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How to Take Creative Landscape Shots using Intentional Camera Movement

19 Aug

Many photographic situations rely on keeping your camera as still as possible during exposure for pin-sharp images. You may have practiced hard to develop a steady hand and you’ve probably used tripods, remote shutter releases or image stabilisation to reduce the risk of camera shake. But, is keeping your camera still always a good thing? Every now and again, why not throw caution to the wind, move your camera while the shutter is open, and explore the range of creative opportunities this offers you as a photographer.

Bluebellwoodsblur750

What is Intentional Camera Movement and why use it?

Intentional Camera Movement (or ICM for short) is a photographic technique where the camera is moved as the image is being taken. One example is panning. The camera movement mimics that of a moving subject to keep the subject sharp and the background blurred. However, moving your camera during exposure can open up a lot more creative options for you to try out. In particular, ICM can be used to take some truly unique landscape shots. The technique can be exceptionally liberating and, by reducing the amount of sharp details in a landscape, it allows you to concentrate on lines, form and colour in your images. A scene that you may ordinarily consider too cluttered, might just come to life through ICM by letting you blend colours and shapes for an interesting abstract shot.

One of the reasons that I have grown to love ICM is that it enables you to capture a landscape in a unique and personal way that cannot easily be reproduced. It can even breathe new life into overly familiar landscapes, letting you see and capture something new about a location you may have photographed many times before. If you are struggling to find inspiration for your next photographic project, or you want to get your creative juices flowing, this is a technique that you should try at least once. It is relatively easy to take some striking shots, you are sure to end up with a unique set of landscapes and it can also be a lot of fun.

ICMburtonbshorejul15750

Slow Shutter Speeds

A key factor to get right when using ICM is the shutter speed. It needs to be long enough to capture significant motion blur; anything from 1/3 or 1/2 second exposure times, up to multi-second exposures. Because of these slow shutter speeds, shooting in low-light conditions is ideal for ICM. During the daytime, it may be harder to achieve the required shutter speeds even at the lowest ISO setting and the smallest aperture (highest f-stop number). You may need to use a polarizing filter, a neutral density (ND) filter, or a combination of both. Personally, I prefer to use a polarizing filter as a starting point as this helps to boost colours and cut down on reflections and glare. I will then add a 2-stop or a 4-stop ND filter if the shutter speed needs to be slowed down any further.

When starting out with ICM, it may help to shoot in Shutter Priority mode. Set the shutter speed to around half a second to start, and turn the ISO to the lowest available setting on your camera. Once you have practiced at this shutter speed, you can then get longer exposure times by using a combination of low-light and/or filters. Focus manually and turn off the autofocus to prevent the camera searching for focus during exposure. Also, if you are using a lens that has image stabilization, remember to turn it off.

RockpoolsportlandICM750

Moving the Camera

Once you have taken control of the shutter speed, how you move the camera is totally up to you. Get creative, there are no rules. You could move the camera vertically, horizontally, or diagonally – fast or slow. Alternatively, you could rotate the camera 360 degrees during exposure to create a spiral effect, or change the focal distance on a zoom lens during exposure to create a zoom effect. With practice, you can combine two or more of these movements to create something truly unique. The look and feel of your final images will be determined by the speed, direction, and smoothness of your chosen movements. If you wish, you can use a tripod to control the camera movement. This will help you to capture a smoother movement, which can be useful if you wish to retain a straight horizon line. I prefer to work hand-held when moving the camera, as it offers greater flexibility and provides more opportunities to experiment with different movements.

Bold movements can sometimes be more effective as there is a risk that too subtle a movement may end up looking like camera shake in the final image. Waving your camera around may not come that naturally, and it may result in you getting some funny looks from amused onlookers, but the end results definitely can make it worthwhile.

ICMwarehamtreesunset750

What to Shoot

A good place to begin using ICM in your landscape shots is to look for locations that offer striking colours, lines, or patterns. Woodland is a favourite ICM subject of mine, particularly during the spring and autumn seasons. Clean, parallel lines provided by the trees and vibrant colours of nature (provided by bluebells in the spring and fallen leaves in the autumn) lend themselves to a vertical camera movement. This can be from the top-down, or from the bottom-up and can be a quick or slow movement. It really just depends on the effect you wish to capture, and how experimental you want to be. Seascapes can be a good starting point for side-to-side camera movement, panning the camera in line with the horizon.

Alternatively, in rougher waters, you could try to match the movement of your camera to the movement of the waves for an altogether different effect. Shooting at sunrise or sunset could provide you with a greater variety of colours to work with, and shooting city lights after dark can also offer a wide range of creative options.

Once you have found a suitable location, you will probably find yourself taking multiple shots with various different movements. (I should warn you that this technique can sometimes be quite addictive, and you may find your memory cards filling up quite quickly!) You may find it useful to set your camera to shoot in Continuous Shooting Mode so that you can take a series of shots in quick succession, while moving the camera in a particular direction.

Bluebellaction750

Final Tips

As with any type of photography, images created using this technique are not going to be to everybody’s taste. It is highly subjective and what works for you will not work for others. Just keep in mind basic principles of photography such as composition and exposure – these are still just as important. Also, while this technique will render much of the landscape abstract, you may find it helps to have at least one element of the landscape sharp, or recognizable in the final image.

There is an element of trial-and-error when starting out with Intentional Camera Movement. You should soon find out what works for you and what doesn’t; this will help you to develop your own style. Don’t be too concerned if you do not get an effect you like right away – the technique can be quite hit-and-miss sometimes. Take a lot of shots, and don’t be too quick to delete shots that you feel haven’t quite worked out as you had hoped. There is a chance that, after a few days, you may take another look and see something that you like in there after all.

One of the great things about this technique is that it is all about how you express yourself through photography – think of your camera as your paintbrush. Get creative, have fun, and start seeing landscapes in an exciting new way.

RiverweedsICMblandford750

I have included several of my attempts at ICM landscape shots. Please feel free to share your own in the comments section.

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The post How to Take Creative Landscape Shots using Intentional Camera Movement by Richard Beech appeared first on Digital Photography School.


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How to Create a Spectacular Background Using an El Bokeh Wall

11 Aug

Bokeh is the aesthetic quality of the blur, in the out-of-focus areas of an image. You can easily get this spectacular background blur in your photos using a fast prime or macro lens (basically ones with an aperture of f/2.8 or greater), and a technique involving what many call the El Bokeh Wall.

Photo A  Uddhav Gupta  uddhav98 gmail com

In my opinion, the El Bokeh wall is very effective at creating eye-popping bokeh, which can help make your picture more interesting and unique in its own right. However, keeping in mind the potential it has, it doesn’t seem to be used often enough. It is very simple though, you can do it without any special equipment, using things you will probably be able to find lying around at home.

(NOTE: Several demonstrations of this technique use a speed-light. For those without such equipment, don’t worry, there IS a very good alternative which this tutorial will tell you about!)

THINGS YOU’LL NEED:

  • A camera
  • A macro or prime lens with a large aperture for nice bokeh (you can still try to do it even if you don’t have one of these, but your attempt may or may not be successful)
  • A tripod
  • Aluminium foil (You’ll probably have some in the kitchen. If not, it’s very cheap to buy)
  • A speedlight, or as in this tutorial, use an alternative light source instead. You can use a flashlight or download an app onto your smartphone which allows you to use its flash as a light)
  • A subject
  • A background (you can use a piece of cardboard)

STEPS FOR SETTING UP THE EL BOKEH WALL

You’ll be surprised at how simple it really is:

Step one: Get as much aluminium foil as you think you will need to sufficiently cover your background

Step two: Crumple the aluminium foil into a loose ball (as shown here)

Step 2

Step three: Open up the ball, without smoothing out the crinkles (these will reflect the light, which will create the magnificent bokeh you need) – be careful not to tear the foil in this step.

Step 3

Step four: Stick the foil to the background (you may use some transparent tape to do so).

Step 4

HOW TO CREAT A PICTURE WITH AMAZING BOKEH

Without the use of a speedlight!

  • Place your camera and tripod some distance away from the El Bokeh Wall. The desired part of the subject (or the whole subject) is typically included along with some of the bokeh from the foil.
  • Place the subject a suitable distance away from the El Bokeh Wall. You will need to judge what this suitable distance is on your own, as that will vary depending on your chosen subject, and the camera and lens combination you’re using. While constantly checking your camera’s LCD monitor (it’s just easier this way – remember to switch to Live View), place the subject in a the position that makes the bokeh pops the most.
  • Get your camera to focus on the subject (with the background properly out of focus to obtain good bokeh) and then switch to manual focus.
  • Experiment with your lighting (since you’re not using any fixed lighting). Hold up your flashlight or smartphone and experiment with various angles until you get the best result.
  • Set the two second self-timer on your camera to count down.
  • Keep holding the light source at the angle which yield the best results until the picture is taken.

THAT’S IT!

You should now have a great picture with marvellous bokeh like this:

Photo B  Uddhav Gupta  uddhav98 gmail com

Photo C  Uddhav Gupta  uddhav98 gmail com

Give it a try and please leave your comments below.

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Tips for Using Speedlights to Create the Right Lighting for Outdoor Portraits

08 Aug

In these two video tutorials brought to us by ExpoImaging, NYC photographer Erik Valind shows two different tips:

#1 – How to create artificial sun with a speedlight

#2 – Creating soft light during midday harsh light

Gear and things mentioned in the videos:

  • ExpoImaging ROGUEGELS-U Rogue Photographic Design Rogue Gels Universal Lighting Filter Kit
  • Rogue Photographic Design ROGUERELG2 FlashBender 2 Large Reflector, Bounce Flash, Snoot, Gobo (Black/White)
  • Other things available from Rogue Photographic Design

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Beginners Guide to Using TTL Off-Camera Flash

05 Aug

So you want to use off-camera flash. But why? Your camera has that hot shoe there for a reason, right?

There are two things that you may not realize:

  1. That many DSLR-speedlight combos are capable of wireless off-camera flash using through-the-lens (TTL) metering without any additional equipment
  2. That using off-camera flash can take your photography to an entirely new level both in quality and creative potential.

Many references to off-camera flash talk about sync cords and wireless transmitters, when in fact, many DSLRs with a built-in pop-up flash have the ability to wirelessly control a speedlight. Likewise, many hot shoe mounted speedlights are fitted with an optical receiver to be wirelessly triggered.

Image of pop up flash and speedlight optical receiver

Look, no wires! On camera pop-up flashes are often capable of optically triggering speedlights.

The least painful way to cross the proverbial bridge into the realm of wireless off-camera flash – often referred to as a remote or slave flash – is by utilizing your camera’s ability to act as a remote trigger for a flash combined with TTL metering.

Most Nikon cameras from the D70, and flashes from the SB-R200 and up; and Canon cameras from the 600D (T3i) and flashes from the Speedlite 90EX and up offer these features, but check the manufacturer’s website to be sure what setups will work. There are also a wide selection of other brands of flash, often less expensive, that offer similar features.

A TTL-equipped flash is manufacturer specific. The TTL feature of a Nikon dedicated flash will only work with Nikon, however, it could possibly still be used in manual mode.

In a nutshell, TTL is the way that the camera sets the exposure and flash intensity automatically by firing a nearly imperceptible pre-flash, taking an exposure reading, and adjusting settings accordingly. Nikon calls it i-TTL and Canon has dubbed it e-TTL but it’s basically the same deal.

For wireless off-camera flash functionality, the built-in flash on your camera is set to send an optical signal to your flash which triggers it.

Photo taken with a hot shoe mounted flash

This photo was taken simply with a hot shoe mounted flash set to TTL metering and the camera set to aperture priority. Shot at 200mm, f/5.6 at 1/60th of a second with the flash pointed at a low white ceiling. Nice soft, even lighting.

Photo taken with off camera wireless flash

Exact same settings as the photo above except the flash was setup off-camera in remote mode, with TTL metering. It was placed at 45-degree from the subject and aimed towards the food. Voila! Directional, moody lighting.

First time users of this method will think they just discovered sorcery. Partly because it’s such a cool trick and partly because it is easy to achieve awesome results right away. Manually controlling an off-camera flash isn’t the end of the world but it requires more thought and consideration to balance the flash and camera settings to achieve desired results.

If you have a camera and a hot-shoe-mounted flash unit that are capable and you haven’t taken advantage of it yet, this is the point where you should start getting excited.

Setup for Nikon Equipment

Camera Settings (menu locations may vary depending on camera model)

  1. Open the Custom Settings Menu
  2. Scroll down and select menu “e” – Bracketing/flash
  3. Choose e3 on the list – Flash cntrl for built-in flash
  4. Choose the last selection on this list – Commander mode
  5. The first line item is Built-in flash, scroll right to highlight the Mode column. If you haven’t messed around with this it will probably be set to TTL.
  6. Scroll down until it reads – –. This means that the camera’s built-in flash will only trigger the off-camera flash and won’t add any additional light to your exposure.
  7. No need to change it but note what channel is selected as your flash will need to be set to the corresponding channel.
  8. Press OK.
  9. Pop open the built-in flash.

Flash Settings (varies depending on flash model)

Photo showing SB-600 remote flash setting

Users of Nikon speedlight models SB-600 and SB-800 are looking for this symbol indicating the flash is ready to be wirelessly triggered. The SB-800 selection is also marked Remote.

On some Nikon flashes you are looking for a curved arrow symbol that signifies it is set to be controlled wirelessly. On some models like the SB-600 and SB-800 this is accessed in the Custom Settings menu while the SB-700, SB-900 and SB-910 have a dedicated switch to set the flash to Remote.

Setup for Canon Cameras

Camera Settings (may vary depending on camera model)

  1. Press the Q button to open the menu.
  2. Cycle through until you reach the Built-in flash func. menu setting identified by a flash symbol. Press the Set button to select.
  3. Choose the middle menu item called Easy wireless flash shooting. This setting can also be found in the first page of the shooting menu under Flash control.
  4. No need to change it but note what channel it is set to as your flash will need to be set to the corresponding channel.
  5. Pop open the built-in flash

Flash Settings (varies depending on flash model)

On Canon a flash you need to set it to slave mode. Some Speedlite models have a dedicated switch for this setting, and others require you to hold down the zoom button to switch it on.

The system is an optical one, meaning that the receiver on the speedlight needs to “see” the signal from the on camera flash. A direct line of sight is recommended but I have found that you can often hide the speedlight slightly behind a wall or other object, and it will still receive the signal.

Other than the signal being interrupted by physical objects, it can also be finicky in bright daylight, and the range is limited compared to radio frequency triggers.

Food photo with off camera flash

Simply getting the flash off of the hot shoe and a couple of feet to the side casts more visible shadows and gives the photo more dimension.

Editor’s Note: If you have a system other than Canon or Nikon consult your camera and flash manuals for the settings. We apologize if you feel left out, but we are not able to cover every brand and combination in the scope of one article. 

Notwithstanding the limitations of the system, it’s an ideal introduction to off-camera flash with minimal investment of time or money – especially if you have the equipment already.

These are the very basics. Both Nikon and Canon systems are very flexible, and expandable, with the ability to adjust flash intensity from the camera, add additional flashes in groups, and in some cases, trigger other flashes from a master flash adding more versatility and utility.

After you get the system working its magic and have officially entered the  realm of off-camera flash, there are innumerable adjustments to make both on the flash and camera to gain more control, and fine tune your lighting to create the photo you see in your mind.

A Few Quick Tips

  • Very bright ambient light and flashing lights can interfere with the optical triggering
  • For best results, point the receiver window on the flash (usually covered with red plastic) toward the camera and rotate the flash head if necessary
  • If the background is too dark, try decreasing (slowing) shutter speed and/or increasing the ISO

If you want your subject and background to have more even lighting, take a look at Dragging the Shutter: Balancing Fill Flash with Ambient Light

For more technical information about flash placement, have a read of Working with Off Camera Flash and TTL.

Just starting out with off-camera flash? Let’s hear about your experience and see your results in the comments below.

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Beginners Guide to Creating and Applying Texture Overlays Using Photoshop

03 Aug

Creating and applying textures is surprisingly simple and fun to do.

Adding texture to photographs was happening long before the invention of Photoshop and other editing programs. In the days of the darkroom, we would scratch negatives with pins, sand paper them, stain the photographic paper with fixer before exposing, layer two negatives on top of each other in the enlarger, or push our film ISO to increase grain. These days, with editing programs being our digital darkroom, we simply have yet another way of adding texture to photographs.

What is a texture?

In digital photography terms it’s simply another layer added to your photograph in an editing program, usually an image of some sort of textural surface, such as paper, wood, concrete, etc., but anything at all can be a texture. They can be photographed, scanned or even made in Photoshop.

Almost anything can be used as a texture.

Some examples of textures. A friend’s work bench, a close-up of my lamp shade, a mossy rock, fog from a smoke machine, and some very ugly carpet.

Why use textures?

With the right texture overlay, and application of it,  you can add an extra level of depth and feeling to your photograph. You can use them for anything – from adding a vintage or grunge look to your photographs, to creating fine art pieces.

One of the best uses is to rescue a photograph that just isn’t quite working. I’ve been told no texture overlay will save a terrible photograph. While this is true for the most part, sometimes it can transform an otherwise unusable image to something more promising.

A texture can transform an otherwise unusable image into something more promising

A texture can transform an otherwise unusable image into something more promising.

Textures can be added to almost any kind of image. If you’ve ever downloaded a photography app for your Smartphone, you have most likely had them add a texture with the app’s built-in filters.

Some mobile phone apps add texture for you

If you’ve ever used a filter on a mobile phone app, you have probably already had textures added for you.

Getting started

You don’t need to create your own texture to get started. There are many pre-made, free textures available on the internet. A quick Google search will bring up a bunch of free texture sites. But not all textures are created equally, or usable legally. You need to look for textures that are a decent size and resolution, a 200px/72dpi texture over a 3200 px/300dpi image probably isn’t going to work so well.

You’ll also want to make sure the texture has the right copyright permissions. Sites like deviantart.com have many stock textures offered free by their artists for personal use. These artists ask that you simply return the favor by sending them a link to the image you created using their work. Other sites like freetstocktextures.com offer their images copyright free for personal and commercial use, as long as you aren’t reselling the texture images themselves.

Creating your own textures

Creating your own textures is as simple as taking a photograph. Why do that, when you can download free ones? Because it’s fun, your work is then completely all yours, and you can tailor your textures to suit your images. For example; if you’re photographing skateboarders at a skate park, you could also gather some shots of the concrete they skate on, or graffiti around the place to create original textures that work with, and possibly add to, the story of your subject matter.

create your own textures to add more story to your image

Textures can add a bit more of a story to your images.

The image above is of my daughter asleep after a day at the beach (many years ago) combined with texture of the water I took that day, to add to the story and memory of the day, and give the photo an extra dream like feel.

Create a texture with your scanner

Below is the first texture I created, one that I still use years later. It was created by scanning the bottom of an old baking tray. Scanning works well for textures of papers and other small flat surfaces.

You can also use a scanner to create textures. Thiis is a scan of the bottom of an old baking tray

Scanned texture from an old baking tray.

The baking tray texture was used in the image of the cello player at the beginning of this article, in combination with a manuscript image of the music she played on the day. I also used it in the image below; one of a series of images created in collaboration on album artwork with Canadian singer songwriter Sora. The texture was used to tie all the photographs in the album together even though some were taken by other photographers. Yet another use for textures!

Baking tray texture in combination with a few other textures.

Textures can be used to tie a series of images together.

Create a texture in Photoshop

You don’t need to understand complex Photoshop processes to create a texture quickly and easily. Here are a few simple steps to create a basic texture in a few minutes:

  1. Open a new file the size and resolution you require
  2. Brush around a couple of colors
  3. Add a Render Clouds filter
  4. Adjust levels for a bit of contrast
  5. Add a vignette and a color filter
Creating a texture in photoshop takes only minutes.

Paint in some colors, add Render Clouds Filter, some contrast, then some colour and vignette. Easy!

Instead of a Render Clouds you could use the Blur Tool to swirl your colors around, or try some of the other filters in Photoshop to get different effects. I tested it out on what was originally a rather terrible photograph of this orchid.

creating-and-applying-textures13

The texture, plus a few color adjustments and a warming photo filter, and it’s a whole different image.

create-and-add-textures09

While it does look a little like something you might see on your Facebook stream with a positive affirmation written across it in an awful font, it took me less than five minutes to do for this demonstration to show you how simple it can be to create a texture from scratch.

create-and-add-textures10

Applying your texture

It is really very easy to apply your texture. There are some more technical articles on adding textures here on dPS, but here is a quick guide to get you started.

Click and drag your texture thumbnail in the Layers palette over onto your original image. Your texture becomes layer 1 in your original image’s Layer palette. Choose your level of transparency with the Opacity Slider and use Free Transform Tool to move the texture about. Turn it around, enlarge or stretch. See where it sits best.

create-and-add-textures11

Then it’s simply fine tuning the Opacity, maybe putting Eraser Tool on a low opacity and painting out unneeded parts of the texture. Alternatively use a layer mask to paint out some areas, as well as back in, if you accidentally paint out too much.

create-and-add-textures12

Have fun with it and experiment. Try a few different layer blend modes, add multiple textures, or add the same texture image a few times, perhaps with each layer having a slightly different hue. There are no rules.

Have you created a texture that you love? Share it and its use (your images) in the comments below.

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How to Creatively Alter the Light in Your Photo Using Lightroom

28 Jul

photo of a Tokyo streetscape after being fixed in Lightroom

Learn how to fix problem light and enhance your vision for your photos in Lightroom.

If you’re like most of us, you’ve taken photos from time to time that you’ve had high hopes for, only to realize later on that they didn’t turn out the way you’d hoped. Often what looks like awesome light when you captured the image, just doesn’t translate to great light when you view the photo on your computer screen.

When the photos you’ve captured are once in a lifetime memories they deserve better than this. Thanks to Lightroom they can be improved, fairly quickly and easily. In this video you’ll see how to relight a photo in Lightroom. You’ll learn techniques that you can use on your photos to move the light from where it is now to where you want it to be.

You will see how to use the Graduated Filter to darken skies, how to use the Radial Filter and the Adjustment Brush to bring light and saturation to where you want it to be.

Don’t get me wrong, I’m a big advocate of using the correct settings and capturing a good photo right in the camera. I’m also pragmatic and I know that, despite the best of intentions, the photos you capture don’t always look as good you’d like. Lightroom can help.

So here’s how you can use Lightroom’s tools to improve a photo. This rather lifeless Tokyo streetscape is improved so it is a crisper, shinier image with light and saturated color where it should be. This is something you can do too.

We’d like to see what you do with these tools and your photos, so feel free to show us in the comments below.

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3 Steps to Professional Looking Headshots Using One Flash

20 Jul

Ideally, every time we take photos of someone, there is a studio full of equipment at our disposal or wonderful sunlight that is perfectly diffused. This, however, is not reality. Usually, the sun is either too faint or too harsh. We don’t always have access to a studio, let alone one full of lighting gear that we can use. Sometimes, we also just don’t have the time to learn a new technique, rent more gear, or find the perfect location. Other times, the subject has very limited availability and locations. Still, we smile through the limitations and do our best to provide professional images every single time.

Do you feel prepared to compensate for these different light conditions that you may be forced to work with, though?

OneFlash-example4

Natural light is always wonderful for any type of portrait, including headshots. Bouncing that natural light around with reflectors or just finding a bright shaded spot all work well. If you have a flash at your disposal, though, you can create even, or dramatic lighting to accommodate headshot needs.

The following three tips will help you create headshots using only one flash to compensate for less-then-perfect lighting conditions:

1. Diffuse, diffuse, diffuse!

When using a flash, the last thing you usually want is for it to LOOK like you used a flash. To do this, you need to find ways to make the light disperse more, reducing any harsh look that it will otherwise produce. There are several ways to do this, and each on their own will help. Combining techniques works best, though.

  • Bounce it – If there’s a wall somewhere to your side, a ceiling within a couple of feet from you, or if you have a reflector of any kind, bounce it. Aim the flash towards the reflector so that it fills in shadows to compensate for any uneven lighting conditions.
  • Aim the flash behind you to help disperse the light –  This may sound counterintuitive, but aiming the flash BEHIND you helps to disperse the light quite a bit. It provides a front light on your subject, but much softer than would otherwise be if the flash were pointed directly at them.
  • Use a diffuser on the flash – Whether it’s a plastic cover, a fabric mini-softbox, a bendable reflector that attaches, or a homemade version of any of the above – a diffuser directly on your flash will instantly soften the light and allow you more versatile light on your subject.
  • Set zoom on flash to the widest setting possible – your flash can be set to adjust to match the angle of view of the focal length lens you are using. However, this can be manually adjusted regardless of the lens you are using. When the flash is set to 70mm, for example, the light will be more narrow and direct than when it is set to 24mm. While this alone doesn’t make a drastic difference, it is another tool to add for further light diffusion.
Left - No flash. Right - Single flash, on-camera, turned to right of subject for fill light.

Left – No flash. Right – Single flash, on-camera, turned to the right of the subject for fill light.

In the before and after photos above, the left image shows the result using only natural light from the window. It’s beautiful light, but not always what you want.

The right photo shows same location, same position, with a single flash used to fill in the shadows. The flash is on-camera and has a flash dome diffuser on it. It’s angled to left of photographer (right of subject) so that it will bounce off walls and ceiling, and manually set at 1/8th power.

2. Use remote triggers

If you have access to remote triggers, play with using the light to add drama or emotion. This alone will give you a studio look and can be done just about anywhere. Be sure that this type of look is appropriate for your subject’s needs, especially since it tends to have a very strong look. For example, the owner of a flower shop may want something that is more natural-looking and shows the outdoors or her shop, while the owner of a tech start-up may like the strong look of dramatic lighting. While each situation is different, a few options for flash placement are:

  • Directly behind client
  • At 45 degrees behind or in front of subject
  • Directly to side of subject
Left - No flash. Right - manual mode, underexposed several stops, single flash towards right of subject.

Left – No flash. Right – manual mode, natural light underexposed several stops, single flash towards right of subject.

The before and after photos above show how to use a single flash to create some dramatic headshots in any indoor situation. The left photo is properly exposing for the space, using natural light only. The photo on the right is manually controlled to greatly underexpose the natural light (so that the background disappears as much as possible), and then a single flash is placed towards right of subject to give concentrated and dramatic light.

3. Manual flash mode

While it is best to always use your flash on manual mode in order to have full control over the lighting, this is an often overlooked method. Manual mode on your flash will allow you to adjust the strength for any situation. Shooting indoors and bouncing the flash? Start your flash strength at 1/8 of full power and adjust from there. Shooting in full sun? Start at 1/2 strength and adjust down as needed. Need a soft bit of shadow to be filled while indoors? Set your flash strength to 1/16 and adjust from there. Note that you will get to know good starting points for different situations, but adjustments are always needed since every situation is unique.

OneFlash-example6

Left is using no flash, outdoors. Right photo is same position and location, using single flash on camera at 1/4th power.

The before and after photos above show you can use a single flash to compensate for shadows in daylight. The left photo shows direct daylight and no flash. The photo on the right is at the same time, same position, same sun condition, but with a single flash at 1/4 power to help fill shadows.

Regardless of what tools you have access to for each photo shoot, a big part of your job as photographers is to be able to adjust to any situation. While having lots of gear at your disposal is handy, it is not always necessary. Oftentimes, the gear you have on hand can do the job you need it to do; all it takes is some thinking outside of the box.

Do you have ways that you create beautiful headshot or portrait lighting on-the-fly? Please share in the comments below.

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How to Make Unique Portraits Using Light Painting

19 Jul

Using the surprisingly simple technique of light painting you can create a wide variety of portrait styles using only a small flashlight as your light source. I should warn you though, light painting of all kinds can be highly addictive. Once you start, you may not be able to stop.

Light painted portrait

Light painted portrait

One of the main things to understand with light painting is that the camera sensor only reads light, if there isn’t any light hitting the person shining the flashlight, they simply do not show up in the image. This allows you to move around in front of the camera while the shutter is open, and gives you ultimate control of what areas of your subject are lit. This is great for portraiture, especially in situations where you might have a complicated background, or one where you only want to light certain sections.

light painting a portrait

Below is a list of what you will need for any light painting, and a guide on how to use the technique specifically for portraiture. For a more detailed information on light painting have a look at this two part tutorial .

What you will need:

A hand held light source. Any cheap flashlight or LED light will do, you can even use your mobile phone.

Tools of the light painting trade

Any small LED or flashlight will do, even your mobile phone.

For light painting a portrait subject a directional beam of light is best, non-directional (or diffused) light will illuminate you as well. Different flashlights give off different types of light. Some have blue cast, which isn’t great for portraiture so you might want to experiment with your white balance, or add a warming filter in post-processing. You can also add color to your light source with cellophane (colored gels) or colored sheer fabric.

Tripod and camera settings

Light painting needs a long exposure, so you will need your camera set up on a tripod. Setting your shutter speed somewhere between 10 and 30 seconds is a good place to start, then play around from there. Your ISO should be at its lowest to avoid the grain (noise) caused by a long exposure.

The cover of darkness

You’ll need a completely dark room or studio, or you can shoot outside at night. If shooting outside, you’ll have to be careful of incidental light, such as street or car lights, overexposing your image. But these things can be used to your advantage in creating interesting backgrounds for your portrait subject.

Light painting a portrait outdoors

Light painting a portrait outdoors

Ready, set, light paint

Have your portrait subject in position and turn all lights out. Shine your light source on your portrait subject to help you get focus. You’ll want to focus on the face, so it’s possibly best to have your subject close their eyes before you shine your light directly into their face.

Note: to keep the focus locked when you press the shutter button, you will either need to switch it to Manual Focus or use back button focus.

Then click the shutter, and try not to trip over anything in the dark as you move in toward your subject. How close you get to your subject depends on your light source strength, how fast you move it, and the effect you are after. You’ll have to experiment, but for a small LED, a few inches from your subject is a good starting point. Keep the torch (flashlight) moving constantly, and pointed away from the lens.

Getting sharp images of people when you are using long exposures usually doesn’t work so well due to people’s inability to sit perfectly still. With light painting, you are only exposing a small part of them at a time, and only for a brief moment, so while it can be a bit tricky with fidgety subjects, for the most part you will be able to get sharp images. Sometimes a bit of motion blur can also be effective.

Making the most of motion blur

Making the most of motion blur

Help your subject stay still during the exposure by letting them know when you release the shutter, and when you are about to shine your light on them. They’ll be in the dark, literally, so they won’t know what you are doing.

Have them take a deep breath in and out just as, or after, you release the shutter. Don’t have them hold their breath, you don’t want them to look strained. Start your light painting with the face so they don’t have to hold their head still for your entire exposure.

Letting your portrait subject have a look at your camera preview can help them to understand what you are trying to do. If they are unfamiliar with the technique, it can seem a bit odd, all this waving a torch in their face in the dark.

You can set a flash to a slow sync so it fires off at the beginning of the exposure (or you can just set your flash to manual mode and fire it using the Test button), sharply lighting your subject, and then move in with your light source or have your model wave it around. Alternatively you can give a quick burst from a studio light.

Slow flash sync combined with light painting

While still technically a light painting portrait this method is more of portrait with some light painting added in as opposed to light painting the portrait subject themselves.

It will probably take you and your portrait subject a few attempts to get the hang of it, but once you’ve got the general idea, and have tested out how your light source plays on your subject, you can then experiment. Below are some ideas to try out.

Creating light trails

Adding light trails

Adding light trails

To get trails of light, shine the torch directly at the lens as you move it. You can move it anywhere, including in front of your subject.

Multiple sources of light

portrait-light-painting08b

In the first image above I’ve used a small LED light to paint the face, and a laser pointer for the red patterns. The laser pointer shines in very short bursts creating the broken lines. In the second image on the right, I put fairy lights in the model’s hair. The subtle movement as I light painted the rest of the model caused the fairy lights to take on the wiggly forms.

Using an iPad or tablet

portrait-light-painting09b

For this effect I downloaded an app for my tablet that lit the screen with a solid block of bright color. The colors could be changed with a slider, so with a few attempts I managed to get coordinated enough to change the colors as I moved the tablet around the subject.

Have fun with movement

portrait-light-painting11b

For both these images I shone the light over the model in one position, then had her move to the side and lit her again. As you can see, two fairly different effects using exactly the same process.

I confess I am thoroughly addicted to light painting portraits. I love that no two shots are alike, there’s plenty of room for getting creative and having happy accidents. You can use it for many styles of portraiture, and it costs basically nothing in lighting gear. So what are you waiting for? Grab a flashlight and get started! Share your results in the comments below.

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How To Create Two of the Same Person in One Photograph Using Photoshop

12 Jul

This is a fun twist on portraiture that can often tell a bit more of a story about your subject, by allowing them to reveal two or more sides to their personality. It’s an old photography trick used in the days of the darkroom, and now with modern technology can be done in minutes with a few simple steps in Photoshop.

First you are going to need two or more photographs of your subject, so find yourself a victim to experiment on, or try a self portrait. The main trick to this technique is to get things set up well in the shooting stage so everything goes smoothly when you go to edit.

Getting Set Up to Shoot

You’ll need to put your camera on a tripod. Your tripod position, lighting setup, your camera and its settings, all need to remain the same throughout the shooting session. Once you’re set up don’t move or twiddle anything, otherwise things can get a bit wobbly when you go to blend your final images.

It is possible to do this with natural light, but you’ll have to work fast before the light changes too much. If you don’t have studio lighting you can try light painting or some of the other DIY lighting tips from my article Creating Effective Studio Lighting with Household Items

Start with a simple set such as two chairs. To make it a bit more interesting, add something like a small table in between with a prop or two; your subject could be sharing a cup of tea or a glass of wine with themselves.

portrait-photography-trick02

Positioning your subject

Once you have set your stage and are happy with how it looks through the viewfinder, bring in your subject to test out the lighting on them for both positions. Then you are ready to roll.

Think about how the different versions of your subject will interact with each other. Will they be in conversation, raising a glass congratulating themselves on a portrait sitting job well done perhaps? In such a case it’s important to get their line of site correct to achieve the illusion of the subject looking at themselves.

portrait-photography-trick03

It is a good idea, when first attempting this, to ensure there is no overlap of the two versions of your subject, such as a stray foot, to save you any extra fiddling about in the editing stage. You can help to keep both versions separate by placing a small marker, such as a tiny bit of tape on the floor in the middle of your setup, so your subject knows where that invisible overlap line is located.

For the shot below I had the female version lean on a rolled up towel to imitate the knee of the male version of herself. This gave a natural lean to her pose and helped create the illusion that she is actually leaning on the male version’s lap.

portrait-photography-trick04

Take as many shots as you and your portrait subject have the time and patience for. The more versions you have, the better chance of finding a perfect match in the editing stage. Try different facial expressions and poses for each version of your subject.

Easy editing

We are going to be working with layers here, but if that’s new to you don’t panic! It really is easier than you might think. Just follow the few steps below and you’ll be pulling a photographic rabbit out of a Photoshop hat in no time.

  • Open your favorite image of each version of your subject in Photoshop.
  • Make sure both images are the same size.
  • Using the Move Tool, click on the thumbnail of the first image in its Layers Palette, drag over the top of the second image and let go.
  • You now have both images on top of each other in the same file, seen as Background and Layer 1 in the Layers Palette (shown below).

portrait-photography-trick05

  • You’ll need to see both versions, so go to the Layers Palette and select the Layer 1 thumbnail.
  • Using the Opacity slider just above it, slide it around until you can see both images, about 50% usually works the best.

If you haven’t moved anything about during shooting the images should line up perfectly. In which case, you’ve done the hardest part already, it’s smooth sailing from here.

If your setup got bumped, you can probably still line things up well enough to work. Just use the Move Tool to slide around top image and try and get the best alignment. It helps to zoom in to check accuracy (you can also use Auto-Align Layers” in the edit menu but it may be fooled by the subject – but give it a try).

portrait-photography-trick06

Now the fun part

  • Select Layer 1 in the Layers Palette.
  • At the bottom of the Palette is a little square with a circle in it, commonly known as the Add Layer Mask button, or as I like to call it, the Where the Magic Happens button.
  • Click on it and a Layer Mask white box will appear next to the image thumbnail.

It’s not sounding very magic so far, but hang in there.

  • The Background and Foreground Colour squares at the bottom of your Tools Pallette will need to be black on the top (foreground color).
  • Select a brush, set to zero hardness and get ready to make magic happen.
  • Set both Layer and Brush Opacity sliders to 100%.
  • Make sure that white Layer Mask thumbnail is still selected.
  • Start brushing and watch as the second version of your model magically appears, tada!

portrait-photography-trick07

Don’t worry if you go too far, and erase something more than you intended, if you do, you can just switch those little black and white boxes in the Tools Pallette with the tiny arrows (or press X on your keyboard) so white is on top, then brush back in to reverse the mistake (black conceals, white reveals).

That’s it! All the tricky stuff done and dusted.

Now you simply flatten the image. File> Flatten Image, and all that is left is to edit as you would any other photograph. For this image it was a crop here, a filter and color adjustment there, and erasing the umbrella light reflection in the window.

portrait-photography-trick08

This technique is something you can really play with, from building sets and getting creative with props, or simply using it to get more of a story from your portrait subject. Either way, it is great fun to try. If you do, please share your results in the comments. Happy experimenting.

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How to Watermark Your Images Using Lightroom and Photoshop CC

29 Jun

Watermarks, love them or hate them, are a way of protecting your images. Although, just because you have one on your image doesn’t mean it won’t be stolen. If you are like me, I do it as a deterrent.

There are many ways to watermark your images. In this article I’m going to show you how to add a watermark to your images using Adobe Lightroom and Photoshop CC.

Lightroom (6) CC

Lightroom makes watermarking your images very easy, there are a couple of ways of doing it. Once you have processed your images and are ready to export them, then it is also time to watermark them.

Exporting Your Images

Select the images you want to export and watermark. You need to make sure you are in the Library module, then click on Export.

The Export Window will come up. We aren’t going to go through how to export your images, there are other tutorials that will show you how to do that. For this purpose we are concerned with the section down near the bottom, so scroll down until you see Watermarking. Take a look at the following image.

watermarking-1

If it hasn’t been ticked, then check the box for Watermark. Next to that is a drop down menu click on that.

Simple Watermark

watermarking-2

If you’ve never watermarked anything before, then you could simply click on Simple Copyright Watermark and it will just put your name on the photos. Though you must be registered in order for Lightroom to know your name.

Another option under that drop down menu is Edit Watermarks, so let’s go through that option.

Edit Watermarks

In this section you can edit the text for the water, or what you want it to look like.

Before you can change the simple watermark you will have to make sure that at the top where it says Watermark Style, you have selected Text. In the image below you can see the window for the Watermark Editor and in the top right corner you can see Watermark Style.

watermarking-3

In the box underneath the image you can see the simple watermark, you can now select that and delete it, and write anything you like. The most common thing to do is put the copyright symbol, ©, with your name or business name after it. To make the copyright character on Windows simply press the Alt key and type the number 0169, on a Mac press Option+G.

There are various sliders in the Watermark editor as well, one allows you to change the opacity of the watermark. How opaque you make it is up to you. I like to make mine so that you can barely see it. A lot of people looking at images can find watermarks distracting, so it is something you should keep in mind when you are adding them to your images.

There are different things you can do to adjust the watermark, for example changing its position. There is also a size slider to make it bigger or smaller.

watermarking-4

Add a Logo or Unique Watermark

If you have a logo or a special watermark you can use this in Lightroom too.

In the same window that we have been using, go back to the top and select graphic. Directly underneath you will see Image Options where you can load your file. You can make the same changes in regards to size, opacity and location as you did with the text watermark.

watermarking-5

Saving the Watermark Preset

Once you have worked it all out, you don’t have to do all that every time you want to export images. You can save what you have done as a watermark preset, and give it a name (pull down the menu top left where is says “Custom” to find Save Current Settings as New Preset – select that to see the pop-up box below) . The next time you want to watermark an image, just look in the same drop down menu that you used earlier to edit the watermark, and you will find your saved preset there.

watermarking-6

Here you can see that I have called one of my presets: watermark-3.

Photoshop CC

There are also some simple ways of watermarking in Photoshop CC as well. It is a little different, but not harder.

Prepare your image as usual, then get it ready for its designated use and how you want to add a watermark to protect it. I resize every image I put online, that is my choice, it is up to you whether you decide to or not.

Easy Watermark

Once you are ready to save your image, read for use, one of the easiest ways of watermarking it is to simply use the text tool, located in the tool bar on the left of your workspace. The image below shows where it is located.

Click on the image where you want to put the watermark, and start typing. Remember you can also add the copyright symbol the same as you did using Lightroom.

You can change the size and colour of the text at the top, in the tool options bar below the main menu (or choose Window>Character to show the text adjustment panel). Select the text to change it. You can also move it around when it is highlighted as well. The opacity slider is above the layers panel on the right, you can change it to suit your preference.

watermarking-7

Making Your Own Logo or Watermark

You always have the option of making a custom watermark, which can be saved and used any time you need it, and can also be used in Lightroom.

To start, go to File in the main menu and click New (File>New). I usually make the size of the new image match my final image size, so the longest side is 1000 pixels. Make the width that size for this example. For the height, it doesn’t have to be that big, it just depends on what you are going to do. For this one it was 300 pixels. You will also need to make sure the Background Contents setting is set to transparent, see below.

watermarking-8

So you can see what you are doing, you could add a new layer. Do that from the new layer icon at the bottom of the Layers Panel, or go to the main menu at the top and select Layer>New>Layer and click OK. Once that is in place use the Paint Bucket Tool which is in your tool bar, it is under the Gradient Tool icon. We are going to make the layer black, so make sure the foreground colour is black. The foreground and background colour selection is also in the tool bar, down near the bottom. There are two squares, one black and one white (click D on your keyboard which defaults the colors to black in the foreground, white in the background). Click on your new layer and it should be filled with all black.

Select the text tool (T) and make sure that white is now the foreground colour (click X on your keyboard to switch the foreground/background colors so white is now on top). Click on your image and start typing. Like you did for the Easy Watermark you can highlight it, then change the size. Once you’ve done that, you can crop it further so just the text appears.

Double click on text layer, towards the right side, and you should get the following window, Layer Style.

watermarking-10

You can see I have checked Bevel Emboss, and the Contour option underneath. You can play around with the sliders, but just ticking those did enough for this purpose. Then the black layer is deleted. You can do that by dragging it to the rubbish bin (trash can) in the bottom right corner. You can also right click on the layer and find delete. The easiest way is to highlight the layer by clicking on it, and pressing delete on the keyboard.

It is very important when you save this file that you do so as a .png or a .psd, otherwise the transparent part of the layer will be made white and you will no longer have the watermark that you desired.

watermarking-11

That is an easy way of doing a watermark that you can save so you can use again, but you could make a logo or something similar as well. One thing that quite a few people do is add a signature, like below.

signature-watermark

There are a couple of ways of doing this, but the most common is using a tablet with a pen, I use a Wacom Intuos Pro. Do everything the same as you did for the last one, but instead of using the text tool, get your brush, make it small enough using the left square bracket key, then write your name.

If you find the surface too slippery, try putting a piece of paper over the top, it will help add some resistance. You can also try doing it with a mouse or touch pad. Again, save it the same way.

Easy Way of Adding Watermarks

One of the easiest ways to use the watermark you have just created is to open it, then select all (Ctrl+A on a PC and Command+A on a Mac), then copy it, (Control+C on a PC and Command+C on a Mac). Go over to your image and press Ctrl+V or Command+V to paste it; the watermark should now be in the middle of your image.

You can use the move tool (V), which is the first one in your tool panel, and move it to where you want, like you did with the Easy Watermark.

Hiding Your Watermark in the Image

With a simple watermark you can also put it into the image and sort of hide it. This is the method I use for many of my fine art images. I try to place it where it isn’t obvious, and where it could be more difficult to remove.

Once your image is ready, copy and paste your watermark onto your image. Now you need Transform it; Edit>Transform in the main menu, or by pressing Ctrl+T/Command+T. You will notice a framework around your image, as shown below.

watermarking-12

By clicking and dragging on the corners, or in the middle of the lines, you can change the size. Click and drag to make it bigger or smaller (hold Shift down to keep the proportions the same, otherwise it will stretch out of shape). If you want to rotate it, hover around just outside a corner and a small curve arrow will appear, then you can turn it around. You can also move it by clicking in the middle and moving it where you want. As I said, find somewhere to hide your watermark in the image, hopefully somewhere not too noticeable, as demonstrated in the image below.

watermarking-13

To apply the Transform Tool you can double click inside the box, press Enter or click it with the move tool. Then the opacity of the watermark layer is changed to help it blend, see below.

watkinsbaywatermarked-2

Once you get good using Transform, you can experiment with what else the tool does.

Using a Brush to Watermark Your Images

watermarking-14There is a very easy way of doing your watermark, but it takes a bit to set it up. Getting the watermark ready pretty much works the same as before, only this time you want a white background, and you need to use black to create it. Take a look at the image on the right.

Note: create your new file 2500 pixels wide as that is the maximum size for a brush. You can always make the brush smaller when you apply it to your image, but making it the largest size now will give you the best quality.

I created the signature with my Wacom Tablet, but you could also use a pen or black marker on a piece of paper and scan it, that will work just as well.

Once you have your signature, you can now make your custom brush. Go to the Edit menu and choose Define Brush Preset, and click on it.

watermarking-15

watermarking-16Next, you will see another window pop up window ,asking you to give your brush a name. You can name it what you like, perhaps something that will remind you what it is later; I called mine Brush Signature Watermark.

Now your watermark will work just like a brush, you can make it smaller or larger (remember if you made it 2500 pixels it will hold quality up to that size with out pixelating), you can also change the colour. It works exactly the same way as the normal brush does; use the square bracket keys to make it bigger or smaller. If you want to change the colour, click on the foreground colour and the Color Picker window will appear.

I would suggest adding your watermark to a new transparent layer, so you can also change the opacity as needed.

To find your new brush, go to your brush presets, they are over on the side of your layers panel, and click on the icon that looks like small lines at the top where a drop down menu should appear.

watermarking-18

Go down to Preset Manager and click. A new window will appear with all your brushes. Now you can click, and drag the brush you just created to a spot where it will be easier to find, like up to the top.

watermarking-19

You are now ready to use your new watermark brush any time you want.

As I said, you can change the size of it using the square bracket keys [ ] on your keyboard. You can change its colour by clicking on the foreground colour in the tool panel and selecting a new one. You can also add layer effects like a drop shadow, emboss, etc., you can even make the text itself transparent and only leave behind the shadow.

layer-effects

To make text “invisible” change the Fill Opacity Under Blending Options, in the Advanced Blending section to 0%.

It will look something like this and will blend into any area:

layer-effects-transparent

Here is one I played with:

watermarking-17

There are so many different ways to do a watermark and it is really up to you to work out which one will work best for you. Do you have any other tips for watermarks or methods  you use to make them? Please share in the comments below.

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The post How to Watermark Your Images Using Lightroom and Photoshop CC by Leanne Cole appeared first on Digital Photography School.


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