technology utilizes Adobe Sensei artificial intelligence technology to generate a realistic color image based on a partially-colored sketch created by the user.

As with all of their “Sneaks” at Adobe MAX, Adobe describes this as an early technology, teasing that it “may or may not” become a future product or feature in an existing product like Photoshop.

In a description posted on the Adobe Research website, researchers explain that existing deep convolutional networks are able to generate realistic images, but that users have little control over what the final images look like. This makes the technology “of limited utility,” according to the researchers, a reality not shared by their Scribbler network.

Unlike the aforementioned deep convolutional networks, Scribbler gives users a great deal of control over the final image it generates. This is made possible by feeding Scribbler a sketch where the lines serve as boundaries for the final image. As well, users are able to control how Scribbler colorizes the image by applying “sparse color strokes” to the sketch. These color strokes serve as a guideline so that Scribbler knows what colors to use for each part of the sketch.

Scribbler is capable of realistically coloring sketches and black-and-white photos without the aid of user-created color strokes, though, as demonstrated by Adobe researcher Jingwan Lu in the video above.

Scribbler was also demonstrated as capable of realistically applying existing textures to a sketch. To do this, the user places a texture over the part of the sketch where the desired texture should be applied. And, of course, Scribbler can apply more than one texture to different parts of the same sketch.

A product or feature based on Project Scribbler could prove useful in a variety of ways. Photographers, for example, could use this technology to rapidly colorize a black-and-white photo. Similarly, an artist could use Scribbler to flesh out a quick sketch of a planned art piece, enabling the artist or their client to see a representation of the final artwork before time is invested in creating it.

The full paper detailing the Scribbler colorizing technology is available here, the paper about Scribbler’s texture control technology is available here, and, of course, you should definitely check out the demo at the top.

Articles: Digital Photography Review (dpreview.com)

 
Comments Off on Adobe Scribbler uses AI to colorize black-and-white portraits and sketches

Posted in Uncategorized

 

As Seen on TV: Distorted Long Exposure Portraits

26 Sep

Warning: preg_replace(): The /e modifier is no longer supported, use preg_replace_callback instead in /home/forge/content.photojojo.com/content.photojojo.com/wordpress/wp-content/plugins/ozh-better-feed/inc/feed.php on line 134


Photojojo

 
Comments Off on As Seen on TV: Distorted Long Exposure Portraits

Posted in Equipment

 

Challenge: Shooting portraits using just an iPhone, a flashlight, and a Big Mac box

30 Aug

Great gear can make a big difference when it comes to the quality of your photographs, but we all know that good gear does not a great photographer make. What’s more, a great photographer can do amazing things using really mediocre equipment.

Case in point: watch portrait photographer Philippe Echaroux take on what he’s calling “Big Mac Portrait Challenge.”

Usually Echaroux uses Hasselblad digital cameras, Elinchrom lights and other expensive (for a reason) equipment to capture his professional portrait work. But he was recently asked to make due without any of that; instead, he would be using an iPhone for shooting and retouching, a small flashlight, and a Big Mac box from McDonald’s. Yeah… seriously.

The final shots benefit from a lot of post-processing, of course. In all, Echaroux used VSCO, Photoshop Fix, and Lightroom Mobile to tease out something that looks a lot more professional than you’d expect from his meager setup. But The basic gear and lighting was all the same: iPhone, flashlight, Big Mac box.

Whether you’re shooting an astronaut in a darkened Soyuz capsule with a 10-year-old DSLR and an iPhone flashlight, or taking the so-called Big Mac Portrait Challenge, don’t let lack of gear intimidate you. If nothing else, it might lead to a cool story or creative video.

Articles: Digital Photography Review (dpreview.com)

 
Comments Off on Challenge: Shooting portraits using just an iPhone, a flashlight, and a Big Mac box

Posted in Uncategorized

 

How to Use a Small Softbox With Your Flash to Transform Your Portraits

26 Aug

Typically I prefer to carry minimal photographic equipment when I am out to make a series of photos or portraits. If I’m on assignment for a client or creating new stock photos I will take more gear with me so as to better cover any challenging situations that may arise. One of my favorite accessories I have come to rely on is a small collapsible softbox for my flash.

How to Use a Small Softbox With Your Flash to Transform Your Portraits

Day time use of a small softbox can help to even out shadows on your model’s face.

Unmodified flash tends to be pretty harsh. A strong burst from a small light source produces some ugly shadows and extreme highlights. Whether your flash is on or off camera if the light is direct and unfiltered the results you see will be unnatural looking. I’ve experimented some with various small flash modifiers and not found any that produce pleasing light, mostly because of their size. They are too small to produce a reasonably even, soft light.

Pop-up Softbox

My pop-up softbox is just 60cm (about 2 feet) square, lightweight, and very portable. Having someone to assist with it is helpful, so it can be easily positioned just where you want, but I have often used it on location mounted on a light stand. Placing the flash in the mouth of the softbox effectively increases the output size of the light and softens it with two nylon diffusers. The light from your flash will be scattered, resulting in softer shadows and reduced highlights.

Night Portraits

How to Use a Small Softbox With Your Flash to Transform Your Portraits

Adding a soft light to night time portraits can create evenly lit photographs.

Photographing portraits at night can be challenging, especially if you have to rely on available light. Adding a light source you have some control over, will make night portraiture a much more enjoyable experience. Often at night, available light sources will not provide a pleasant, even light for your subject and direct flash will produce unflattering results. Using a softbox to spread and soften the light will avoid hard edged shadows and blown out highlights.

Often at night, available light sources will not provide a pleasant, even light for your subject and direct flash will produce unflattering results. Using a softbox to spread and soften the light will avoid hard edged shadows and blown out highlights.

Indoor Portraits

Looking down at a woman standing next to traditional northern Thai sausages at a market. How To Use A Small Soft Box With Your Flash To Transform Your Portraiture

Adding a soft light to one side of my model has helped brighten up the scene.

Likewise, when photographing indoors and relying on available light, it can be challenging to achieve pleasing results. By adding a soft light to your subject you are able to create natural looking images.

The slightly larger surface of the softbox throws light over a wider area so more of your subject is affected and also some of the surroundings will benefit from a little more illumination.

How to Use a Small Softbox With Your Flash to Transform Your Portraits

Careful flash output and exposure setting have enabled me to capture this traditional Thai new year blessing activity effectively.

Outdoor Daytime Portraits

Outdoors, during the day, is when I enjoy using this softbox the most. Having an additional light source that’s powerful enough without being too harsh can help you make portraits that look natural. Being able to reduce shadows by adding a soft fill light will produce a much more flattering result than if you are using an unmodified flash or relying only on available light.

Balance is the Key

I have found manually setting my flash output gives more consistent results than setting it on TTL or other automatic settings. Being in control of the output will allow you to balance the nice soft light from the softbox with the available light. This is important if you want to produce natural looking photos. If your flash produces too much or too little light it will overpower the ambient light or have little to no effect.

I used to use an external light meter to measure the ambient light and then set my flash so it was producing an equivalent output. Now it’s easy enough to just use the information your digital camera provides on the screen, the histogram and blinkies. With a little trial and error, it does not take long to find a setting that gives you a good exposure.

Asian woman taking a photograph - How To Use A Small Soft Box With Your Flash To Transform Your Portraiture

Using the flash and softbox to balance the back lit subject with just the right amount of filtered light.

Light Position and Background

At times you might want to balance the flash so that the background remains very bright and your subject is still pleasantly lit. Dialing in the flash output to slightly less than the value of the background illumination will achieve this when your camera’s exposure is set for your model’s skin, (which is being lit by your flash).

Think of your softened flash as a second light source. Position your model so the brightest ambient light source is behind them and place your softbox to one side in front of them. This can result in studio-like portraits. Again, in this situation, balance is the key. Too much or too little output from your flash will create an unbalanced light and an unnatural looking photograph.

How to Use a Small Softbox With Your Flash to Transform Your Portraits

Filling in with a strong, soft light when the light behind your subject is strong can provide very natural looking portraits.

The softbox was positioned to camera left for this shot.

Modify for Success!

Many of our students avoid using their flash, mostly because they have failed to achieve good results in the past. A small, direct light source is rarely going to provide pleasing light. Using a small softbox to modify the light from your flash and learning to balance that with the ambient light, will help transform your portraits.

As always, when you are trying some new technique with unfamiliar equipment make sure you can afford to make mistakes. Making mistakes is a great way to learn, but you don’t want to do that when you have someone relying on you for the photos. Practice when the only consequence of messing up is that you’ll learn from your experience and not let someone else down.

The post How to Use a Small Softbox With Your Flash to Transform Your Portraits by Kevin Landwer-Johan appeared first on Digital Photography School.


Digital Photography School

 
Comments Off on How to Use a Small Softbox With Your Flash to Transform Your Portraits

Posted in Photography

 

How to Use a Reflector to Improve Your Natural Light Portraits

20 Aug

Reflected light can add depth and a fresh dynamic to your natural light portraits. Sometimes naturally occurring reflected light can be used, but by far the easiest way is to use a reflector. The most important thing is to learn to see the light falling on your subject and then control the strength and quality of the reflected light you are adding. Here are some tips to help you learn to use a reflector.

Hmong woman drying skeins of hemp thread outdoors - How to Use a Reflector to Improve Your Natural Light Portraits

Hmong woman drying skeins of hemp thread which are reflecting light back onto her face.

Naturally reflected light

When making candid portraits, I’m always looking to see if some reflected light is affecting my subject. At the right angle, any surface can bounce light back onto your subject. You can train your eye to see it.

It may be light bouncing off a nearby wall or pavement, an open newspaper or skeins of yarn (as in the photo above). With the strong sunlight behind the lady as she hangs out her skeins of washed thread, the light is reflecting softly back into her face.

Thai woman holding a bamboo tray of steamed fish - How to Use a Reflector to Improve Your Natural Light Portraits

A fish vendor at the fresh market with light reflecting onto her from an adjacent white wall.

Naturally reflecting light is easier to make use of if you are posing your subjects and have some control over where they are positioned. Finding a location where the sun is hitting a large light-toned neutral surface can provide you suitable reflected light for portraits.

In this photo of the fish vendor at the local fresh market, the light is reflecting off a white painted building behind me. Behind her is an open entrance to a room with no windows, providing a dark background to nicely isolate my subject.

Types of reflectors

Close up of a Kayan long neck girl with traditional face painting, make-up

Close up of a Kayan long neck girl with traditional face painting makeup.

When there’s no naturally occurring reflected light, a folding reflector is a fabulous accessory to have on hand. These reflectors are relatively inexpensive and come in various shapes, sizes, and colors. The most efficient are the ones which have multiple reflective surfaces.

Note: you can even DIY and build your own reflector.

These reflectors typically have a sleeve which covers a translucent fabric attached to the foldable frame. The sleeve is removable and reversible with four different surfaces (5-in-1 reflectors). Normally they are white, silver, gold, and black. Some even have more complex reflective surfaces. Learning to use this type of reflector well can take some practice, but it’s worth while for the fresh dynamic lighting it will bring to your portraits.

How to Use a Reflector to Improve Your Natural Light Portraits

One of my models assisting me during a portrait session.

How to use a reflector

Having someone to hold the reflector is the best way to use it as the direction of light and angle of the reflector in relation to your subject is important. If the reflector is not at the best angle you will have too much or too little light bouncing onto your subject. You may need to coach whoever is assisting you and demonstrate the effect the reflector has, so they can hold it precisely right for the best lighting.

Careful choice of reflective surface for whatever light you are working in is important too. If you are making portraits outside in full sunshine the use of the white reflector surface may be best. It’s likely the silver or gold surfaces will reflect too much light back onto your subject. Don’t be afraid to experiment though, as that is a great way to learn.

KAren Woman Smoking Her Pipe against a black background

Karen Woman Smoking Her Pipe against a black background.

Using a reflector in bright sunlight

In the bright sunshine, the person holding the reflector needs to be careful not to bounce strong light into your subject’s eyes as they are searching for the best angle to hold the reflector. That can be most uncomfortable for your subject. It’s a good idea to instruct your subject not to look directly at the reflector. If they have not seen a folding reflector before many people will look at it as it is unfolded.

Two long neck Kayan ladies laughing together in a village in Thailand - How to Use a Reflector

With this photo of the two laughing ladies, my wife was using a medium sized gold surfaced reflector. She is an expert assistant and photographer so she knows how to get the optimal reflected light in most situations. My subjects were standing in the shade of a tree and the reflector was also in the shade, so it was not bouncing back full sunshine.

I find the gold surface works well with Asian skin tones. With the strong back light, the bounce light fills in the shadows nicely reducing the over all tonal range in the photo. Because the reflected light is stronger on the ladies faces, (where I was taking my light reading from,) it is more balanced with the light in the background. The bright sun reflecting off the light colored ground also adds nicely to this photo. If my wife had been standing so the gold reflector was in the full sunshine the light would have been too bright and harsh, blinding our models and creating hard shadows on them.

How to Use a Reflector

Reflecting light to balance with the ambient light can reduce shadows without eliminating them.

Using a reflector in soft light

On overcast days a silver reflector will bounce a clean, soft light onto your subject. If you can position your reflector so it balances with the ambient light, gently filling in shadows on the face but not completely eliminating them, you can obtain some very pleasing results.

Varying the angle of the reflector in relation to the light source and your subject will vary the amount of light affecting your subject. You do not need to always have the reflector blasting out the maximum amount of light as this can look very unnatural. Using the white surface rather than the silver side will also reduce the amount of reflected light.

Senior Pwo Karen woman smoking a pipe against a black background - How to Use a Reflector

With the sun behind the model, an overhead diffuser and reflector to my left and the ground also reflecting light.

Other uses for reflectors

Black or white surfaces of very large reflectors can make great backgrounds and the translucent inner part can be used as a screen to hold above your subject to block direct sunlight. In the past, I have used this method but now prefer to use my *portable daylight studio to provide a black or white background and filtered back lighting, (in principle it’s the same thing.) I then use my large folding reflector to help control the light on the front of my subjects.

Sunlight also reflects off the ground. Typically in a northern Thai village, the earth is a light color and creates a pleasing reflection. But if I have to work on grass we lay down some large sheets of white plastic to avoid having a green color cast in the images.

*Reading Irving Penn’s book “Worlds In A Small Room” was the inspiration for my portable studio which I have used in many locations in the mountains of northern Thailand and occasionally when teaching our workshops.

Portrait on a black background of a senior Pwo Karen man - how to use a reflector

A careful balance of reflected and diffused light.

Conclusion

As you practice using a reflector you will learn to manipulate just the right amount of light onto your subject. At times you might prefer hard light and other times soft light will be more pleasing. Learning to see how light affects your subject and learning to control it will greatly improve your portraiture.

The post How to Use a Reflector to Improve Your Natural Light Portraits by Kevin Landwer-Johan appeared first on Digital Photography School.


Digital Photography School

 
Comments Off on How to Use a Reflector to Improve Your Natural Light Portraits

Posted in Photography