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  • How to Backlight Translucent Objects for Dramatic Effect

    Incorporating translucent elements into your compositions can add an interesting dynamic of luminosity to your photographs. Especially if you can backlight them.

    How to Backlight Translucent Objects for Dramatic Effect

    Water spray, smoke, steam, and things such as flags, flowers, and fabric when backlit can take on an almost surreal quality because of the way the light refracts as it passes through these types of semi-transparent elements. In this article, I want to share with you some ideas and examples of how to make the most of backlighting translucent objects.

    Front light versus backlight

    How to Backlight Translucent Objects for Dramatic Effect

    If you light a translucent element from the front it will look pretty normal as the light will reflect naturally. Lighting translucency from behind means the light is refracted, (bent,) and scattered before your camera’s sensor records it.

    As you can see from the two example photos of the mad scientist with the red liquid in the flask. Notice how the color of the liquid appears very different in the two photos. See how dark it is above, compared to the bright red color in the image below where it has backlighting.

    How to Backlight Translucent Objects for Dramatic Effect

    Any colored liquid in a glass, or even any colored glass containing no liquid, will take on a dramatically different quality when it’s backlit. The colors will appear lighter than if they are lit from the front.

    Position yourself to create backlight

    Water spray, steam and smoke all provide you with great opportunities to produce creative photos. Backlighting and photographing any of these elements will return very different results than if you position yourself so the light is behind you and the camera.

    As the light passes through these elements, (or anything translucent,) the rays are bent and the light is diffused before your camera records it. Backlit semitransparent things tend to glow because of this.

    How to Backlight Translucent Objects for Dramatic Effect

    In the image above, I found a good location where the sun was in front of me to photograph during the Song Khran festival in Chaing Mai, Thailand, (which is one huge water fight). This lit up the water spray as buckets were thrown and hoses sprayed on revelers.

    Seeing the monk sweeping leaves and burning them in the temple grounds (below) I carefully positioned myself to photograph the sun coming through from behind the smoke.

    How to Backlight Translucent Objects for Dramatic Effect

    Good subjects for backlighting

    Flags and flowers are two of my other favorite translucent things to photograph. If you can find an angle where the sun is coming from behind a flag or row of flags the resulting photos can be far more colorful and interesting than if the flag is front-lit.

    How to Backlight Translucent Objects for Dramatic Effect

    Photographing flowers where you have the opportunity to light them from behind, or even part of them from behind, (as in this image of the purple orchids,) can really make them pop. However, if you are wanting to get clear and realistic correct color of flowers you are photographing it is probably better to light them from the front.

    How to Backlight Translucent Objects for Dramatic Effect

    Exposure notes

    When you are photographing any backlit element take care to expose well. Don’t be too concerned about getting a “correct” exposure as often slightly overexposing will enhance the effect. Expose to create a feeling or mood rather than to achieve a technically precise result.

    Your camera’s exposure meters measure reflected light. When you photograph refracted light passing through a translucent element your camera may not give you an acceptable result if you are using any of the automatic modes. Being in control of your exposure manually will allow you to experiment and set it to give you the result that you think looks best.

    How to Backlight Translucent Objects for Dramatic Effect - colorful drinks

    The background matters

    If you are able to include a dark background in this style of photograph this can often enhance your pictures as well. The glow of a backlit semitransparent element can really stand out from a dark background where the light is three or more stops lower.

    This photo of a Lahu man smoking against the dark background of my outdoor studio is a good example of this.

    How to Backlight Translucent Objects for Dramatic Effect

    Processing

    Taking a little more time to post-process photos you have made using this technique is advisable. Because of the unusual nature of the lighting and the subject your camera may not always record the photo exactly how you want it. Manipulating the contrast levels, blacks, highlights and using the dehaze feature will allow you to enhance your photos of translucent backlit subjects.

    How to Backlight Translucent Objects for Dramatic Effect

    Please share your photos in the comments below of smoke, spray, steam or any other translucent elements with backlighting that you’ve enjoyed making.

    The post How to Backlight Translucent Objects for Dramatic Effect by Kevin Landwer-Johan appeared first on Digital Photography School.


    Digital Photography School

  • Idaho gets the first International Dark-Sky Reserve in the United States

    The United States has established its very first International Dark-Sky Reserve—one of 12 found around the globe, and now third largest in the world. The designation was granted to the Central Idaho Dark-Sky Reserve by the International Dark-Sky Association (IDA), which says the region offers 3600km² / 1400mi² of “exceptional or distinguished quality of night sky, view of the stars and nocturnal environment.”

    The Central Idaho Dark-Sky Reserve IDA designation is a milestone for American conservation, not only protecting wildlife in the region from the negative effects of artificial light, but also giving visitors from around the world another place to view the pure night sky.

    The US reserve and its international designation is the by-product of about 20 years of policy and hard work by Idaho residents, businesses, and officials, according to the IDA. The collective worked to reduce artificial light in central Idaho and agreed to manage artificial light in the region henceforth.

    The boundaries of the Central Idaho Dark Sky Reserve. Image from Idaho’s IDA application.

    To get the special designation, Central Idaho land managers formed partnerships with IDA, committing to help preserve the quality of the pure, unadulterated nighttime environment. Ketchum, Idaho Mayor Nina Jonas talked about that, saying in a statement to the IDA:

    This is the culmination of a lot of work, important policy decisions and commitment by so many to manage our light pollution. We’re pleased what this says about the commitment our communities have shown to protecting our environment and spectacular window to the universe.

    Central Idaho didn’t only win an International Dark-Sky Reserve designation, though. IDA says it has granted this reserve its Gold Tier rating, meaning that the reserve offers one of the darkest night skies among all Dark-Sky Reserves. Information on the Central Idaho Dark-Sky Reserve, including a clear sky chart and map, are available here.

    Articles: Digital Photography Review (dpreview.com)

  • 2017 in review: a look back at February

    Nikon announced the demise of its DL compacts on the eve of Valentine’s Day, because love is pain.

    We learned a lot of fun facts in February: people don’t really like looking at selfies, it’s possible to make a camera out of drinking straws, and Google’s AI-powered image detail enhancement technology is getting creepy good.

    February is also when we tend to see winners revealed from year-end photo competitions. True to form, we were not disappointed by the top images in SkyPixel’s aerial photo competition and the 2017 Underwater Photographer of the year. But one photo will probably be remembered before all others – the photo of a slain Russian ambassador was announced as the winner of the 60th World Press Photo award.

    Their impressive spec sheets got our hearts all a-flutter, but thanks to unexpectedly high production costs, they were never to be

    In gear news, Nikon fans woke up to the equivalent of a break-up text the day before Valentine’s Day – the company was ditching its previously-announced-but-never-realized DL compact cameras. The DLs were meant to be a series of enticing-looking 1″ sensor compacts. Their impressive spec sheets got our hearts all a-flutter, but thanks to unexpectedly high production costs, they were never to be.

    It wasn’t all bad news though – CP+ would cheer us all up later in the month with announcements of lovely new lenses like the Sigma 14mm F1.8 Art. It was also the first opportunity for us to do some shooting with the Fujifilm GFX 50S, which was announced at Photokina in late 2016.

    See all February content


    2016 Challenge of Challenges winners announced

    In February, we announced the winner of our annual Challenge of Challenges competition. DPR member cand1d’s image of a glowing sunset in Bagan, Myanmar took top honors in the 2016 Challenge of Challenges competition. The photo is one of almost 1000 challenge-winning entries from the year, which we whittled down to a more manageable shortlist of 25 before DPReview readers voted on a final winner.

    See the 2016 Challenge of Challenges Winners

    Sigma 14mm F1.8 DG HSM Art samples

    The Sigma 14mm F1.8 DG HSM Art made its debut at CP+, and it got the low light shooters on our staff all excited. We jumped all over the chance to take a pre-production version of the lens out for a spin in Yokohama during the show, and later updated our gallery with many more samples from a production-ready unit.

    See our Sigma 14mm F1.8 sample gallery

    Things we found at CP+ 2017 which had been cut in half

    It’s not a photo tradeshow until you’ve seen a lot of things cut in half, and CP+ 2017 was no exception. Take a look at what’s going on inside of some very nice gear.

    See all of the things we found at CP+ which had been cut in half

    CP+ 2017: Full show coverage

    DPReview was at the CP+ show in February, over in Yokohama Japan. As usual, it was a great show for new gear, weird sights, and plenty of hot vending machine coffee.

    Read our full CP+ coverage

    Articles: Digital Photography Review (dpreview.com)

  • Rokinon AF 35mm F1.4 FE: sample gallery and impressions

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    The Rokinon/Samyang AF 35mm F1.4 FE ($ 800) is a lens that delivers a lot of speed at budget price, and is significantly less expensive than Sony’s similar lens, the Distagon T* FE 35mm F1.4 ZA, which retails for $ 1499. At that budget price, the Rokinon comes with a few compromises – but not as many as you might think.

    Side-by-side, the Rokinon and Sony lenses are almost exactly the same size, and of similar cosmetic design. Whether or not this is intentional, it makes the lens feel somewhat Sony-esque. It has a 67mm filter ring, compared to 72mm on the Sony, and is just slightly heavier (645g vs. 630g). Subjectively speaking, it feels very solid in your hand.

    Optical performance exceeded my expectations for a lens at this price point. It’s surprisingly sharp wide open, though stopping it down does sharpen things up. The lens does exhibit longitudinal chromatic aberration (magenta and green fringing in front of and behind the focus plane, respectively), but even when looking at 42MP images from the a7R III you might need to look pretty close to see it. However, it can be distracting around high contrast edges, such as the specular highlights in the lower left corner of this shot at the beach. Lateral chromatic aberration is generally well controlled.

    Optical performance exceeded my expectations for a lens at this price point

    The lens has some issues with bokeh as well. You can see examples of onion ring patterns in the out of focus Christmas lights at the Pike Place Market. However, this was more the exception than the rule across the photos I took. Interestingly, neither of these aberrations are as bad as what we saw with the Rokinon 50mm F1.4.

    Autofocus is neither as quick nor as decisive as on the native Sony lens (which is very fast, thanks to Direct Drive SSM). If you’re used to quick focusing lenses, the Rokinon can feel slow, though I didn’t find it sluggish enough that I would consider it unusable, and most of the time it slides into focus without much trouble. It performs better in this respect than Rokinon’s AF 50mm F1.4 lens, which hunts noticeably.

    Although the Rokinon AF 35mm F1.4 FE isn’t a particularly fast focusing lens, it does focus in low light, allowing you to shoot reliably in dim settings.
    35mm | ISO 800 | F2.8 | 1/250 sec.
    Photo by Dale Baskin

    Autofocus works reasonably well in video, but the autofocus motor is audible during operation. The good news is that it makes a lot less noise than its 50mm F1.4 sibling, which can be heard several feet away. It’s unlikely to be noticed by anyone other than the photographer except in very quiet settings, but it’s certainly loud enough to be picked up by on-camera microphones if you’re recording video. The lens also supports Sony’s Eye AF, and it generally worked reliably for me.

    For the price, it delivers a lot of bang for your buck and could be a viable alternative if you’re on a budget

    If you’re looking for a fast 35mm F1.4 lens to use with an E-mount camera, the Rokinon is definitely worth considering. Optical performance is good (in some cases, as good as the Sony), though it’s still not in the same league as the Canon 35mm F1.4L II USM, which can be used on E-mount with an adapter. For the price, however, it delivers a lot of bang for your buck and could be a viable alternative if you’re on a budget.

    Articles: Digital Photography Review (dpreview.com)

  • The Myth and Reality of Shooting in Manual Mode

    I’ve heard it. You’ve heard it. And it’s a great big steaming pile of…baloney.

    Myth – Professionals Only Shoot in Manual Mode

    I recently read an account of a new photographer who heard that “expert” photographers only shoot in manual mode, so he headed out to shoot. Camera firmly set to M, he shot away, happy as could be. However, the results from that first exploration were, needless to say, disappointing; overexposures, under-exposures, and a lot of crappy, blurred photos.

    Professionals Shoot in Manual Mode

    I had about 10 seconds to make this image of a grove of Baobabs in Botswana. Had I been fiddling with finding the right manual settings, I likely would have missed the shot.

    Here is the reality: Professionals and other experienced photographers use just about every shooting mode on their camera.

    Those modes are there for a reason. Settings provide simplicity, speed, flexibility, or full control. Depending on the conditions in which you are shooting, any one of these may be appropriate. While other articles here at dPS discuss how to use each of the settings on your camera, I want to talk about the myth of Manual Mode, but also why it’s important to use it

    Professionals Shoot in Manual Mode

    Moving subjects and quickly shifting scenes are not conducive to manual mode.

    The Professional Reality

    Try shooting on full manual control while making images of birds in flight. Go on, try it. I’ll wait.

    Professionals Shoot in Manual Mode

    On the off chance that you actually went out and tried that exercise, I suspect you ended up with a lot of really bad photos. As birds passed quickly in front of different backdrops, as the sun darted in and out from behind clouds, the lighting conditions were undoubtedly in constant change. To adapt to those changes on the fly would be a nearly impossible task.

    Professionals Shoot in Manual Mode

    Rather, any professional would use one of the other settings. I, for example, would probably choose Shutter Priority mode under those conditions. That would assure I could maintain sharp (or artfully blurred) images as I shot, and leave the decision on aperture up to the camera. If I wanted a brighter or darker exposure I’d adjust the exposure compensation.

    Now, if I was carefully shooting a landscape and had a particular vision for the final image, that’s when I’d make the switch to Manual Mode. In manual, I can take full control of the scene. I can adjust the depth of field, the exposure, incorporate blurs, or selective focus. In Manual Mode, I own all aspects of the final image, for better or worse.

    Professionals Shoot in Manual Mode

    My point here is simply this – professionals use all the tools at their disposal. If it were true that pros only use Manual Mode, then pro-level cameras would only have one setting. Quite obviously, that is not the case.

    You Still Need to Shoot in Manual

    Shoot in Manual Mode, but not all the time. But understanding exposure, focus, shutter speed, and aperture and their effect on the final image is the heart of photography. To master the technical aspects of image-creation, you need to be able to put all these together without the help of your camera.

    Professionals Shoot in Manual Mode

    Manual Mode is perfect for landscape photography because you have the time to dedicate to creating the image you envision.

    Manual means full control

    I regularly practice the art of manual settings. When a scene is in front of me, I’ll imagine a particular way to portray it. I’ll envision how bright I want the image to appear. I select the focal point, whether motion blur is incorporated or eliminated, and how deep the depth of field should be.

    Once I’ve got the image in my mind. I’ll select the ISO, shutter speed, and aperture without using the camera’s light meter to help me. Then I click the shutter and have a look.

    Professionals Shoot in Manual ModeThis exercise reminds me of light and settings and how the camera works, sure. But more so, it turns every aspect of the image into a purposeful decision. There is no “spray and pray” photography when you are shooting in Manual Mode. Setting your camera to that scary “M” means you grant yourself full control and full responsibility for whatever emerges.

    Professionals Shoot in Manual Mode

    Aurora borealis and most other night photography require the use of Manual Mode.

    There is no better way to learn about your camera, light, and about thoughtful photography than to set your camera to Manual Mode, turn off the autofocus, and go make images.

    Summary

    It’s absolute nonsense that pros only shoot in manual. Utter garbage. Your camera has a bunch of settings for a reason. Shooting in just one would be like only eating one type of food. Each has a purpose, and each has their place in the art of photography.

    Professionals Shoot in Manual Mode

    Purposefully underexposed images are also well-suited to Manual Mode, particularly when you want to retain a shallow depth of field, as I did with this flower image.

    However, and this is a big HOWEVER, shooting in Manual Mode may be the best tool at our disposal for turning our photography into a purposeful exercise. Using manual will force you to understand depth, light, exposure, blur, and focus.

    So yes, you should shoot in manual mode. Just not all the time.

    The post The Myth and Reality of Shooting in Manual Mode by David Shaw appeared first on Digital Photography School.


    Digital Photography School

  • Photojournalist Andrew Grimm sues Ohio deputy who shot him

    In September, New Carlisle News photographer Andrew Grimm was shot by Clark County Sheriff’s Deputy Jacob Shaw when the officer mistook Grimm’s camera for a firearm. The incident, which was captured by Shaw’s body camera, happened while Grimm was setting up his equipment to photograph Shaw, who was in the middle of a traffic stop.

    The body camera footage shows Grimm, who was shot in the chest and grazed in the shoulder, telling Shaw that he had both flashed his car lights and waved in order to alert the deputy to his presence. Shaw, who knew Grimm, was recorded by his camera saying, “Andy, I’m sorry, brother. Listen, dude, you pulled that out like a gun out of the back of the Jeep. I thought it was a freaking gun, Andy.”

    Shaw reportedly failed to provide Grimm with any warnings before opening fire, which is said to have happened within seconds of Shaw exiting his cruiser. As reported at the time, the Ohio Bureau of Criminal Investigation opened an investigation into the matter.

    Though Grimm had said shortly after the shooting that he hadn’t wanted Shaw to lose his job, the photographer and his wife, plus KBA News, have since filed a lawsuit against the Clark County Board of County Commissioners, the City of New Carlisle, Ohio, and Sheriff’s Deputy Jacob Shaw. The lawsuit accuses Deputy Shaw of violating Grimm’s civil rights and using excessive force, seeking at least $ 75,000 in damages for a variety of claims.

    Since the shooting, the lawsuit claims Grimm experiences both psychological and physical issues, including nervousness when around law enforcement officers, disturbed sleep, anxiety, and headaches. It also accuses the local Sheriff’s Office of having “ratified” Shaw’s actions by allowing him to return to work—despite the ongoing Ohio Bureau of Criminal Investigation probe, Deputy Shaw has been given role in the Clark County Jail—and that the Sheriff’s Office failed to properly train and supervise Shaw.

    The suit was filed in the Ohio Southern District Court in Cincinnati with Judge Timothy S. Black presiding.

    Articles: Digital Photography Review (dpreview.com)

  • 10 simple DIY gifts for the photography lovers in your life

    Christmas is nearly upon us, stores are overcrowded, and inventory is running low. The solution? A DIY gift that is both unique and easy to make! And thanks to the team at Cooperative of Photography (COOPH), you’ve got a ready-made tutorial that will show you how to do just that.

    The video highlights 10 simple DIY gifts anyone can make for the photographers and photo lovers in their life. Projects include transforming a Rubik’s cube into a photo cube, a DIY candle holder, unique photo hanger, and lots more. Check out the full video above.

    Articles: Digital Photography Review (dpreview.com)

  • 2017 Readers’ choice polls: High-end ILC of the year – break the tie!

    For the past few weeks we’ve been running six polls, to find out what you, our readers think was the best gear of 2017. Several of the polls are pretty close, but one is still too close to call, with literally only a handful of votes between the two front-runners and the two runners-up.

    With only six hours left to vote, we need your help to break the tie! Or we could just give everyone a prize, like school sports day. Your choice.

    Click here to view all six polls
    (voting ends at midnight PT)


    Have your say

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    Have your say: Best high-end ILC of 2017
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    Fujifilm GFX 50S

    Leica M10

    Nikon D850

    Panasonic Lumix DC-G9

    Panasonic Lumix DC-GH5

    Sony Alpha a7R III

    Sony Alpha a9

    Articles: Digital Photography Review (dpreview.com)

  • 5 Tips for Killer Macro Backgrounds

    You’ve got a perfect macro subject, the perfect angle, and the perfect composition. You’ve checked your focus, and it’s spot on. Your finger hovers over the shutter button. One quick press, and you’ll have the shot. It’s all there before you…right?

    Maybe not. There’s one more thing that I’d urge you to check before you shoot – and that is the background.

    Macro backgrounds coneflower 1

    See, while subject, lighting, and setup matter a great deal in macro photography, the background matters too, far more than people often realize. This is quite understandable; it’s the background. As long as you’ve got the perfect subject, why worry?

    But when it comes to macro photography, the background can make or break a shot. You’re often working with a limited compositional palette, of sorts. Lines, colors, shapes; macro photography simplifies things, which is not to say that it makes photography easier. Instead, it magnifies each element, making attention to detail all the more important.

    Fortunately, getting good backgrounds is not that difficult. As you start to become conscious of backgrounds and of their importance, your eye will develop. But to jump-start your technique, here are five tips that will dramatically improve your macro images right away.

    1. Simplicity is key

    I said I’d give you five tips, but this one right here is the big one. This is the starting point that should drive all other background considerations.

    When I say simplicity, I’m not necessarily advocating a static, uniform, black or white background (although that can work well). What I mean is that you don’t want clutter. You don’t want a background full of distracting shapes and lines that draw the eye away from the main subject.

    For instance, one of my favorite types of backgrounds is just a single color. Nothing fancy, but nothing distracting, either. If you’re shooting in a natural area, maybe you can position yourself so that your subject has some trees behind it. Then you can capture a nice, green wash for your background.

    Macro backgrounds pink cosmos 2

    The background here is a simple green, which allows the colorful subject to pop.

    And if it’s autumn, even better. The golds of the changing leaves make for some beautiful hues.

    Macro backgrounds daisy 3

    Once I found this flower, I shifted my position to include distant trees, which were exhibiting some lovely fall colors.

    The key consideration here is that the background isn’t distracting. Aim for the background to complement the subject without overpowering it. In general, you’ll be safe with a uniform wash (but it’s also possible to go with something a little more complex, as you will see in tips four and five below).

    2. Achieve good subject-background separation

    When it comes to macro photography, sufficient separation between the subject and the background is crucial. That is, you’re going to want to find a subject that is a significant distance away from whatever sits behind it. When you focus on your subject in the foreground, distant background elements will generally become a pleasing blur, creating the solid wash that I discussed above.

    So what exactly is a significant distance? In general, this is going to depend on a couple of things.

    Macro backgrounds blackeyedsusan 9

    First, camera to subject distance. The closer your camera is to the subject, the closer the background can be to the subject. If your camera is just five inches from a flower, then you’ll probably be okay with a background that’s only 10 inches behind that flower. However, if your camera is five feet from the flower, then you’re going to need perhaps ten feet of distance between the flower and background.

    Second, depth of field is a factor. Briefly, depth of field refers to the amount of the subject that is sharp and in focus, which is altered by widening and narrowing the lens’s aperture.

    The shallower your depth of field (achieved by using a wide aperture, generally in the f/1.8-5.6 range), the closer your subject can be to the background, while still allowing for a nice uniform wash. But when you’re using a narrow aperture (e.g., f/8-32), you’ll need to be a lot more careful. Without a large distance between your background and subject, you’ll find that whatever exists in your background (leaves, stems, trees, etc.) will remain well defined, and will, therefore, distract from the subject.

    Macro backgrounds cosmos 4

    This flower was a few feet in front of the background. The large distance, plus the shallow depth of field at f/2.8, allowed for the background leaves, drenched in evening sunlight, to blur in a pleasing manner.

    3. Shoot toward a cloudy sky

    This one is easy to pull off, and can result in some really pleasing images. All it takes is a willingness to get low to the ground so that you can place the sky behind your subject. If you take the picture as you normally would, exposing for the main subject, then you’ll find that the background will be rendered as a pleasing, uniform white.

    Macro backgrounds highkey 5

    I got down to a level with this subject so that it was positioned just above the horizon, and I could capture clouds as the background.

    4. Shoot into the sun

    Often, macro photographers like to position the sun behind them, so that the light is coming over their shoulders and falling on the front of the subject. While this can be a great strategy, sometimes switching things up can result in creative effects.

    One of the most interesting techniques is to wait until the sun is low on the horizon. Then position the subject between yourself and the sun, get down low, and expose for the main subject. Don’t aim to get the sun in your shot. Instead, try to capture some of that golden light that sits just beside the sun.

    Macro backgrounds sunflower 6

    I took this image while lying on my front lawn, as the sun sank below the horizon. These colors are essentially straight-out-of-camera.

    It’s critical that you do this in the late evening. Any earlier and the sun will be too bright. You won’t get those rich, golden colors, and it will be tough to expose for the main subject.

    I’d also urge you to be careful; do not look at the sun through your camera viewfinder. This will be damaging to your eyes. Instead, capture the image while using your camera’s Live View function.

    5. Use the surrounding color

    While a uniform wash often works quite well as a background, you may want to give your shots something extra. A little bit of pop. That’s where vibrant colors can come in handy.

    For now, I’m not necessarily suggesting that you match colors like clothes, nor am I suggesting you use color theory. There’s no need to be that particular, not when you’re starting out. Instead, just try to look for colorful spots in the background, and compose the shot so that the main subject has a bit of color behind it.

    Macro backgrounds fairytale 7

    For this image, I angled my camera so that a few yellow flowers in the background contrasted with the reds of the subject.

    When you’re out in the field, you may not see an abundance of options, but pause and glance around. Try looking through the viewfinder while shifting your camera angle. It may turn out that certain areas become startlingly beautiful once they’re out of focus.

    One of my favorite techniques when shooting flowers is to adjust my composition so that a second bloom is a bit behind the first, while shooting with a shallow depth of field. Rendered as an out-of-focus patch of color, this background bloom complements the main subject.

    Macro backgrounds yellow 8

    Here I positioned myself so that a second flower, a little behind the first, was rendered nicely out of focus.

    In conclusion

    Macro photography requires careful attention to your background, but don’t let that hold you back. By achieving good separation between the subject and the background, by shooting toward the sky, the setting sun, or including vibrant colors, and by—above all—concentrating on simplicity, you’ll be well on your way to getting fantastic macro images.

    If you have any tips that I didn’t mention here, I’d love to hear them in the comments!

     

    The post 5 Tips for Killer Macro Backgrounds by Jaymes Dempsey appeared first on Digital Photography School.


    Digital Photography School

  • 2017 Buying Guide: Best cameras for landscapes

    Landscape photography isn’t as simple as just showing up in front of a beautiful view and taking a couple of pictures. Landscape shooters have a unique set of needs and requirements for their gear, and we’ve selected some of our favorites in this buying guide.

    Articles: Digital Photography Review (dpreview.com)