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Posts Tagged ‘Tips’

Insect Photography Tips – How to Capture Cool Critters

13 Sep

Do you find creepy crawlies fascinating? Or maybe a bit scary? Insects can be many things, and they are many! From a photographer’s perspective, they offer countless opportunities to learn about photography, your gear, and the critters themselves. In this article, I hope to share some of my love of these critters and some insect photography tips to inspire you to enjoy this buzzing, chirping, stridulating treasure trove.

Mantis in morning light. Insect Photography Tips

Morning mantis.

Why on Earth Should I Photograph Insects?

Insects are the most diverse and numerous animals on the planet. While this may not seem like the most wonderful fact in the world to everyone, it’s a boon for people who like photographing insects.

As I’ll try to demonstrate, it’s not only incorrigible insect chasers who can benefit from this abundance. Anyone who enjoys or wants to learn macro photography, who is looking for inspiration in nature, or who likes to tell a story with their photography is in luck.

Damselfly and ant. Insect Photography Tips

Insects come in many sizes and all colors.

Opportunity is everywhere

Anyone can photograph insects. Not only are they easy subjects to find, they are also amazingly diverse in appearance, behavior, and habitat. You never have to go far to find something interesting to photograph.

Insects offer a great opportunity for different kinds of photography, from scientific documentation to abstract art. So if you’re ever running out of photography ideas, insects are a great way to get back into it.

Photographing them can reveal whole new worlds: you might find unexpected beauty in a grasshopper’s patterns and new perspectives in an ant colony’s activities.

Black and white insect photo of a lacewing - Insect Photography Tips

The delicate lacewing.

On top of being a very varied group of animals, insects also have a lot of variety in their individual lives. Fluffy, colorful caterpillars turn into stunning butterflies; chubby grubs turn into formidable beetles; alien underwater nymphs turn into whirring dragonflies.

The possibilities for the eager photographer are virtually endless. So are you ready to try it out? All you need is your camera, some time, and a big bucket of patience.

Insect development: dragonfly with old nymph skin and mantis ootheca. - Insect Photography Tips

Insect life cycles are fascinating! To the left is a dragonfly next to its old nymphal skin, to the right the ootheca (egg mass) of a mantis.

How to Photograph Insects

I’m going to focus specifically on how to photograph insects. There are a lot of great articles about macro photography in general and other relevant aspects of photography, like natural lighting vs. flash photography, good settings to know about for macro, and nature photography.

Abstract insect photography: dragonfly. - Insect Photography Tips

A close view of a dragonfly’s back.

First, you need to find them

The first step is to find the insects. If you’re happy with just any insect, this is very easy. You just need to go outdoors and wait for a while – some insects will even come to you!

It’s a good idea to spend some time thinking about when and where you want to take photographs. Both location and timing will affect not only the quality of light, but also the kinds of insects you’re likely to find, and their activity levels.

Mantis by swimming pool. Insect Photography Tips

This mantis came to hang out with me next to the swimming pool.

In terms of timing, a good general rule is to aim for a time when it’s cool and the sun isn’t out since the cold will make insects slow. This can be early in the morning or around sunset, in spring or fall, or on an overcast day.

The light conditions may not be optimal at this time, but this is when you want to be out shooting if you don’t want your subject to fly off or run away immediately. Of course, only photographing insects when it’s cold outside means you’ll miss out on normal parts of their life, like flight, mating, feeding, and pollination.

Wasps. Insect Photography Tips

Some insects really are nicer when they’re a bit sluggish, like these wasps.

The location depends a lot on what you want to photograph. You can find a lot of different insects in a garden, field, or forest, but if you’re hoping for something specific you’ll need to learn about that insect and its behavior.

Remember to also think about the background and how it will look in the picture!

Insect photography: locust and mantis. Insect Photography Tips

Locust and mantis.

If you’re really eager about photographing insects, there are many methods you can experiment with.

For instance, the easiest way to photograph nocturnal insects like moths is to set up a light outdoors, next to a white or light-gray wall or sheet. Turn on the light in the evening before you go to bed, and wake up around 2 or 3 am to see all the fun creatures that have appeared. Remember not to do this too often so you don’t disturb them too much.

Larva on net and moth. Insect Photography Tips

The larva on the left found the net before I found it. The moth on the right was photographed in the middle of the night during a biology field course.

You can also catch insects with a net, put them in a glass jar and photograph them there, or even put them in the fridge for a little while to slow them down. I only recommend doing this if you know what you’re doing and you feel it’s worth it.

The insects would probably rather be somewhere else than your fridge. Remember to release them afterward!

Tools of the trade

The camera equipment needed really depends on what kind of photos you’re after. Insect photography can definitely be done with expensive tools in complicated ways, but it doesn’t have to be.

Since insects are generally small, it’s helpful to have a good macro lens or something comparable. But you can also make a great start without any special equipment. Some insects are pretty big and insect photos don’t always have to be close-ups!

Butterfly on cactus. Insect Photography Tips

Here, the insect is not the only subject, but it’s still essential to the photo.

What to focus on

So you’ve chosen the time and location, found your subject, and you have everything you need; all that’s left is to actually make the photo.

No matter what kind of photo you want – a portrait, an action photo, something abstract – there are a few things you should know about insects before photographing them.

Poisonous caterpillar. Insect Photography Tips

This caterpillar is covered in hairs that can cause irritation when they come in contact with skin (or lungs!).

Insects’ behavior and senses are as variable as the insects themselves. Some of them may notice you way before you see them and flee. Some may not notice that you exist, Others may become aggressive if you behave a certain way.

Some insects see much more and more accurately than we do, while some barely see at all. Some smell with their antennae and some of them have ears on their knees.

They are as alien to us as we are to them, which is why you need a lot of patience, some knowledge of what you’re photographing, and an open mind.

Black and white locust. Insect Photography Tips

Locusts have ears on their knees.

It depends on what kind of photo you want, of course, but a few things that are usually good to keep in mind are:

  1. Use a fast shutter speed if you want a sharp photo – insects can be very fast and they move a lot.
  2. Aim for a small aperture (large f-number) if you want to have more than just a tiny part of the insect in focus.
  3. If you’re photographing an insect in flight, try manual focus.
  4. Focus on the eyes, like with any other animal. You might find yourself mesmerized!
Fly with stripey eyes. Insect Photography Tips

Even flies can have beautiful eyes!

Conclusion

Insect photography is such a broad topic that I had to leave many things out of this article, but I hope this basic introduction was able to provide you with some tips.

What do you think about insects? Have you ever photographed them? Feel free to share your best or most interesting insect photos as well as your tips in the comments below.

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Tips for Portrait Processing with ON1 Photo RAW 2018.5

11 Sep

There are many genres within the framework of photography and one that is very popular is portraits. As such, many photographers are looking for great software that can help them make their portraits so much better. ON1 Photo RAW 2018.5 has some great tools and adjustments for portrait processing to give them a professional touch.

In ON1 Photo RAW 2018.5 you will find all the tools you need to retouch out blemishes or any imperfections that the person or model may have. You can give the skin the same hue all over to get rid of blotchiness. Finally, you can make the eyes whiter and the teeth brighter. Your subjects will love the results.

Tips for Portrait Processing with ON1 Photo RAW 2018 - portrait image

Portrait processing with ON1 Photo RAW

We are going to start with the basic skin retouching before heading to the Magic Eye Fixer and finally the Toothbrush.

Basic Retouching

Open the image you want to work on in the Develop Module of ON1 Photo RAW 2018.5. Here you can make the basic adjustments like correcting the exposure or the white balance. Play around with the sliders to get what you want.

You can see what was done to this image below.

Tips for Portrait Processing with ON1 Photo RAW 2018 - basic adjustments

Basic adjustments.

No girl wants to be seen with acne on her face, so the next step is to get the Erase tool and remove as much of it as you can.

Tips for Portrait Processing with ON1 Photo RAW 2018 - blemishes

There are still blemishes on and around the chin, so now it is time to take it a step further with the skin retouching. ON1 Photo RAW 2018.5 has some great adjustments you can use to do just that.

If you are working on images of people that you know or clients, consult with them first about what they are happy with you removing from their skin. It might be good to remove scars, for example, however, if they are proud of those scars, it might upset them. Always ask.

Skin Retouching

You can do skin retouching in either the Develop or Effects modules. For this article, we will use the latter so click on Effects in the right-hand panel.

Once you are there click on Add Filter under the Overall settings.

Tips for Portrait Processing with ON1 Photo RAW 2018 - Effects Add Filter

Effects > Add Filter

When you click on that you will get a big list of options from which you can choose. For this tutorial, click on Skin Retouching.

Tips for Portrait Processing with ON1 Photo RAW 2018 - skin retouching filter

Skin Retouching filter.

You should see a new window open up that has all the adjustments for Skin Retouching. The first thing you want to do is select the eye dropper that is next to the square color patch. You will see a cross-hairs cursor so that you can make a selection on the skin.

Tips for Portrait Processing with ON1 Photo RAW 2018 - skin selection

Choose a part of the skin that is somewhere in between the darks and the lights. A mid-tone is the best option and a good place to find that is on the forehead.

Once you have your selection you are ready to retouch all the skin. You can now set the range of how much you want to do on the face. Use the Range slider at the bottom.

As you move it around you will see parts of the image that are covered in black while others are now. The black parts will not be affected, which as the lighter sections and places where it doesn’t cover it you can use the skin retouch. It doesn’t hurt to move it up a lot.

As you move the Range slider along you will see parts of the image covered in black while other areas are not. The black parts will not be affected by the retouching. However, the light sections, or the parts of the image that seems like they are not being affected, is where the skin retouching will apply to the image.

It doesn’t hurt to move the Range slider up a lot.

Tips for Portrait Processing with ON1 Photo RAW 2018 - range of skin retouching

Add a Mask

Next, you need to add a mask. You can do that at the top of the layer window, it is the white rectangle with the black circle inside.

You will see more options appear and along with the mask. The cursor will also change and the brush will come up automatically once you have done that.

Tips for Portrait Processing with ON1 Photo RAW 2018 - mask and brush options

Once you have the mask, go ahead and invert it. When you do this the mask will go black. When it is black it means that nothing from that layer is affecting your image. The brush is already chosen and now it is time to work out what parts of the image you want to add the skin retouch.

Make sure you brush is set to Paint In. You can change the brush options including feathering along the top above the image. You don’t need a lot, my brush was set at 31.

Now paint over the skin you want to affect. You should see parts of the mask going white where you are painting. Avoid the eyes and the mouth.

leannecole-skin-retouching-on1-portraits-6

Once you think you have done all the skin it is best to check and make sure.

Along the bottom of the window, you will see the button for a preview. Press it to see your original image. However, on the left, you will see a rectangle with a grey dot in it. If you click on it you will see the image go to solid black and white.

Tips for Portrait Processing with ON1 Photo RAW 2018 - mask

This shows you what your mask looks like. Pressing the letter O does the same thing if you like keyboard shortcuts. It can be hard when it is like this to really see what you have got painted and what you haven’t.

Go up the Main Menu > Masks > View Mode and finally choose Red Overlay.

Tips for Portrait Processing with ON1 Photo RAW 2018 - red mast overlay

The red overlay will show you where the black part of the mask is (the unaffected areas), so you can now refine your mask.

Tips for Portrait Processing with ON1 Photo RAW 2018 - red overlay mask

In the above image, you can see what has been selected. The areas with no red are where the skin retouching will be applied. If you have areas that should be red, change your brush to Paint Out and it will cover them.

Click the circle at the bottom to change back to the image, or press O to show it.

The skin retouching can seem very subtle, but if you toggle the layer on and off you should be able to see the changes.

Tips for Portrait Processing with ON1 Photo RAW 2018 - toggle layer

Final Adjustments

Now to do some final adjustments. At the bottom of the layer you can see Blemishes, Smoothing, Shine and Evenness. Move all the sliders to the left.

Tips for Portrait Processing with ON1 Photo RAW 2018 - sliders at the bottom

Slowly move each slider up and see how they change the image. Take them all the way to the right to see how bad would be if you go too far, then bring them back to where you want.

The one you have to be really careful about is the Smoothing slider. You can make the skin look like plastic very easily. You can see what was done for this image in the following example.

Tips for Portrait Processing with ON1 Photo RAW 2018 - sliders adjusted

The next step is to again turn the layer off and on to see the results and whether you think it has improved the image.

Tips for Portrait Processing with ON1 Photo RAW 2018 - skin retouching before and after

Magic Eye Fixer

The Magic Eye Fixer is great to help whiten the white parts of the eyes. It can make the subject’s eyes seem a lot brighter. However, this one needs to also come with a warning, it is very easy to take it too far and make the eyes look ridiculous.

To use this tool, go to the Local Adjustments tab and then select Add Layer.

Tips for Portrait Processing with ON1 Photo RAW 2018 - new layer

In the new layer window, you will see options like Lighten, Darken, Vibrance, and Detail across the top (just below the Opacity slider). Then there is a square with a down-arrow that says More underneath. Click on it and a drop down menu will appear.

Look down the list and you will see Magic Eye Fixer. Click on that.

Tips for Portrait Processing with ON1 Photo RAW 2018 - magic eye fixer

Once you have clicked on it you will see some of the adjustments change automatically. The brush tool will also be automatically selected. Paint over the eyes.

leannecole-eye-fixer-on1-portraits-3

Obviously with the automatic changes that ON1 Photo RAW makes for the adjustments are too much. You may also find it too hard to paint exactly over the eyes. Don’t forget you can change the brush to Paint Out to deselect the areas you don’t want if you mess up.

Enlarge the image view so you can get a better look at what you are doing; make sure you are only changing the parts you want to affect. You can also press O to check the mask as well.

Tips for Portrait Processing with ON1 Photo RAW 2018 - masked eyes

You can see that the adjustment is too much. Now you can change the exposure slider to make it look more natural. You can also use the Opacity slider at the top of the layers panel. That will also help you tone down how much the layer affects the image.

Tips for Portrait Processing with ON1 Photo RAW 2018 - eye settings

You can toggle the layer off and on to see if you like the effect or want to make further adjustments. Just remember not to go too far.

Healing the Skin

You could leave the image here, but there are other things you can do to make the skin look even better.

In the left-side panel, there is a brush called the Retouch Brush. This is a good one to use to help remove unwanted skin blemishes. It softens them, without removing them completely.

Tips for Portrait Processing with ON1 Photo RAW 2018 - retouch brush

Paint this Retouch Brush over the areas where you would like to remove imperfections. For this image, we will use it for the bags under the eyes, the scar on the forehead and the one over the right eye. It will also work well for the acne marks on the chin.

The brush is feathered and the opacity has been changed to around 50%.

Tips for Portrait Processing with ON1 Photo RAW 2018 - after retouch brush

After the Retouch Brush

It is a great tool, but as with all things, you can go too far. Sometimes it is good to leave the image for a day or two, then go back and take another look. It gives you a better perspective.

Whitening Teeth – Toothbrush

You will find that many people like to have their teeth appear whiter in photos. We aren’t all blessed with brilliant white teeth and now you can help them achieve that. ON1 has included an adjustment that will help you do the job very easily.

So still in the Effects Module, go to Add Layer. As you did for the Magic Eye Fixer, click More and select Toothbrush this time.

Tips for Portrait Processing with ON1 Photo RAW 2018 - toothbrush

You will see a new layer open up with many adjustments already made, so it is ready for you to go.

Tips for Portrait Processing with ON1 Photo RAW 2018 - preset adjusments

Do much the same as you did for the eyes. Click on the mask and then the brush will come up. Paint over the teeth. It may be easier to do them one at a time. If you go outside the teeth click on the brush to Paint Out and go over the areas you don’t want affected.

The teeth should be very white.

Tips for Portrait Processing with ON1 Photo RAW 2018 - overly white teeth

Obviously, it looks terrible like this so you will need to make further adjustments to get the right look.

You can change the opacity of the layer, or turn down the exposure slider so the effect isn’t so bright. For this image, I changed the exposure because there was something else I wanted to do.

These images are of my daughter, who has never thought looking after her teeth were worth worrying about. So, I wanted to get rid of the yellow staining. The best way to do that was to lower the saturation so the teeth appeared whiter. Move the Saturation slider to the left until you get the result you are happy with.

Tips for Portrait Processing with ON1 Photo RAW 2018 - teeth whitening

Now we can compare the final image by turning the layer on and off. You do that by clicking the Yellow dot in the top left corner of the layer panel you are working in.

Tips for Portrait Processing with ON1 Photo RAW 2018 - layer off

Layer off.

Tips for Portrait Processing with ON1 Photo RAW 2018 - resulting image

Layer on, final result.

The image could be left there, but I decided that her face and hair could do with some brightening overall. So I choose a new layer, and did a mask with her face, that included her hair. The exposure was brought up slightly and so was the White balance to make the image warmer.

Tips for Portrait Processing with ON1 Photo RAW 2018 - lighten the image

Looks much better now. She even likes it as well.

Finally

ON1 Photo RAW 2018.5 has everything you need to do the most amazing portrait processing. You can give people skin that is attractive or remove unwanted hues that the camera adds. Everyone wants to look beautiful in photos and now you can help them look the way they see themselves.

The people at ON1 have created an amazing community for all their users and there are many other videos to help go to the next level. Don’t forget to check all of them out and see what else you can do with your portraits.

Disclaimer: ON1 is a paid partner of dPS.

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4 Tips for Helping People Feel Comfortable During Their Portrait Session

10 Sep

Sooner or later, almost everyone has to sit alone in front of a camera for a grad portrait or professional headshot. It is almost always an uncomfortable experience for portrait clients. But it’s easy to forget this as photographers.

When I great people for their portraits they often confess things like, “I’m terrible with photos,” “I feel sick,” or “I hate my face.”

Perhaps because I’m so empathetic, I’ve developed a knack for making the most nervous and hopeless people shockingly excited about their photos.

In this article, I’ll show you how I do it so that you can make even your most uncomfortable portrait clients happy with their experience.

Black and white head shots - 4 Tips for Helping People Feel Comfortable During Their Portrait Session

I am personally drawn to black and white portraits.

1. Simple Light Setup

Since everyday life already throws you a heavy load of distractions and difficulties, I always encourage photographers to keep their projects as simple (but meaningful) as possible.

No matter how you choose to light your portrait subject, I recommend you do it as simply as possible. The point is to put all your focus on the person you’re photographing, not on equipment.

I either use natural light (a window and a reflector), or a one light setup inspired by Zack Arias.

Window Light

The benefit to natural light is that there are no flashes of light or large umbrellas to make the person feel as though they are at a high-pressure professional photo session. Your subject’s imagination is filled with the photo shoots they’ve seen on TV and you should relieve that pressure for them.

Natural light studio setup - 4 Tips for Helping People Feel Comfortable During Their Portrait Session

This is my natural light setup.

Window light portrait - 4 Tips for Helping People Feel Comfortable During Their Portrait Session

This is a portrait taken with that window light studio setup.

Using natural light and a silent shutter with a mirrorless camera allows the photography part to be as invisible as possible.

One Speedlight

My one light setup includes a speedlight with a 60-inch umbrella and a reflector.

One Light Setup - 4 Tips for Helping People Feel Comfortable During Their Portrait Session

This is my one light setup. It’s one speedlight with a 60-inch umbrella.

One light portrait - 4 Tips for Helping People Feel Comfortable During Their Portrait Session

This photo was taken with that one light setup.

Once set up, you should forget about your gear (the window, speedlight, and the camera) and focus 100% on your subject.

2. How to Focus

This isn’t about your camera, but focusing on your subject in order to make the best portraits possible.

If you are at all self-conscious as a photographer, it is absolutely critical that you do not focus on yourself.

Perhaps you’re nervous because of a lack of confidence, or because you’re worried they’ll hate their photos. Forget all that and just focus on your subject.

Small talk

“A portrait is not made in the camera but on either side of it.” — Edward Steichen

Female head shot - 4 Tips for Helping People Feel Comfortable During Their Portrait Session

You can use small talk to distract the subject from their own nervousness and self-consciousness in front of the camera. Talk about their business, their kids, or the last trip they went on. Anything that will distract them from being camera shy.

Warm up

Feel free to warm up with some “test shots,” even if you don’t really need them. Have your subject sit in front of the camera for a few shots where you’re doing nothing but “testing the light.”

Direct them a little bit, but nothing too serious. I sometimes transition into the real photos by saying something funny like, “Okay the light is perfect, now let me see a cheesy smile.” It can often lead to some laughter and the first candid photo.

Female headshot, laughing - 4 Tips for Helping People Feel Comfortable During Their Portrait Session

Candid portraits are the most joyful part of a portrait session for me. You don’t have to be a comedian to make people laugh. Just connect over something in your life and laughter will eventually flow.

Male headshot with suit. 4 Tips for Helping People Feel Comfortable During Their Portrait Session

I’ll often try to match the expression with the clothes my subject is wearing. I think a softer expression is more suitable for formal wear. But I’ll try everything at the moment and decide what looks best later.

Candid portraits

“There is one thing the photograph must contain, the humanity of the moment.” — Robert Frank

Yes, even a professional headshot session should include some informal candid photos. Candids are real, and even if you’re after a posed photo, candids are the path to discovering who they are when their guard is down.

Female headshot laughing - 4 Tips for Helping People Feel Comfortable During Their Portrait Session

When people can laugh together there begins to be a comfortable connection.

Female headshot - 4 Tips for Helping People Feel Comfortable During Their Portrait Session

We often laugh because of the tension created by a joke. But even real-life discomfort or tension can lead to the eventual release through laughter.

3. Finding Soul

“Look and think before opening the shutter. The heart and mind are the true lens of the camera.” — Yousuf Karsh

I don’t care whether I’m photographing real estate agents, future lawyers, high school grads, or “mompreneurs.” I treat everybody like an executive, valedictorian, or royalty during their portrait session.

We’re all much deeper than our occupation, even though it may be a deep expression of who we are. Fill your sessions with lightheartedness and true human connection. When you look through your photos later, you should be able to see the moment that your subject finally became relaxed.

Once relaxed, you’ll find the “real” person that was trapped below the surface of fake smiles and self-consciousness.

It may take you 10 minutes or more to get there, but it is the point in the session that you can move through your creative vision with your subject. You can show them how to squinch (Peter Hurley’s famous technique with the eyes), strike more advanced poses, or move in for close-ups.

Female headshot - 4 Tips for Helping People Feel Comfortable During Their Portrait Session

Once I know I have made the portrait that the subject needs, I move on and try other things. I love this very soft expression and the way that her hair creates a frame around her. This won’t likely appear on her business card, but I think it’s a wonderful portrait.

4. Completely Candid

“It’s one thing to make a picture of what a person looks like, it’s another thing to make a portrait of who they are.” — Paul Caponigro

Being inspired by photojournalism and the idea of capturing truly raw, candid, spontaneous photos, I decided to try a portrait session with no posing. All there would be was conversation and pictures.

Here are some of the results, which I love.

Close up female headshot - 4 Tips for Helping People Feel Comfortable During Their Portrait Session

This photo is all about the eyes, and whatever is going through her mind makes me want to laugh!

Female soft light headshot - 4 Tips for Helping People Feel Comfortable During Their Portrait Session

A completely candid photo portrait session means taking a lot of photos. Some of them looked posed, but it was a matter of quickly noticing something that looked right and capturing it before the moment passed.

Window light headshot - 4 Tips for Helping People Feel Comfortable During Their Portrait Session

I used a window as a natural light source. There were moments of silence during our conversation when she just looked out the window. Those were wonderful chances.

Portrait of a mother and her son - 4 Tips for Helping People Feel Comfortable During Their Portrait Session

Leave room for surprises in your portrait sessions. You may find yourself thinking, “Did this client dare to bring their kids to a portrait session?” True, they’ll tear your studio to pieces and distract her from her professional portrait session. But along with a little chaos comes life and surprisingly human moments. In the middle of it all, her son came up to be nursed. Maybe this is what Robert Frank meant about the “humanity of the moment.”

Mother hugging son portrait - 4 Tips for Helping People Feel Comfortable During Their Portrait Session

The portrait session was supposed to have been for her. But who she is on her own isn’t who she is completely. We’re all much deeper than ourselves and are who we are partly because of the people around us.

Portrait of a mom nursing her baby. 4 Tips for Helping People Feel Comfortable During Their Portrait Session

Perhaps you know your subject has reached their maximum level of comfort when they can nurse their baby even while the camera is still clicking. I’m thrilled to photograph people one on one and make portraits that they’ll use as authors or business people. But I’m even more thrilled when those portraits become intensely human moments.

 Get Comfy

The next time you greet a nervous portrait client, remember that the experience has been hyped up in their mind. Distract them from their discomfort with small talk, warm them up with “no pressure” test photos, and make laughter a part of your session.

Include the candid photos when you deliver their photos. Even if they don’t use them for business purposes, they may be the photos they (and you) love most.

I’d love to hear what else you do to help people get comfortable in front of your camera. Let me know in the comments below.

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Tips on “Shooting for the Crop”

09 Sep

It’s the year 2018 and I’ve just finished a quick search of the top 10 best selling digital cameras over at B&H Photo. Those 10 cameras sport an average megapixel count of 26.1MP. Six of those cameras were full-frame sensor models.

In 2004 I worked in a camera/photo processing lab and I remember the day we all stood in jaw-dropped awe as the Kodak DX4530 arrived at the store. The megapixel count of that glorious DX4530? A whopping 5MP. Bob Dylan was very much correct. The times are in fact a changin.

Tips on "Shooting for the Crop" - camera with dark filter on the lens

What all this means is that today, on average, our digital cameras pack in an enormous amount of resolution. This high resolving power affords us advanced possibilities for post-processing unlike never before and is especially true when it comes to enlarging and cropping our images. More specifically, these increases in resolution allow us to bend the limits of cameras and lenses by “shooting for the crop”.

What is Shooting for the Crop?

There’s no hidden meaning in “shooting for the crop”. It is a simple as it sounds.

When we say that we are shooting for the crop all it implies is that before our finger hits the shutter button we KNOW that we will be adjusting the entire composition of the photo later. This is entirely different from the usual organic cropping that sometimes happens during a spur of the moment flash of post-processing creativity.

Tips on "Shooting for the Crop" - different image crop ratios

Admittedly, shooting for the crop is not one of the most smiled upon photographic practices. Most agree that generally, the best way of making any photo is getting it consolidated, at least compositionally, before post-processing ever occurs.

The reason for this is because when we crop digital image files, no matter what, we are in fact making the individual pixel more apparent. The result is a loss of image sharpness and definition.

Tips on "Shooting for the Crop" - low resolution

Low-resolution image.

Still, there will be times when the focal length of your lens may just not fit the situation. This is the usual scenario. There may be a distracting element within the frame that your lens is simply too wide to exclude or maybe that 50mm just doesn’t have the reach that you would prefer to frame your scene.

Whatever the case may be, effectively shooting for the crop means taking into account quite a few factors and variables to make sure the image you intend to end up with looks as clean as possible. Let’s talk about a few things you should take into account whenever you are intentionally shooting for the crop.

Find the “Sweet Spot”

All camera lenses, whether they cost $ 300 or $ 3,000, have an area in their field of view which carries the highest optical sharpness. Most times photographers refer to this area of maximum lens sharpness as “the optical sweet spot” because, well, it’s the sweet spot for sharpness.

Tips on "Shooting for the Crop" - sweet spot

While some lenses are of higher resolving quality than others, all of them will have some degree of optical distortion and softness as you move towards the edges of the frame. The very center of the frame is essentially always the sharpest area of the lens and sharpness is dampened radiating outward. So when you’re shooting for the crop, always place the main subject or point of interest right smack in the center of the frame.

Tips on "Shooting for the Crop" - center sharpness

It doesn’t matter if centering the subject makes a horrible composition for your photo because you are going to crop and recompose later in post-processing. All you should concern yourself with is obtaining the highest level of sharpness for your main point of interest.

This is because when you crop a digital image you are almost always enlarging it at the same time. The more you magnify it the more pixels you will see. It’s here when true sharpness becomes of paramount importance.

Shutter speed and aperture considerations

Getting the absolutely sharpest image for cropping later extends well beyond the quality of your lens. In order to ensure you have the best croppable photo you must take into account the shutter speed and aperture you’re using when making the exposure.

Use a fast shutter speed

The more motion you can arrest in a photo the more clear and sharp it will be. This is one of the rare facts of photographic technique. When shooting for the crop you should always use the fastest shutter speed obtainable.

Of course, this isn’t true when you’re looking for intentional motion blur. Using a fast shutter speed helps mediate not only subject movement but also unintentional camera shake.

Tips on "Shooting for the Crop" - DSLR camera

A great method to help you figure out the slowest shutter speed you can use is “The Reciprocal Rule.” I am a long-standing evangelist of this rule because it truly is just so incredibly useful for helping you to achieve sharper photographs.

The Reciprocal Rule states that when shooting handheld your maximum shutter time is equal to “1” over the focal length of your lens.

So to help reduce camera shake when using a 50mm lens your slowest shutter speed would be 1/50th of a second. If using an 80mm it would be 1/80th. If you’re using a variable zoom then simply use whatever approximate focal length you happen to have dialed in on the lens.

Caveats on aperture

Just as every lens has an optical sweet spot so too does every lens have an optimal aperture range when it comes to sharpness. Various lenses have wildly variable aperture sweet spots.

Some are tack sharp at wide apertures and soften as you move into smaller apertures. With others, the exact opposite could be true. Even two samples of the same model lens could have different results at the same aperture.

Tips on "Shooting for the Crop" - lens aperture

When shooting for the crop it’s always a good idea to shoot at your ideal aperture whenever possible. Just like using the optical sweet spot, using your lens’s ideal aperture will stack the odds in your favor when it comes time to crop.

To find out what apertures produce the best results for your particular lens will take some testing. Simply shoot an image at each aperture and compare them. Generally speaking, most lenses are sharper at the relative “middle of the road” apertures as sharpness tends to degrade as you approach the very smallest or the very largest apertures of your lens.

A brief word on megapixels

There’s no beating around the bush when it comes to megapixels and shooting for the crop. Without attempting to give too technical of a talk (you’re welcome) on image sensors, it’s best to remember that the more megapixels you have packed into your camera’s sensor the better off you will be when shooting for the crop.

Tips on "Shooting for the Crop" - DSLR versus mirrorless Sony

We talked about how cropping a digital photo is essentially zooming in on the image. Since that image is made of little picture elements (pixels) the more you zoom the better you can see the individual pixels. Pixel depth and size aside, the more pixels you have held within a sensor the more flexibility you will have to crop more liberally.

Final thoughts on shooting for the crop

Let’s face it, shooting for the crop is not high on the list of best photography practices. But, unfortunately, we live in a real world of unexpected circumstances. We either won’t have the ideal lens available or the environment will limit us to resorting to some judicious cropping later in post-production.

Luckily if you already know you’ll be cropping an image later you can work to stack the odds in your favor to have better success. Here are a few key tips to remember whenever you find the cruel reality of a scene requires you to shoot for the crop.

  • Center the point of interest in the lens. Make use of that optical sweet spot!
  • Use the fastest shutter speed possible when shooting hand-held. Remember the Reciprocal Rule.
  • Know which aperture yields the highest degree of sharpness from ALL of your lenses and employ if possible.
  • Cropping exaggerates the size of the pixels that make up a digital image. An image from a 16MP camera probably won’t crop as cleanly as one from a 34MP camera.

As with most things to do with post-processing, don’t overdo your cropping. If you know you’ll need to crop down extremely tight just to come close to your ideal picture, allow me to ask a small favor; take a breath and put the camera down. Remember that there will be other photographs and more opportunities. A butchered photo of an incredible scene is less desirable than not having the image at all! Most of the time….

Do you have a cool before and after example of shooting for the crop? Share them with us in the comments!

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7 Landscape Photography Tips You’ll Wish You Knew Earlier

08 Sep

Landscape photographer Nigel Danson has been reflecting on his time as a professional landscape photographer and has come up with 7 things that he wishes he knew when he first started out on his photographic journey.

Unfortunately for Danson, he’s not able to go back in time and tutor himself. But luckily for us, we’re able to learn from these key moments in his career without spending many years getting to those milestones!

“Recently, looking back at some photos I took over 10 years ago, it made me realize how far I’ve come as a photographer.” says Danson. “It made me think about the things I’ve learned over the last 10 or 15 years.”

Landscape photography can be a tricky art to master, and experience in the field is definitely your friend. But hopefully, these tips and tricks will help you to improve your shots in an instant and give you that boost you need to keep your photography developing.

Summary of the 7 Simple Tips to Improve Your Landscapes

  1. Use Aperture Priority Mode
  2. Master the Histogram
  3. Learn to Focus Properly
  4. Simplify Your Images
  5. Use Different Lenses and Stick with Your Camera
  6. Think About Where You’re Standing
  7. Learn and Use Lighting to Your Advantage

Have you got any landscape images you’ve shot recently? Share them with us in the comments below!

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Tips for Ensuring You Get Sharp Photos Every Time

07 Sep

How many times have you captured an image that looks great as a thumbnail only to lose that sharpness when it is enlarged? If you’re like me, TOO MANY times. It happens to all of us all too often, but it doesn’t have to. You probably know the reasons why and how to avoid the problem, but let’s review them all in one setting to you can get sharp photos every time.

Tack Sharp photos - Leaves

There are several known contributors to soft photos and specific ways to prevent them.

First and foremost – clean the lens

Clean Lens - Tips for Ensuring You Get Sharp Photos Every Time

Fingerprints and dust on the lens are the most obvious hinderances to sharp pictures and are one of the most commonly overlooked causes. Carry a small clean microfiber cloth (or packets of lens cleaning wipes) in your camera bag at all times, and keep the lens cap on the lens when it’s not in use.

Become a clean freak with your lenses.

Aperture Settings

While shooting with the aperture wide open does allow you to use higher shutter speeds, it can also have an adverse effect on image sharpness because of an issue called a spherical aberration.

Simply put, light rays travel in straight lines. When they pass through a lens, the curve of the lens actually bends the light rays and diffuses their focus. The more the rays are curved, the softer the focus. When the entire rounded surface of the lens is utilized (as in when using a wide open aperture), the light-bending is increased and the sharpness on the outer edges of the picture is somewhat softened.

This aberration issue is most evident in less expensive lenses.

Tack Sharp photos - Aperture

It is widely known that an aperture 2-3 stops down from wide open produces the sharpest results. If your shot doesn’t require an extremely shallow depth of field to blur the background, close the lens down a stop or two and compensate the exposure with a slower shutter speed or higher ISO.

But be aware that extremely small aperture openings (f/22 and higher) present their own problem called diffraction. When light is forced through a very small opening, the outer rays bend to get past the small opening, which can soften the image and require a longer exposure time.

Lessons learned: Either aperture extreme will cause a slight softening of the image. Except for special applications, so stay in the middle of the road!

Lens Quality

It’s always good advice to buy the best glass you can afford. It is a known factor that THE most critical equipment in your camera bag is not your fancy camera body, but the quality of the glass in front of your camera.

Tack Sharp photos - Lens

Save your money and invest in quality lenses (f/2.8 or faster). Most of us carry at least one zoom lens, but these lenses, because of the complex grouping of internal glass, are seldom faster than f/2.8, and many are as slow as f/4.5 – f/5.6. The lower the number, the more light that passes through the lens. An f/1.4 prime (fixed length) lens always produces sharper images, though it costs more money.

Weather

Believe it or not, the cleanliness or dirtiness of the air can have a significant impact on your photography, especially long-range shots like landscapes. Both heatwaves rising from the hot ground and floating particles of dust and pollutants (what we lovingly call atmosphere) bend the lightwaves, dull the saturation, and blur the focus of your pictures.

Tack Sharp photos - Rust

Living on the “beach coast” of Florida, steady breezes come in off the ocean that are refreshing on a hot summer day but they contain serious amounts of salt. This air salt can be seen for miles in the distance while driving down the coastline. The saltwater mist hangs in the air and has an adverse effect on both metallic surfaces and photographic subjects.

The most ideal weather for shooting razor-sharp pictures is those delightful hours right after it rains. That happens in Florida like clockwork almost every afternoon and at least once every day, Florida gets a nature-shower that lasts for less than an hour and leaves the air sparkling clear for all kinds of outdoor activities. Thankfully, these daily showers scour the air and rinse the salt from both nature and automobiles.

Depth of Field

Choose an f-stop that will keep your entire subject in sharp focus. If you want to keep your subject in full focus while blurring the background, do the math to figure out the depth of field that will remain in full focus at a particular distance.

Each focal length lens has its own “pocket of precision” or focal zone for each subject-lens distance. Take the time to explore your lens’s capabilities so that you will be prepared.

Tack Sharp photos DOF

The depth of field is particularly critical in macro photography. The very nature of the process limits the actual focus on subjects to a very shallow distance. Sometimes this works out well and sometimes it just doesn’t.

Learn the limits of each macro lens’s “pocket” before you make your shot. If your camera allows you to preview the depth of field, use it religiously. Very small changes in the lens-to-subject distance have a very big effect on the focal distance.

Use the One-Third, Two-Thirds Rule

All photographers know that higher number f-stops mean greater depth of field, but maybe some don’t realize that there is an important ratio involved in the field of focus. This ratio must be considered when choosing the f-stop for a particular shot.

While the length of the lens affects how much of the subject will be in total focus, where you set your focus point is also critically important.

This is true whether you are using Automatic, Spot or Manual focusing. Learn to divide the desired focus area into thirds and set the focus one-third into that distance. When you focus on a particular spot, two-thirds of the focal range behind that spot will remain in focus while only one-third of the area in front of that spot will remain sharp.

This is why portrait photographers set their focus on the subject’s eyes. This way the distance from the nose to the ears remain in focus.

Autofocus Versus Manual Focus

Tack Sharp photos - Lumix Manual Focus

Unless your subject has a high level of contrasting edges and is located in the middle of your field of view, you might want to consider using manual focus. Autofocus is a life-saver most of the time, but any higher contrast item in the scene could very well steal the camera’s attention.

Camera autofocus is designed to zero-in on high contrast and those areas in the scene will always set the camera focus. If your subject is located in subdued lighting, try switching to manual focus instead.

Shutter Speed

Slow shutter speeds in hand-held conditions always present problems. No matter how still you hold, your body is always in motion.

The simple fact that your breathe and have a heartbeat means that slight motion will most likely become an issue with slow shutter speeds. Even the slight motion of pushing the shutter button is a contributing factor in this process. I personally make it a point to not go below 125/th of a second when shooting hand-held. Bracing yourself against a stable surface or using a tripod is always advisable.

Tack Sharp photos - Remote Trigger

Use a tripod and a remote trigger. The ultimate preparation for capturing detailed and sharp photos is to take human motion out of the equation altogether.

Once you mount your camera on a tripod, frame the scene, set the focus, set the appropriate f-stop for the depth of field, switch to the electronic shutter (if available on your camera). Set up a remote trigger using either a cable release or a smartphone app. Then sit back and be ready to pull the trigger when the scene is right.

Compensate ISO for Shutter Speed

If your shot requires a shallow depth of field or lower f-stops, try dialing up more light sensitivity (increased ISO). Most ideal lighting situations accommodate 200-400 ISO, but low lighting scenarios may require you to set the camera to significantly higher ISO.

But keep in mind that ISO determines how sensitive the image sensor is to light and darkness. Very high ISO will yield higher levels of electronic noise in your picture. Noise is the polar opposite of “signal.” Make your choice of ISO carefully if the image is to be enlarged at all.

About Image Sharpening

Tack Sharp photos - Smart Sharpen

Nominal sharpening takes place (usually) at the time the photo is taken. However, sometimes additional sharpening may be necessary. Beware, image sharpening should always be the last step in image preparation.

Most photos are intended to be sharp and detailed. But refrain from sharpening your images in the editing process in a ditch effort to bring out more detail. Image sharpening artificially simulates image sharpness and can actually degrade the digital image. Unless you use a sharpen brush, every time you sharpen an image in post-production you also enhance the non-subject elements in the scene.

So make sharpening for detail a last resort.

Conclusion

Make it a habit to capture the highest level of detail in the original shot. Take the time to learn each of these precautions and then consider them briefly before you take your shot. If you discipline yourself to go through this checklist the next half-dozen times you shoot, this will become a mental-muscle memory that you check subconsciously.

Exercise your good habits and you’ll come home with more sharp photos and become a sharpshooter.

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Tips for Better Bridal Portraits

06 Sep

If you think that bridal portraits are a thing of the past, you are greatly mistaken. Bridal portraits have taken on new life in the wedding photography industry and are every bit as important as they were before.

bride in three poses - Tips for Better Bridal Portraits

What are Bridal Portraits?

Bridal portraits were once taken in a studio, and subsequently when faster and lighter cameras were made available, on location. This is where the bride dresses up in her day-of wedding dress and poses alone. Sometimes the groom would join her.

The photographer would then take several poses of her with her bouquet and veil. So basically, it’s a chance for the photographer to take their time and photograph the bride in many different poses.

Tips for Better Bridal Portraits - two photos of brides in a pink room

This bride was in her home next to a big sliding glass door that let in light even though it was raining.

Now, bridal portraits are taken during the wedding day, thanks to digital photography. Usually right after the bride is done getting ready or during the bride and groom portraits.

It’s a good idea to take portraits during both times to get a more diverse set of bridal portraits, especially if each location is different than the other.

bride on location - Tips for Better Bridal Portraits

Same bride as the one above, this time at the location we photographed the bride and groom photos. It provides a different feeling and look than the ones taken in her home.

Ask the bride to have a little more time during the getting ready and bride and groom portraits so that you can focus on her. She will appreciate the gesture, knowing that you are going to capture her as a beautiful bride on one of the happiest days of her life.

Why are they important?

Bridal portraits are such an important part of the photographic timeline because each bride takes a lot of time to find the right dress, the right look, and choose just the right bouquet for her wedding day. As the photographer, it’s your job to photograph these details with a lot of attention if they hold a particular meaning to the bride.

bride near a window - Tips for Better Bridal Portraits

I used window light through sheer curtains in a hotel room to create a soft light on the bride’s face.

For example, her something blue might be a ring that her mother wore and gave to her on her wedding day. There might be something special on the bottom of her shoes or tied to her bouquet. All of these details are important during bridal portraits and you need to get detail photos of each.

bride by a window, her shoes and bouquet - Tips for Better Bridal Portraits

Bridal portraits are also a great time to get the bride completely alone so that she can have some breathing room before the big day starts.

It’s a great way to quiet the nerves and focus on her and how happy she looks.

bride reading a letter b/w - Tips for Better Bridal Portraits

A special moment in between posed portraits. The bride reads a letter the groom wrote for her.

Bridal portraits aren’t just for the bride alone, though, sometimes the groom will join in as well. This gives you the opportunity to create really solid portraits of the couple together on their wedding day without anyone else present.

bride details - Tips for Better Bridal Portraits

bride holding her veil - Tips for Better Bridal Portraits

When you take bridal portraits on the day of the wedding, be sure to ask your clients for extra time so that you can make sure that you get enough of the bride alone, the bride and groom together, and all of the important details the bride and groom will be wearing.

Bridal portraits inside

Brides usually get ready inside a hotel or in their home. If this is the case, carve out some time before she has to leave to get the bride alone.

Take her to another room where there is sufficient window light. Window light is the best, in my opinion, because it gives you enough light but also casts off into the room allowing for shadows to define silhouettes.

Sit the bride down on the edge of a chair and have her face the window. Change it up and have her stand full frontal toward the window. The poses and variations are endless and you’ll have beautiful soft light to give her a glow.

bride 3 photos - Tips for Better Bridal Portraits

Use window light and if need be, fill flash bounced off the ceiling to create a soft light on the bride’s face.

In some cases, especially in the home, you can take the bride to other rooms or locations within the home that offer more options. Like the photo above, where I took photos of the bride in her living room in her house. I did use flash to bounce light since it was raining that day, however, she is calm and relaxed.

getting ready - Tips for Better Bridal Portraits

Here we see a detail photo of her dress as well as the bride sitting below her grandparent’s wedding photo.

Don’t be afraid to move furniture if you have too. It’s best to move furniture than working around it and missing the opportunity for a great photo. Just make sure that you put it back as you found it.

On location

When you’re out photographing the couple’s portraits, don’t forget to get individual portraits of each, especially the bride. On location may offer better opportunities to get the full dress from both front and behind.

Tips for Better Bridal Portraits

Take individual portraits of the bride and groom if they opt to have the bridal portrait session together.

If the bride has a long veil, you can play with lifting it into the air and dropping it to get some really interesting photos. Having her hold her bouquet and getting up close makes for a great photo.  Capture her shoes in action as well, especially if she has put something special on the soles.

outdoor bride - Tips for Better Bridal Portraits

Being on location gives you more room as well to have the bride walk, turn, spin, and have fun. Photograph her in different types of lighting and backgrounds. Experiment with close up photos as well as full-length photos.

Try lifting and having the veil blowing in the wind. Letting the bride move around a bit can loosen nerves and get the bride comfortable in front of the camera.

Tips for Better Bridal Portraits

Bridal portraits before or after the event

As important as bridal portraits are on the day of the wedding, sometimes you’ll have the opportunity to photograph the bride before or after the wedding. Many photographers call this a “day after session” or “trash the dress”.

Tips for Better Bridal Portraits - hawaii

These two photos were taken during the wedding day.

couple on the beach - Tips for Better Bridal Portraits

The same couple as the previous photo but the day after their wedding. The photos are more relaxed at a different location, and with different styling.

Bridal portraits are important on the day-of because of all that day’s details, however, portraits taken either before or after the day of the event can offer clients a chance to have a more relaxed look.

The bride may wear her hair differently and use perhaps a different dress altogether. Giving you more opportunities to pose her differently and add to the photos taken on the wedding day.

Tips for Better Bridal Portraits

Photos were taken the day before the event.

Taking the bridal portraits before or after the wedding can also give you the opportunity to photograph in an entirely different setting than that of the wedding day. Giving you more creative freedom while the couple is more relaxed.

sunset beach photos - Tips for Better Bridal Portraits

Two photos were taken the day after the event.

It’s not just about the bride

More often than not, the groom may join the session as it gives you more time to create more portraits of the couple as well as individually. Focus on taking details of both the groom and the bride.

couple kissing - Tips for Better Bridal Portraits

When the couple poses together, you have more time to allow them to just be themselves, especially if you are doing a before or a day after session.

couple with antique classic car - Tips for Better Bridal Portraits

Try offering the couple something more of a stylized photo session so that you can use props to tell more of the story. This will give them an entirely contrasted look compared to the one that they are going to have on their actual wedding day.

couple near lily pond - Tips for Better Bridal Portraits

In conclusion

Bridal portraits are growing in popularity both on the actual wedding day and before or after the event. Having this extra time to photograph the bride alone can add to the collection of photos that you will deliver to her allowing her to remember how she felt that day.

couple by Hard Rock cafe - Tips for Better Bridal Portraits

In addition, bridal portraits offer the opportunity to capture all of the important details that the bride took so much time to choose. Bridal portraits let you capture the bride in a more intimate way both individually or with her groom.

couple on the beach - Tips for Better Bridal Portraits

Take advantage of this time and allow your creativity to flow so that get some really amazing photos of the bride either before, on, or after her wedding day.

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

03 Sep

There are many different elements of photography that can affect how the viewer perceives an image. The more you learn to understand how various elements affect an image, the more you can learn to take control of them. Great photography doesn’t happen by chance, it’s crafted and pieced together. If you follow these composition tips they will have you do just that.

joshua tree at night brightness drawing the eye - Composition Tips for Drawing the Viewer's Eye Through Your Photographs

One of the most important elements of photography to understand is how the viewer’s eye is drawn through the image. You may think that when you view a photograph you see the whole picture as one. In one sense this is true, as you can absorb much of an image in a millisecond. At the same time, your eye moves through an image in a way that you’re usually completely unaware of.

The reason why it’s important to understand this concept is that if an image has a natural path for the eye to follow and a strong subject to focus on, it’s far more satisfying. An image that’s too busy and doesn’t have a clear subject isn’t as appealing and the viewer will not linger long.

As the photographer, you can be intentional about how you craft your image so that the viewer’s eye moves through it the way you want.

The Human Eye

Our eyes are bombarded by so many different sights every day that we have to be selective about what we look at and what we ignore. This is usually a subconscious decision that happens as our brains try to filter the information that is passed from our retinas. Much study has been done into what visual elements draw our attention, which is super helpful for those of us that create visual art.

Brightness

Controlling the brightness of various parts of your image is one of the most powerful ways to control the viewer’s eye. You can use this to your advantage in a couple of ways.

Including or adding brightness to areas of an image is a great way to draw the viewer’s eye to that element. The other side of this is to limit brightness or darken areas of an image where you don’t want to draw attention.

sunset over water - Composition Tips for Drawing the Viewer's Eye Through Your Photographs

How you add or subtract brightness to an image will depend a lot on your subject. If you have control of the light you can take control with the way you light the image. Even if you don’t have control of the light you may still be able to manipulate it somehow with neutral density filters or by framing the image differently.

Whatever your subject, you can always control brightness in post-production. Learning to dodge and burn is one of the most valuable skills you can have for controlling light in your photography. Even something as simple as a vignette can have a dramatic effect.

brick wall with birds in a window - Composition Tips for Drawing the Viewer's Eye Through Your Photographs

Contrast

Areas of high-contrast draw the eye more than anything else.

A dull, flat image with no contrast has very little visual appeal. If you really want to draw the attention of your viewers to a certain element of an image, try to find a way to add contrast to the element, or to the area surrounding it.

contrast lines drawing the eye in sand dunes - Composition Tips for Drawing the Viewer's Eye Through Your Photographs

There are many ways to do this. For example, you can overexpose the background to make it contrast with the foreground subject. Alternatively, you can underexpose the foreground to make a silhouette which contrasts with the background.

Again, you can also use post-processing techniques to further control contrast in your image to draw the eye. Adding contrast to areas where you want to draw attention, and removing contrast from areas that you don’t want to distract the viewer can go a long way to drawing the eye.

You can do this using basic tools in Lightroom like the Contrast and Clarity sliders. Control the areas you want to add or subtract contrast from others with the local adjustment tools.

contrast drawing the eye lady on a large sand dune - Composition Tips for Drawing the Viewer's Eye Through Your Photographs

Color

You’re probably aware of how powerful color can be in controlling the mood of an image. The feel of an image with bright colors is very different from an image with muted, desaturated colors.

But what you may not know is that the human eye is strongly attracted to bright colors. Have ever seen the old “selective color” images that convert an image to black and white while leaving one element in color? Fortunately, the trend is long-dead, but it shows how powerful color can be at drawing the eye.

color drawing the eye brightly colored parrots - Composition Tips for Drawing the Viewer's Eye Through Your Photographs

Adding color to an image isn’t always easy. You may be able to color elements of an image with colored gels if using flash.

Subtracting color from an image is often even more important if it’s distracting to the viewer. This is often the case when photographing people. Colorful clothing draws the eye away from the more subtle skin colors of faces. This is why portrait photographers often tell their subjects to wear plain black or white clothing.

Adding and subtracting color in post-production isn’t difficult, but takes practice and restraint. It’s easy to overdo it. You can do a lot with the local adjustment tools and the Vibrance/Saturation sliders in Lightroom. Remember, when it comes to adjusting the color or saturation of a photo, less is more, especially when skin tones are involved.

Sharpness

Have you ever noticed how a blurry image is very unpleasant to look at? Even if it’s only a little bit out of focus, your eye will detect it.

The human eye’s instinct is to adjust focus until what it’s looking at appears sharp. If it can’t find something sharp to rest on, you won’t like what you’re looking at.

sharpness drawing the eye small girl in colorful dress with blurry background - Composition Tips for Drawing the Viewer's Eye Through Your Photographs

You can use this to your advantage in your photography. You probably know that a shallow depth-of-field when photographing portraits creates a very pleasing look. This is because the eye is naturally drawn to the sharp face of the subject while avoiding the other elements that are out of focus. The most obvious way to control focus is using large apertures and a small depth-of-field, but it isn’t the only way.

You could try playing with slower shutter speeds and motion blur. Panning with a moving subject and a slow shutter speed can blur the background while keeping the subject acceptably sharp.

You can also add blur in post-production. Moving the Clarity slider to the left will soften the selected elements that you don’t want to draw attention to. You can also add sharpness to selected areas, but be careful about trying to save an out-of-focus image by increasing sharpness (it doesn’t work!).

sharp rocks in smooth water - Composition Tips for Drawing the Viewer's Eye Through Your Photographs

Take Control

As you learn these composition tips that can guide your viewers, you can start to take control of the process. Adding and subtracting these elements from your images can have a significant effect on how visually pleasing they are. Take some time to think about what you want your viewers to look at and then ask yourself what you can do to make that happen.

Although the way you process your images is very useful, try to think about controlling these elements in-camera first. It isn’t always possible, but taking control over the brightness, contrast, color, and sharpness in-camera will give you better images to work with in post-production. Also, trying to save an image by pushing Lightroom sliders to their extremes usually isn’t a good idea.

As you get more intentional about what you add and subtract from your photography, you’ll start producing more engaging images. Your photography will also become more appealing to the viewer and yourself.

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7 Tips to Get the Best Out of a Model Shoot

02 Sep

Many photographers want to have a human being in their shot. They may ask friends or family to pose for them or may engage the services of a model, either paid or a TFP (trade for prints) engagement. If you have not spent any time in front of the camera yourself, then understanding the specific challenges of doing the work of a model is difficult.

My advice is to spend some time in front of the camera yourself, either posing for another photographer or doing some form of self-portrait work. This isn’t for you to learn about how to specifically pose a model for certain styles of photography (although this is absolutely necessary) but instead for you to understand what it is like to BE a model.

Tips to Get the Best Out of a Model Shoot - girl in white dress in a field

However, if you don’t opt for that valuable learning experience, take note of these tips instead:

Top Tips to Get the Best out of a Model Shoot

#1 – COMMUNICATE

Most people feel really nervous and uncomfortable in front of a camera. Even an experienced model cannot read your mind and does not know what your intentions are. So before you get started, sit down with the person and talk them through the plans for the shoot.

Explain your concept, share your goals, sketch out how you want the poses to look, and what mood or expressions you are after. One major mistake a lot of photographers make is to treat their model like a living statue, only there to be posed and take direction, and they forget that model is actually a person.

By discussing everything at the beginning, you give the person some structure, context, and understanding of the situation, which helps them be less nervous. It also gives them an opportunity to engage with the process, they may even have ideas of their own which could improve on what you initially had planned.

Making it a cooperative situation builds trust and engagement, lowers barriers, helps relax the model and hopefully give you a better outcome. Constant reassurance and feedback throughout the shoot are also important to keep them motivated.

Tips to Get the Best Out of a Model Shoot - hand holding a chain

#2 – COMFORT

Many model shoots often involve the model dressed in clothing that is not always suitable for the environment. When you are standing still in a cold wind wearing a bathing suit, it’s really hard to give off a relaxed summery vibe.

Be aware of the environment and temperature your person is modeling in, make sure they are as comfortable as they can be in the situation. If you have to do a nude shoot, try and do it in a warm heated room instead of outside. It’s really hard to look relaxed when you are cold and shivering.

Discuss your model’s strength and endurance with them in relation to the poses you are doing. Then schedule regular breaks and stick to the schedule. Posing can be quite physically demanding as many poses are quite unnatural to hold for extended lengths of time. Be aware of getting into the zone and shooting for too long and not allowing the model to take a break.

Tips to Get the Best Out of a Model Shoot - bare back with tattoo

#3 – ENVIRONMENT

As well as the comfort of the model, consider the environment in which you are shooting. Is it inside and private? Is it outside and open to the public? Are they expected to get changed in the back of a car or are there some facilities nearby?

What can you do to make the model feel comfortable in the environment? Would they like some music playing to help get into the right mood? Is there a private space for them to go have a break? Blankets and hot drinks and somewhere to sit down away from the camera?

Perhaps it’s a hot sunny day and they need a break away from the heat and the sun? Have they been standing in front of hot studio lights and been constantly flashed while wearing sky-high heels?

Can they bring along a friend for support and encouragement? Are they able to feel relaxed and engaged and safe while they are working in front of the camera?

semi nude girl in a blue wrap - Tips to Get the Best Out of a Model Shoot

#4 – EXPLAIN THE POSE

The way people naturally stand generally looks less than ideal when a shot is taken. Double chins become triple ones, elbows and knees are all awkward, hands on hips or arms crossed in front of the chest, etc., feel comfortable and natural to do, but don’t look so good.

The kinds of things you need to do to your body to get a pose that looks good can be quite uncomfortable to do and hold for long enough to get several shots. The classic “turtleneck” where you push the head forward to get separation at the jawline feels really odd.

So take the time to explain and demonstrate the pose to the person. Give them a chance to experiment and figure out how to get the hang of it. Usually, you will need them to do several things at once – stand in a certain way, tilt the shoulders, put the arms in position, move the head to the right angle, have the hair doing something, etc.


Demonstrate each pose and explain to them why it matters. If you show them the “before” and “after” they will generally understand and be more inclined to make the effort because they can see the difference.

Start with small easy pose setups to allow them to relax and master the basics before going on to the more complicated poses. That is unless you have a really experienced model who is on your wavelength, in which case, go nuts.

#5 – HANDS

Generally, when people are being asked to do something new and difficult, they concentrate on the hard stuff so much that they forget about the unnecessary stuff around the edges. One of those things is their hands, and they can often end up being floppy uninteresting things stuck on the ends of the arms.

Bad hands can completely ruin an otherwise good shot. So pay attention to what their hands are doing, because the model may not know that they need to with them.

hand and pearl necklace - Tips to Get the Best Out of a Model Shoot

#6 – MAKE THEM LOOK GOOD

A lot of fashion photography styles use really artificial poses that look terribly uncomfortable to do. They don’t generally look achievable or attractive to the viewer either, but it appears to be the style of the moment. That might be your desired outcome and I hope you end up with some amazing shots.

However, one of the great things you can do when working with a model is to make them look good in front of the camera in a way they never have before. A lot of that is because people usually don’t know how to pose well in front of a camera. Creating images that make them look good means they then feel good about what is happening.

Being able to offer them some copies they can be proud to show people afterward is an added bonus. If they leave the session feeling valued and positive about the experience, they will be more likely to say yes if you ask them to model for you again.lace fan - Tips to Get the Best Out of a Model Shoot

#7 – ENGAGE THE EMOTIONS

Using a model as a living breathing mannequin is one way to have a model pose for you. For some types of photography that impassive detached style of posing is desired. However, if you want to truly engage the viewer, having some emotion present in the image is more effective.

Really good models can project a range of different emotions, that is what good professional models do and why they get paid the big bucks. Not everyone gets the option of working with models of that caliber every day, so when working with a less experienced model you may need to coach them around the emotional projection.

Asking your model to try and feel a particular emotion can be a challenge for them to do on top of all the posing you are asking. So this is a more advanced step that you may not always achieve.

Talk them through the concept of the shoot – is it a soft spring morning and they are enjoying a walk on the beach in the sun? Are they a cool crisp corporate executive about to give a high-level presentation? A couple of friends enjoy cocktails and nibbles on a summers evening? Help them get into the right headspace to project a feeling or emotion to fully express the pose they are doing.

Sometimes allowing them to move during the shoot or move into the final desired pose can add an extra level of engagement. Both the body and the brain are fully involved in communicating the external expression of the pose.

silver shoes - Tips to Get the Best Out of a Model Shoot

Conclusion

To get someone to stand still and look fantastic while doing it, allowing you to take an amazing photo actually requires a lot of work behind the scenes first. When working with a model, remembering that they are a living breathing person is important, they are not just a thing that’s there for you to manipulate into the desired position.

Taking care of your model, providing them with an environment and a situation where they can relax and be comfortable while working in front of the camera is important. Someone who is happy and enjoying their modeling experience is far more likely to provide you with great photos, than someone cold, stiff, miserable and uncomfortable (unless that is the look you are after).

Help them be a good model. Communicate, listen to their feedback, support them and you should both reap the benefits with some memorable images and hopefully a fun experience as well.

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4 Tips for Photographing Fog to Create Mystical Images

31 Aug

There’s nothing that I’ve seen so far that compares to the ethereal and mystical beauty of capturing long exposure and photographing fog. There’s something so compelling about the soft silky texture that results from it. So much so, that photographers all over the world are constantly chasing it.

4 Tips for Photographing Fog

In fact, where I live in the Bay Area, we call these people “fog-chasers,” and they spend their days in popular local spots waiting for it to make an appearance just so that they capture this mystical geological phenomenon. The fog can create mystique and drama. It can add mood, be a soft blanket over a scene, a floor, or a wall. It can take many forms in shapes and create some very compelling photographs.

The main challenges in capturing these fog shots are:

  • Focus issues for getting a sharp image.
  • Preventing camera shake.
  • Preparing for the shot.

4 Tips for Photographing Fog

Tip 1 – Finding the fog

This is the most challenging aspect of doing this type of shot since as a photographer you, unfortunately, have no control over the weather. So, what I do is scour the web for weather sites that can provide me with the information I need.

I also check out the weather on the local news religiously as well as follow weathermen on Twitter and Facebook. Once the word is out that fog is on its way, webcams are the best way to monitor it on the day you want to shoot. You can see what the fog looks like and if it’ll be cooperative for the type of shot you have in mind.

4 Tips for Photographing Fog

Tip 2 – Composition

Fog, in general, has a way of turning an ordinary scene into something spectacular. For fog waves, wide landscapes with forest treetops make an interesting subject. So do iconic structures or monuments.

4 Tips for Photographing Fog

Here in San Francisco, the Golden Gate Bridge is a local favorite. At certain times during the year, the fog gets so low that it flows beneath the arches. It serves as the perfect opportunity to cream a soft blanket from these types of long exposures.

Another local favorite is Mount Tamalpais, which consists of long ranges of hills adorned with redwood trees. The way the fog flows over the treetops creates these spectacular waves as it flows through the peak’s ridges.

4 Tips for Photographing Fog - Golden Gate bridge in the fog

Tip 3 – Use an ND Filter

Neutral Density filters are an absolute necessity for smoothing out fog and making it appear almost silk-like. The time of day will dictate the density of the filter needed. If it’s bright daylight out you’ll need something quite dark while if you’re shooting at twilight you’ll need something lighter or you may not need a filter at all.

When using an ND filter, make sure to first set up your shot using autofocus, without the filter. Then set the camera to manual focus and add the filter. This way you’ll assure the proper focus for your shot. Alternatively, you can also use back button focus.

4 Tips for Photographing Fog

Most of the time if the filter is too dark the camera will not be able to focus on a specific focal point. Also, because fog is a moving entity and puts a veil on any element in your composition the camera’s autofocus will most likely fail. Fear not and simply find something in the frame that’s sharp enough to focus on, then lock focus on that spot.

Tip 4 – Experiment with shutter speed

There are two types of fog shots that be taken from the techniques above that will produce different results based on your shutter speed.

4 Tips for Photographing Fog

A shorter shutter speed will give the fog more texture while a longer exposure will make it look silkier and smoother. You’ll need to experiment to see what looks better to you. Sometimes keeping the shutter open too long will result in the fog looking too messy and it could lose its lines and consistency.

Conclusion

Hopefully, these tips are helpful and will inspire you to get out there and experiment photography fog. The most difficult aspect of this type of photography is first finding it, then capturing it in a way that’ll showcase it as well as the scene it should be complementing.

4 Tips for Photographing Fog

In order to achieve this ND filters will help you soften the fog flow and turn it into waves. After that experimenting with shutter speeds will create various results.

In the end, it’s your aesthetic as the photographer that will dictate what is most pleasing to you. I hope that the photos that I’ve captured from the years of shooting the fog will inspire and get you on your way to becoming a fog chaser too!

4 Tips for Photographing Fog

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