Monday, December 29, 2008

4 Easy Photoshop Techniques to Make Your Pictures Pop!

#1: blur/overlay

Duplicate your picture layer by dragging the layer to the ‘new’ icon in the layers palette (ctrl+j).

Overlay01

Apply a gaussian blur (Filter > Blur > Gaussian Blur…). Blur it enough that the detail disappears but the shapes mostly keep their form.

Overlay02

In the layers palette, change the blending mode from ‘Normal’ to ‘Overlay.’

Overlay03

If you look at the before and after, you can see that this method makes the light tones lighter and the dark tones darker while softening it a touch. Basically, it softly boosts the contrast. If you want a more dramatic effect, try changing the blending mode to ‘Vivid Light’ instead of ‘Overlay.’

Try it on all kinds of shots: portraits, nature shots, you name it. I use this method ALL the time. It works so well with everything!

#2: filter the background

This one can be fun… With a picture open, duplicate the layer (as always). Use your lasso tool to roughly select the subject of your image.

Outline02

Feather the selection by going to Select > Feather (ctrl+alt+d). We want a pretty large feather, so what you input depends on your picture. Try 50 pixels. Go to Layer > New > Layer via copy. You should end up with just your subject on a new layer with a nice feather to it (fades at the edges).

Select the layer copy below your subject layer. Start trying out filters. I used Filter > Brush Strokes > Dark Strokes for this example. Most of the Brush Stroke filters work well with this effect. Using blurs tends to look a little funny. When you’ve got it all done, your layers palette should look a little like this:

Outline03Outline04

That’s it. Try this out with lots of different filters. If you want to tone down the effect, change the opacity of the effect layer. If you want to get more advanced with your subject selection, you can duplicate the layer, mask it out, and use a large soft white brush to paint the subject back in.

Outline

#3: neon glow

Have you ever played with neon glow and wondered when the heck you were ever going to use it? Well, it’s time to give it another shot. This can add a touch of color and drama to your shot.

Neon01

Duplicate your layer, then pull up Filter > Artistic > Neon Glow. Pick a color that you think will complement your shot. In mine, the cat is lit with sunlight, so I went with a yellow to exaggerate that. Start with a glow size of 4 and a glow brightness of 18, then tweak it to suit your shot. This is what I ended up with:

Neon02

I’ll bet you can guess what’s next. You got it — change the blending mode to ‘Overlay.’ Also cycle through those modes: soft light, hard light, vivid light, and linear light. I prefer overlay and vivid light with this effect.

Neon03

#4 easy blur

This one nearly passed me by… it’s a wonderfully easy effect to soften a picture. Try it on portraits.

Blur01

Duplicate your layer and apply a Gaussian Blur (Filter > Blur > Gaussian Blur) so that the details start to go, but not too much.

Blur02-1

Set the opacity of the layer to 50%. This is a great, super-simple way to soften a picture. It can give it almost a dreamy look. Play with opacities until you find something that works really well with your shot.

Blur03

(From: digital-photography-school.com)

The Most Popular and Favorite DSLR Lenses - According to Our Readers

Today I spent a few hours collating the 233 responses to the question in the hope that it might turn out to be useful information for those in the market for a new lens.

Overwhelmingly the most popular brand of lenses mentioned were Canon and Nikon. Of the 302 lenses mentioned 52% were Canon, 24% were Nikon, 12% were Sigma and the rest were a mixture of Pentax, Olympus, Tamron, Tokina, Minolta and a couple of others.

As a result of the makeup of these results I’ve decided to give you some overall winners and then drill down a little further into three categories of Canon, Nikon and ‘Other’. I could have drilled down into the ‘other’ section more but there were just not enough lenses for each manufacturer.

Overall Most Popular Lenses

  1. Canon EF 70-200mm f/2.8L IS USM Telephoto Zoom Lens (pictured right)
  2. Nikon 50mm f/1.8D AF Nikkor Lens
  3. Canon EF 50mm f/1.8 II Lens
  4. Canon EF 50mm f1.4 USM Standard & Medium Telephoto Lens
  5. Canon EF 24-70mm f/2.8L USM Standard Zoom Lens

I was quite surprised by the the first place winner because by no means is it a cheap lens but the result was extremely clear - 22 of the 302 lens mentions were for the 70-200mm f/2.8 IS lens. Of course following it up are the ‘nifty 50′ lenses which are always popular.

Of course the question of this reader survey was asking about favorite lenses - and the winner is a worthy one as it is fast, has image stabilization, has a great focal range for all kinds of applications and is superbly sharp.

Now lets drill down further and look at manufacturer specific lists.

Popular Canon Lenses

You’ve already seen the top 4 - so let me give you the top 10. I’ve included a few comments on each which I’ve taken from the comments left in the previous post as well as my own experience as a Canon user with many of these in my bag.

  1. Canon EF 70-200mm f/2.8L IS USM Telephoto Zoom Lens - fast, great for portraits, weddings, sports, versatile focal length. Quite a heavy lens and not cheap.
  2. Canon EF 50mm f/1.8 II Lens - for its price perhaps the best value lens in terms of the quality of output.
  3. Canon EF 50mm f1.4 USM Standard & Medium Telephoto Lens - a step up from the f/1.8 in terms of build quality and results but more expensive.
  4. Canon EF 24-70mm f/2.8L USM Standard Zoom Lens (pictured right) - a great walk around lens. Faster than the 24-105 but no image stabilization.
  5. Canon EF 24-105mm f/4 L IS USM Lens - often compared with the 24-70mm this lens is not as fast but has image stabilization and an extra 35mm reach. A worthy contender for a great walk around lens.
  6. Canon EF 70-200mm f/4L USM Telephoto Zoom Lens - not as fast as the 70-200mm f2.8 and without image stabilization but still a very sharp lens, a considerably cheaper option and lighter too. Note: between these two lenses is also a 70-200 f2.8 lens without image stabilization (this lens came in at #11).
  7. Canon EF-S 17-55mm f/2.8 IS USM Lens - another alternative for a walk around lens if you take wide angle shots. A fast lens and loved by many.
  8. Canon EF 85mm f/1.8 USM Telephoto Lens - a prime lens that gets great reviews. Also check out the f/1.2 version which is super fast but pricey.
  9. Canon EF 17-40mm f/4L USM Ultra Wide Angle Zoom Lens - I love this lens. It’s not as fast as some but has been great for landscapes.
  10. Canon EF 100mm f/2.8 Macro USM Lens - another of my personal favorites. If you want to take Macro shots this is well worth considering. Interestingly it also takes great portraits.

Popular Nikon Lenses

I’m going to keep this list to a top 8 rather than a 10 - simply because there were less Nikon lenses mentioned and a few less clear favorites. Please excuse my comments on each lens - I’m not a Nikon user and so have relied upon the comments of others more.

  1. Nikon 50mm f/1.8D AF Nikkor Lens - Nikons ‘nifty 50′ is a much loved lens and similar to the Canon version - for its price and quality it is a must have in your bag.
  2. Nikon 18-200mm f/3.5-5.6 G ED-IF AF-S VR DX Lens - this lens makes a great option for everyday shooting with a fantastic focal range which gives both a reasonably wide angle and reach. The vibration reduction makes it particularly attractive and it is a reasonably affordable lens.
  3. Nikon 70-200mm f/2.8G ED-IF AF-S VR Zoom Nikkor Lens - this lens has had some great reviews and is renowned for being a high quality camera. Again it has vibration reduction, is relatively fast and is great for portraits, weddings, sports. It’s not cheap though.
  4. Nikon 80-200mm f/2.8D ED AF Zoom Nikkor Lens - lenses in this focal range featured heavily in both the Canon and Nikon lens and it is no wonder - its a really handy focal range. This one is quite a bit cheaper than the previous 70-200 but you lose Vibration reduction. Those mentioning it in our survey raved about it.
  5. Nikon 105mm f/2.8G ED-IF AF-S VR Micro-Nikkor Lens - it is interesting that Macro lenses feature on both Nikon and Canon lists. This one however has vibration reduction making its fast aperture even more useful.
  6. Nikon 17-55mm f/2.8G ED-IF AF-S DX Nikkor Zoom Lens - another fast zoom lens with wide angles yet a little length - making it a good choice for every day use if you don’t need lots of reach. On Amazon this lens has 52 reviews and only 3 of them didn’t give it a perfect score of 5 stars (and two of those gave it 4 stars). I guess it isn’t just DPS readers who love this lens.
  7. Nikon 24-70mm f/2.8G ED AF-S Nikkor Wide Angle Zoom Lens - another zoom with a 2.8 aperture and a reasonable focal range. Those recommending it say its sharp, fast focusing and a joy to use.
  8. Nikon 10.5mm f/2.8G ED AF DX Fisheye Nikkor Lens - rounding out the Nikon list is a fisheye lens which looks like being a lot of fun.

Other Popular Lenses

A few other lenses were mentioned multiple times and in while most of them (with the exception of one) were not as popular as the above lenses I thought I’d mention a few:

  1. Sigma 10-20mm f/4-5.6 EX DC HSM Lens (Nikon) (also for Canon) - this lens was actually mentioned quite a few times - so many that it only just missed the overall winners list! It looks like a fun wide angle lens to have in your camera bag.
  2. Sigma 70-300mm f/4-5.6 DG APO Macro Telephoto Zoom Lens for Canon - (also for Nikon) - this lens certainly has a wide focal range and is certainly on the more economical end of the spectrum of lenses in this category.
  3. Pentax SMCP-FA 50mm f/1.4 Lens - again the 50mm lenses pop up.
  4. Pentax-m 50mm 1:1.7″ (Asahi) - the Pentax nifty fifty.
  5. Olympus 14-54mm f/2.8-3.5 Zuiko ED Digital SLR Lens - The winning Olympus lens with 3 people recommending it.

By no means are any of the above lenses complete. There were many other lenses mentioned - but these were the ones which kept coming up again and again in the comments left on the previous post. I hope you find them interesting and useful as you think about your next lens purchase.

From: digital-photography-school.com

Tips for Photographers for Working with Web Designers

In this post Ramsay Taplin from Taplin Web Design talks about photographers and their interactions with web designers.

photographers-web-designers.jpgImage by photographer padawan

Over the years I have worked with many freelance photographers to produce photos for my Adelaide website design clients. In that time I have seen the best and worst of photographic creativity. I have seen “professional” photographers turn up to a corporate shoot with no shoes on. I have lost a hundreds of dollars worth of shots because a photographer thought it would be a good idea to leave a USB on my home front porch. But, I have also worked with photographers who know how to work magic with their cameras.

In this post I want to show you the 9 worst mistakes that freelance/professional photographers can make when taking photos for a web designer. I hope this information will be a useful resource for any budding young photographers out there who are just starting to work for and establish relationships with some bigger firms.

Warning: This post may contain rage fueled tangents of utter frustration!

The 9 Worst Mistakes Photographers Make When Working for a Web Designer

1. Looking unprofessional

As I mentioned in the opening paragraph I once had a charming young photographer turn up to a corporate photo shoot with no shoes on. She was extremely good at what she did and turned some pretty boring “suits” into powerful looking businessmen (much to their surprise!). But, unfortunately, her dress sense really let her down.

I don’t mean to sound like a starchy old fuddy duddy here. I’m really not like that. But I have to emphasize how important it is to look professional when you are performing a professional service.

There are three things at play here. Firstly, dressing like a slob who just woke up makes my firm look bad. I hired you to take photos for my client and therefore would love it if you brought some shoes to the shoot. Secondly, it reflects badly on you and makes me reluctant to hire you again. And thirdly, it doesn’t make the guys in the photos feel very secure. They need to feel like they are in the hands of a professional and are going to end up looking like superstars.

To be honest, I kind of envy the girl who rocked up with no shoes on. I wish I was brave enough to do that! But we live in a vain world where first impressions are very important. For that reason it is vital to look like a professional.

2. Understating your abilities

Something that really bothered me when I was first starting to work with professional photographers was how they were reluctant to tell me how good they were. I realize, now, that they were just trying to be humble and graceful but at the time it made me really stressed because I didn’t know whether they’d be able to achieve the results that I wanted.

If you have been hired by a website design firm to take photos for a new web creation please make sure you let them know exactly what you can do. If you feel you know how to turn a buggered up drab old office-front into a vintage looking workshop of fairy-dust then please let me know! If I know what your capabilities are I will push you to achieve something better for my client. Try and find a balance between humility and selling yourself. It’s hard but worthwhile.

3. Overstating your abilities

The opposite end of the spectrum is admittedly a much worse predicament to be in. I remember working with a very young photographer I had met at a cafe who really overstated his abilities. The kid had the gift of the gab but that was about it. He “seduced” me into using his services but looking back I think he had probably just purchased his first Canon SLR and thought that he would automatically be taking superb photos. He was wrong. The photos were blurry, over exposed and extremely unprofessional. I ended up paying his fee and making the embarrassing move of calling up my client to organize a re-shoot. A big waste of time.

If you do not feel like you can get the photographs that the web designer is asking for then please don’t take the job. Both you and the designer will be better off. Sure, you won’t get the fee but you will save a lot of face and possibly your reputation. The last thing a freelance photographer needs is a bunch of website designers badmouthing your photos.

One saying I have always identified with is “under promise, over deliver“. I think it works well for the art of photography. Don’t get your client’s expectations too high and then surprise them with an amazing end product.

4. Showing up late

I grew up in very business-minded family. My father always taught me that being late was one of the most unprofessional things you could do. As a result I am always on time and I expect the same thing of the people I hire. If I am paying you a few thousand dollars to come out and meet my clients and take photos for their website then I ask that you rock up when I want you there, not when you feel like it.

I am sure for most people out there this one is a given. But I need to emphasize it because it really is important. Quite often photographers will be hired by their friends and as such there is a temptation to think that one can be a bit more relaxed with the “rules” of business. Please don’t fall into that trap.

5. Not asking questions

I once had a photographer pull me aside and say “aaahh… the guy in the front has a massive wad of snot on his lip…. does that… ahh… matter?” Bloody oath it matters! I am glad she asked me though because that little boogie could have ruined the whole shot.

Any professional photographer will tell you that one of the worst feelings you can have is when you go home after a shoot, plug your camera into your computer and look at a whole bunch of photos that turned out nothing like what the client wanted. It is the pits. Asking questions, however, often solves this problem.

When you are out on a job the website designer will usually be with you. They will probably give you some instructions on what they want and how they want the final product to look but other than that you are on your own. Please do not feel embarrassed to ask questions during this time. It doesn’t matter how silly they sound, it is better to ask them now then have to reorganize the shoot because the photos didn’t turn out how the client wanted.

6. Not working within the instructions

This is where the rage fueled rant comes in! One of the most irritating things a freelance photographer can do is assume that they know better. The worst thing you can do as a photographer is ignore the instructions and take bunch of photos that you think will suit the website.

Here is why it is annoying. A good website designer will have created a preliminary design before he/she goes out and gets the photos. This means that the photos need to “work” with the design and not the other way around. Let me give you an example of how it should be done:

I recently designed a simple brochure website for one of South Australia’s largest landscaping businesses, Garden Works Landscaping. The client wanted some elegant photos that showed off their products and their office site. I explained to my photographer that the website was going to be quite wide and that space for the photos would be very narrow. Portrait shots would not work.

She took the advice on board and when we rolled up to the Garden Works premises for the shoot I was extremely impressed to see that she had brought along a vast array of wide angled lenses and even spent some of her own money hiring a super wide lens for the weekend. This showed me that she had listened to my instructions and was ready to work within them.

Needless to say I have hired her for every outdoor job since.

7. Not bringing everything you need

As a photographer you are being paid for two things: your skills and your equipment. If you fail to bring some of that equipment the job is not going to be complete.

One idea my crack photographer has is to develop a “Shoot List”. On that list she has all of the things she will need at a photo shoot - camera, point and shoot camera, lens cleaner, lens cleaning pen, USB, lenses, etc. Then, the night before the shoot, she just pulls out the list and goes through ticking off each item. That way she is always prepared and never has that feeling of “oh I left something at home”.

8. Failing to remember your manners

This tip comes not so much from my web design business, but from a wedding I attended last weekend. The photographer was a very talented man but he was grumpy as all hell. He spent the whole time yelling at people to get in the right position and almost made one of the bridesmaids cry!

As I said in number seven, part of what you are being paid for as a photographer is your skills. This does not just mean your photographic skills but also your skills in dealing with people. The world’s best professional photographers are probably no better at taking photographs than many other professional photographer - their point of difference is their ability to deal with and manipulate people. And people love good manners. Just look at TV shows like Americas Next Top Model or American Idol - the photographers who get the best results are the ones that know how to schmooze the people in front of the camera.

9. Not sending the files when you say you will

I think I have some bad karma when it comes to receiving things on time because it seems as though no one sends things when they say they will. It is quite annoying. But, if it karma I must deserve it right?

If you tell me you are going to send the photos on Wednesday chances are I will set some time aside on Wednesday to work with them. That means I will sit in front of the computer all day with a coffee waiting for my inbox to flash “1 New Email”. Not really. But, when they don’t arrive it can put a bit of a dent in proceedings. Try to send the photos when you say you will - it makes you look really professional.

Conclusion


Honestly speaking, it is the photographers who make our websites beautiful. Sure, our designs make a difference but it is often the quality of the photos that really make the site pop off the screen. Sadly, however, it is not just your amazing photos that dictate how successful your career is. It is also important to look nice, talk politely and so on. If you remember this other (boring business) stuff I am sure you will go far.

Have you ever made any of the mistakes above or worked with someone who has? Have I missed anything important that young photographers might need to know? Leave a comment below - it might really help someone!

From: digital-photography-school.com

Sunday, December 28, 2008

Creative Solutions for Indoor Lighting: FLASH

In this post Christina from Christina Nichole Photogrpahy shares a few tips on flash photography for indoor lighting.

The rainy season in full swing in many parts of the world demands photographers to retreat indoors and shoot in often low-lit settings.

Instead of producing bad pictures – or worse – not even shooting at all, practice this technique used by professional event and wedding photographers everywhere. And the best part? You can use this with any all-manual camera – whether point and shoot, dig cam, or SLR.

indoor-lighting.jpg

Dragging the Shutter

Have you ever wondered how the big time wedding and event photographers seem to have perfectly lit photographs even in dark reception venues? Wonder no longer. With a deep breath and a single flash, you too can have perfectly exposed images inside even the most dimly lit venue.

This technique is actually quite simple. Just remember these 3 steps.

1. Shoot TV priority with a Slow Shutter Speed

This is your friend. Don’t worry about blown out pictures, or a completely blackened background. When you have a slow shutter speed, you let in the ambient light from the background. (Add flash, and there is a more even exposure.)

2. Add Flash

Simply turn on your flash. Whether point and shoot or SLR, your camera will evaluate how much flash it needs to add based on your camera’s settings (and remember, we have a slow shutter speed so we don’t have to worry about blown out images!)

3. Get Creative!

This technique will work for basic snapshots, but you can also do some really fun creative things!

  • Set your subject in front of activity. The flash will freeze your subject, but the slow shutter speed will capture the movement behind them.
  • Set your subject in motion. Once again, the flash will freeze your subject, but the slow shutter speed will catch the movement around them, like this newly wed bride and groom on the dance floor.

Canon EOS 50D dSLR [Review]

Today Sime reviews one of the latest DSLRs to be released by Canon - the Canon EOS 50D.

I was very excited when Canon told me that they were sending me out the Canon EOS 50D to review. I have been a long time Canon user and currently I am shooting with a Canon EOS 30D. I have had it for a few years now and am starting to think about an upgrade. Could the Canon 50D be THAT camera?

Canon EOS 50D 15.1MP Digital SLR Camera (Body Only)

fifty D

There was a fair bit of confusion when Canon announced the all new Canon 50D dSLR this year, only a year after the 40D was released and already a new model is announced! But then, 2008 saw some great advances in camera technology that are much better off in your camera bag than hidden away for a later date, no?… That said, I would understand your frustration if you’ve just purchased a Canon 40D, sadly this looks to be the norm in the electronics industry these days. You still have a very nice camera in the 40D - Don’t be sad!…..

The Canon 50D is a great mid range camera. Not quite a professional level camera in that it’s not using a “full frame” sensor but by no means “entry level” This camera will produce great results for you. I guess to put it in perspective I have seen many images from my good friends Canon 20D and indeed my Canon 30D (even if I do say so myself!) that have come out and been blown up and placed on a wall or on brochures or in magazines, and the 50D performed significantly better than my 30D so you have nothing to worry about there - will it produce professional results in the right hands? Yes, it will!

In 2008, Canon announced the new Digic 4 processor and released it in the eos 50D and the eos 5D Mk II cameras. The Digic 4 is said to help provide you with the following…

  • Much faster image processing when compared to previous processors
  • Improved noise reduction in high-ISO images
  • Improved performance while handling larger 14-bit RAW images
  • Live Face Detection AF during Live View
  • H.264 1080p encoding

While this may not mean a whole lot to you if you’re just dipping your toe in the big dSLR waters, You can rest assured that it means good things! Most importantly for me, it meant better noise handling at higher iso. When you set your iso to be 800 or above, sometimes you will see that your pictures become quite noisy or grainy. Generally when you start to get noise in a photo, you start to lose detail and clarity. Sure, you can reduce noise with various pieces of software, but I find it’s better that it’s just not there in the first place. The Canon 50D has ISO settings that go all the way up to 3200 The images were still quite acceptable at iso 800, Then the iso range is expandable to an ultra-sensitive 12800! which is pretty high if you’ve been using a 30D like me. At 12,800 there was still lots of noise but if you have to use it, it’s there.

This is a photo taken by my mate, Daz, with his Canon 50D at iso 800

I didn’t get to test the Canon 50D with the EF 28-135mm f/3.5-5.6 IS USM kit lens that the 50D comes with. It’s not a bad lens from all reports, but you may find it giving you some chromatic aberration action (purple fringing) on some of your images. (This can also be caused by lens flare) Again, I’m not all that sure about this lens, I’ve not used it myself. I had heard that there was a kit released with the EF-S 17-85mm USM IS lens which I have owned and used for a year before upgrading when I first purchased my 30D - I had some fringing with that lens, It was a great lens to start with and learn from.

I found the Canon 50D to be quite similar physically to use when compared with the Canon 30D that I own, the menu and the general layout are almost the same. The new 3″ screen on the back of the new Canon is really nice! Reviewing shots is very nice on the larger screen by comparison to my 30D. The 3″ screen has a higher resolution and you can really see the detail in your shots to make sure you’re focus is on.

The addition of live view to lots of cameras, including the Canon 50D, has been received with mixed opinion. I admit, when I first heard about it I thought “Oh, here we go again!” But I have to say that since actually using it - I’m a believer! With the extra focus possibilities that it gave me, I think when I have a camera with Live view, I will actually use it. And with the ability to use live view with auto focus may be handy for some people as well, though it’s a little clunky.

I first saw live view on my mates Canon 1Ds MkIII. We were on the opposite side of the Thames river to St. Pauls Cathedral and he had his 50mm f1.4 lens on and it was all but dark in London with some fireworks still being set off around the cathedral after a march. Nathan switched on the live view and zoomed right on in to the top of the cathedral and manually focused his 50mm until it was just perfect and then took his photo - the result was very nice! The 50D has three versions of live view, “Quick Mode AF,” “Live Mode AF,” and a “Face Detection Live Mode AF” that detects up to 35 individual forward-looking faces for better focus and clarity when taking group or portrait shots. The camera’s Quick Mode AF setting flips the mirror down and carries out regular phase-detection autofocus, while the Live Mode AF and Face Detection Live Mode AF use the camera’s CMOS image sensor for contrast detection autofocus. Two detailed grid displays have also been added to Live View shooting as optional settings for easier composition. For me, live view gets a thumbs up.

There’s one big issue I have with the Canon 50D, “Creative Mode”. It’s handy, sure, you can visually work out what you’re trying to do, for example you get “blurred background” on the screen in front of you rather than working out how to change your aperture to adjust depth of field, and so on. This may be great for someone that has never used a camera and just wants to buy themselves a dSLR and make it work for them, but if you’re looking to learn about what all those buttons actually mean, I think you will find this a little unhelpful. Do yourself a favour and use it only until you’ve worked out what all the buttons mean and then try to avoid this function, it’s for your own good, I promise.

The camera takes your type 1 and 2 Compact Flash cards, including the UDMA flash cards. When you use the camera with a UDMA CF card you can take up to 90 jpg images or 16 raw (incidentally, there are three raw formats, with one regular and two smaller resolution formats) images at around 6.3 frames per second, I find this is usually quick enough for most people considering the next fastest camera is a serious chunk of cash more expensive.

Is there anything that I didn’t like about the Canon 50D? I honestly don’t think so. It takes an amazing photo, It’s a great size for my hands and the way I handle a camera - I am very big on that one, lots of people may have narrowed a new camera choice down to “this Canon or that Nikon…etc” but one thing I find that people don’t do is to go into a shop and physically hold the cameras in this, the day and age of “online shopping”. When I hold a camera, it has to sit in my hands nicely, the buttons need to be “in the right place” the camera needs to talk to me - I don’t mean to sound odd, but it’s true… Your camera has to suit you. For me, the Canon 50D sits beautifully and I could quite happily shoot with it day after day. The only thing stopping me from buying a Canon 50D is the Canon 5D Mk II that has just recently been released. I have had the Canon 30D with its APS-C sensor for a few years now and if I am to upgrade, I think it has to be to a full size sensor. If I had been taking photos with a compact camera and wanted to step up and have a go at shooting with a dSLR, I’d seriously consider the Canon 50D.

This camera rates pretty well on my gold-star meter, coming in at 8.5 Stars - Nice one, Canon!

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The Canon EOS 50D DSLR currently retails at Amazon for $1,085.95 (Body Only)

How To Handle Cold Weather Photography

Cold weather presents a few unique challenges to digital photographers. In this post, Peter Carey offers some suggestions to keep you photographing when the mercury drops.

cold weather photography - Copyright Lachlan HardyWhen the weather outside turns cold, there are a few precautions every digital photographer should take.

First, give your camera time to acclimate!

This one is very important and it’s a two way street. If you’re heading outside from a nice warm house, or if you’re coming back in from a shoot out in the cold, give your camera lens time to adjust to the temperature change. Going either direction will fog up your lens and viewfinder. Leave your lens cap on when going either direction and give your camera plenty of time to adjust to the temps. The amount of time depends on the the difference in temperatures from inside to outside. The larger the difference, the more time you should allow. 15 minutes is usually fine but more may be needed depending on how humid each environment is. You want a slow, gradual change so if you can, leave your camera in a camera bag as it gets used to the change. While this may take a bit longer, it does help ensure condensation won’t become a problem.


Next, you’ll want to protect your batteries.

Besides the lens of your camera (even worse, your sensor) getting fogged over, batteries are the lifeline for digital photography. Unlike traditional film (with another set of cold weather challenges), digital cameras obviously rely on working batteries. The problem is cold saps batteries of energy even when they aren’t in the camera. Carry spare batteries in pant pockets where they are close to your body. The warmer the battery, the better it performs. Even when your camera indicates a battery is dead, warming it up in a pocket (especially one with a hand warmer!) can bring it back to life for a few dozen more shots. Get used to rotating batteries in this manner and you’ll be able to stay out shooting longer.

cold weather photography - copyright Karen Carey

Let’s not forget your hands!

Once your camera has adapted to the cold, holding it for long periods of time can cause frost bitten fingers. Just having your hands exposed to subfreezing temperatures for more than a few minutes can make your digits fumble and feel quite painful. Obviously gloves are a requirement for outdoor photography, but what works well? You’ll need both the warmth of a puffy winter mitten but the dexterity and tactile feel of a thin, thin layer. Enter the Mountain Hardwear Power Stretch Glove! I’ve found these gloves to provide the best warmth while still maintaining all the feel of the camera I need. They keep the wind out and while they are no extreme winter glove, they get the job done.

Lastly, keep your camera out of the elements

While the snow may be falling and seem so much better than a rainy day behind the lens, be aware that snow can cause just as much damage. Carry a soft, water absorbent cloth to help dry off your camera while out and about. Also consider investing in a rain hood for your camera if it’s a DSLR, which allows you to keep shooting in the heaviest of downpours. In a pinch, wrapping a towel around your camera will keep the snow off.

There’s no reason to let the cold weather keep you inside or away from your camera. With a little preparation you can ensure great photo opportunities don’t pass you by this winter!

From: digital-photography-school.com

Saturday, September 13, 2008

The One Location Technique for Wedding Photography

From: digital-photography-school.com

wedding-photography-portraits-outside-2.jpg

You’ve done your homework. You’ve gathered your research. You’ve scouted out your locations.

The big day is here, and the pressure is on.

What now?

Above all else, make it your goal to pace yourself. Your mind will be whirling a million miles an hour thinking through every piece of information you’ve gathered into your mind. How do you perform with intensity and keep yourself from going crazy?

I am going to walk you through one system that will eliminate stress and give you the confidence you need to produce a remarkable “first wedding” portfolio.

Write this down:

One window = Multiple shots

Too often novice wedding photographers operate on the idea that varied shots are captured only by varied locations. This is simply not true! Don’t fall into this trap! One well-lit window can provide a plethora of beautifully varied shots to satisfy both you and the bride.

How can one window be the key to your wedding photography success? One simple word: Light. At the center of a great wedding photographer’s work is his or her ability to find and work with the available light in each venue. With Church’s or community centers being the venue of choice for soft and romantic wedding ceremonies, these locations are also infamous for low lighting challenges. Window light can offer a superb solution to even the worst lit wedding venues.

5 Steps to Lots of Great Shots from One Window Location

Step 1 – The Location

Find a window of choice. You’re looking for a window that is relatively large, preferably with curtains, and has an outlook to a grassy area. If you are deliberate in your selection, you can create up to 8 dynamic and fresh shots with minimal set up.

Step 2 – The Details

wedding-photography-details.jpg

Inside, set up your detail shots. You will want a table near the window, and different cloth textures for your background; you can use toile, lace, bridesmaid’s dresses etc. At this time, you can photograph the shoes, the ring, and any other important details on your shot list. Consider a few variables that will affect the outcome of your shots: 1) The available light from the window; 2) The distance your object is from the window, and 3) The angle of your camera to the object. Adjust any of these changeable and your shot will change as well.

Step 3 – The Dress

wedding-photography-dress.jpg

One of the most important shots you must capture is the special dress of the bride. After you’ve taken appropriate time photographing the bride as she does her hair and makeup, borrow the brides dress. Carefully affix the hanger at the top of the window. If the lip of the window is not wide enough, find a tack to place at the top of the window, suspend the ribbon from the tack, and hang the dress from the ribbon. The window light will create a luminous glow around the dress for beautiful highlighting.

Step 4 – The Portraits Inside

wedding-photography-portraits.jpg

There is nothing more perfect for wedding portraits than window light. A window will provide several options for dynamic portrait backgrounds. Inside you can get a wide-angle shot of the bride in her dress with the window in the background. You can also get a few close up shots of the brides face.

Step 5 – The Portraits Outside

wedding-photography-portraits-outside.jpg

If your window has a lot of variety (ie, panes, curtains, sheers) you can take some beautiful shots from inside the window looking outside. This will ad a lot of artistic interest - just be sure to watch your backgrounds! Also, from the outside, you can use your window as a background for more shots of the bride or bride and groom together.

wedding-photography-portraits-outside-2.jpg

Take my advice: With the “One window = Stellar shots” equation, you will never again worry about having wedding location define your images. Ready to start shooting? Go!

Look forward to our dynamic conclusion to this Wedding Photography Tips Series with Part III: The Office Work of legalities and post processing!

Wedding Photography - 21 Tips for for Amateur Wedding Photographers

From: digital-photography-school.com


“Help me - I’m photographing my first Wedding!… Help me with some Wedding Photography Tips Please!”

It’s a question that’s been asked a few times in our forums over the last few months so while I’m not a Pro Wedding Photographer I thought it was time to share a few tips on the topic of Wedding Photography .

I’ll leave the technical tips of photographing a wedding to the pros - but as someone who has been asked to photograph numerous friends and family weddings - here are a few suggestions.

Wedding Photography Tips

1. Create a ‘Shot List’

Get the couple to think ahead about the shots that they’d like you to capture on the day and compile a list so that you can check them off. This is particularly helpful in the family shots. There’s nothing worse than getting the photos back and realizing you didn’t photograph the happy couple with grandma!

2. Family Photo Coordinator

I find the family photo part of the day can be quite stressful. People are going everywhere, you’re unaware of the different family dynamics at play and people are in a ‘festive spirit’ (and have often been drinking a few spirits) to the point where it can be quite chaotic. Get the couple to nominate a family member (or one for each side of the family) who can be the ‘director’ of the shoot. They can round everyone up, help get them in the shot and keep things moving so that the couple can get back to the party.

3. Scout the Location

Visit the locations of the different places that you’ll be shooting before the big day. While I’m sure most Pros don’t do this - I find it really helpful to know where we’re going, have an idea of a few positions for shots and to know how the light might come into play. On one or two weddings I even visited locations with the couples and took a few test shots (these made nice ‘engagement photos’).

4. Preparation is key

So much can go wrong on the day - so you need to be well prepared. Have a backup plan (in case of bad weather), have batteries charged, memory cards blank, think about routes and time to get to places and get an itinerary of the full day so you know what’s happening next. If you can, attend the rehearsal of the ceremony where you’ll gather a lot of great information about possible positions to shoot from, the lighting, the order of the ceremony etc

5. Set expectations with the Couple

Show them your work/style. Find out what they are wanting to achieve, how many shots they want, what key things they want to be recorded, how the shots will be used (print etc). If you’re charging them for the event, make sure you have the agreement of price in place up front.

6. Turn off the sound on your camera

Beeps during speeches, the kiss and vows don’t add to the event. Switch off sound before hand and keep it off.

7. Shoot the small details

Photograph rings, backs of dresses, shoes, flowers, table settings, menus etc - these help give the end album an extra dimension. Flick through a wedding magazine in a news stand for a little inspiration.

8. Use Two Cameras

Beg, borrow, hire or steal an extra camera for the day - set it up with a different lens. I try to shoot with one wide angle lens (great for candid shots and in tight spaces (particularly before the ceremony in the preparation stage of the day) and one longer lens (it can be handy to have something as large as 200mm if you can get your hands on one - I use a 70-200mm).

9. Consider a Second Photographer

Having a second backup photographer can be a great strategy. It means less moving around during ceremony and speeches, allows for one to capture the formal shots and the other to get candid shots. It also takes a little pressure off you being ‘the one’ to have to get every shot!

10. Be Bold but Not Obtrusive

Timidity won’t get you ‘the shot’ - sometimes you need to be bold to capture a moment. However timing is everything and thinking ahead to get in the right position for key moments are important so as not to disrupt the event. In a ceremony I try to move around at least 4-5 times but try to time this to coincide with songs, sermons or longer readings. During the formal shots be bold, know what you want and ask for it from the couple and their party. You’re driving the show at this point of the day and need to keep things moving.

11. Learn how to Use Diffused Light

The ability to bounce a flash or to diffuse it is key. You’ll find that in many churches that light is very low. If you’re allowed to use a flash (and some churches don’t allow it) think about whether bouncing the flash will work (remember if you bounce off a colored surface it will add a colored cast to the picture) or whether you might want to buy a flash diffuser to soften the light. If you can’t use a flash you’ll need to either use a fast lens at wide apertures and/or bump up the ISO. A lens with image stabilization might also help. Learn more about Using Flash Diffusers and Reflectors.

12. Shoot in RAW

I know that many readers feel that they don’t have the time for shooting in RAW (due to extra processing) but a wedding is one time that it can be particularly useful as it gives so much more flexibility to manipulate shots after taking them. Weddings can present photographers with tricky lighting which result in the need to manipulate exposure and white balance after the fact - RAW will help with this considerably.

13. Display Your Shots at the Reception

One of the great things about digital photography is the immediacy of it as a medium. One of the fun things I’ve seen more and more photographers doing recently is taking a computer to the reception, uploading shots taken earlier in the day and letting them rotate as a slideshow during the evening. This adds a fun element to the night.

14. Consider Your Backgrounds

One of the challenges of weddings is that there are often people going everywhere - including the backgrounds of your shots. Particularly with the formal shots scope out the area where they’ll be taken ahead of time looking for good backgrounds. Ideally you’ll be wanting uncluttered areas and shaded spots out of direct sunlight where there’s unlikely to be a wandering great aunt wander into the back of the shot. Read more on getting backgrounds right.

15. Don’t Discard Your ‘Mistakes’

The temptation with digital is to check images as you go and to delete those that don’t work immediately. The problem with this is that you might just be getting rid of some of the more interesting and useable images. Keep in mind that images can be cropped or manipulated later to give you some more arty/abstract looking shots that can add real interest to the end album.

16. Change Your Perspective

Get a little creative with your shots. While the majority of the images in the end album will probably be fairly ‘normal’ or formal poses - make sure you mix things up a little by taking shots from down low, up high, at wide angles etc.

17. Group Shots

One thing that I’ve done at every wedding that I’ve photographed is attempt to photograph everyone who is in attendance in the one shot. The way I’ve done this is to arrange for a place that I can get up high above everyone straight after the ceremony. This might mean getting tall ladder, using a balcony or even climbing on a roof. The beauty of getting up high is that you get everyone’s face in it and can fit a lot of people in the one shot. The key is to be able to get everyone to the place you want them to stand quickly and to be ready to get the shot without having everyone stand around for too long. I found the best way to get everyone to the spot is to get the bride and groom there and to have a couple of helpers to herd everyone in that direction. Read more on how to take Group Photos.

18. Fill Flash

When shooting outside after a ceremony or during the posed shots you’ll probably want to keep your flash attached to give a little fill in flash. I tend to dial it back a little (a stop or two) so that shots are not blown out - but particularly in backlit or midday shooting conditions where there can be a lot of shadow, fill in flash is a must. Read more about using Fill Flash.

19. Continuous Shooting Mode

Having the ability to shoot a lot of images fast is very handy on a wedding day so switch your camera to continuous shooting mode and use it. Sometimes it’s the shot you take a second after the formal or posed shot when everyone is relaxing that really captures the moment!

20. Expect the Unexpected

One more piece of advice that someone gave me on my own wedding day. ‘Things will Go Wrong - But They Can be the Best Parts of the Day’. In every wedding that I’ve participated in something tends to go wrong with the day. The best man can’t find the ring, the rain pours down just as the ceremony ends, the groom forgets to do up his fly, the flower girl decides to sit down in the middle of the aisle or the bride can’t remember her vows….

These moments can feel a little panicky at the time - but it’s these moments that can actually make a day and give the bride and groom memories. Attempt to capture them and you could end up with some fun images that sum up the day really well.

I still remember the first wedding I photographed where the bride and grooms car crashed into a Tram on the way to the park where we were going to take photos. The bride was in tears, the groom stressed out - but after we’d all calmed down people began to see some of the funny side of the moment and we even took a couple of shots before driving on to the park. They were among everyone’s favorites.

21. Have Fun

Weddings are about celebrating - they should be fun. The more fun you have as the photographer the more relaxed those you are photographing will be. Perhaps the best way to loosen people up is to smile as the photographer (warning: I always come home from photographing weddings with sore jaws and cheeks because of of my smiling strategy).

Want to Learn More about Wedding Photography? Check out these Wedding Photography Books:

Monday, July 7, 2008

The darkroom

The darkroom

for black and white film processing & printing


Many black and white photographers rely upon commercial film labs to do their processing for them, while others feel they get the results they want by handling the job themselves. Discounting the time required, it is less expensive to develop and print your own film. In order to do this, you need a darkroom. (If you take pictures using a digital camera, then you will need to "process' them in the digital darkroom - on your computer. Click here for tips and hints on editing digital images.)

DARKROOM ESSENTIALS

Darkness - The ideal darkroom is pitch black, but total darkness is sometimes difficult to achieve in the home, especially if you have commandeered a room that also serves other purposes, such as a bathroom or kitchen. Here's a good rule of thumb for the minimum amount of darkness required - if you don't see any light in the room over a period of five minutes, it's dark enough for normal usage.

It's surprising, but the room that appears to be totally blackened for the first five minutes may reveal a number of dim light leaks after you've been in it for twenty or thirty minutes. Note where light seems to be coming in, usually around the door, windows, around ceiling tiles and even through electrical outlets. Block all light leaks. Sometimes this means simply placing a towel along the base of the door. Use cardboard, cut to size, to seal a window, taping it in place for peace of mind.

If, for some reason, you just can't block a dim light leak (one that you first observe only after you have been in the darkened room for five minutes) and are concerned that it might fog fast film, you can create a simple light barrier by opening the film cartridge inside a cardboard or wooden box that faces away from the trace of light. Added insurance is achieved if the interior of the box is spray-painted with matte black paint and has a heavy, black velvet curtain over its opening.


Two separate work areas - one dry, one wet - One practical darkroom design has a table or countertop along one wall for the enlarger, trimming board and paper supplies (the dry side), and another countertop or table along the opposite wall for print processing trays and, preferably, a sink (the wet side). This separation is effective in preventing damage to the enlarger, timer, film and paper supplies from splashed or spilled liquids.

When space is at a premium, you do what you can, and keep wet and dry materials separated as much as possible. If your darkroom has only one working surface, build a small partition between the wet and dry areas to keep the liquids on their proper side.

The work surface on the dry side must at least be large enough to hold the enlarger and a paper trimmer. The area of the wet side's work surface is dependent upon the largest size of enlargement you plan to make. Why? Because you will need space for four processing trays, each of which can fully contain your biggest enlargements. If you are not going to make any prints larger than 8" X 10", you need far less work area than if you are going to produce, say, 20" X 24" enlargements.

Layout for a 6-foot by 8-foot darkroom.
Layout for a 6-foot by 8-foot darkroom.

A light-tight fresh air inlet on the dry side and an extractor fan located above the wet side ensure a continuous supply of fresh air.
A light-tight fresh air inlet on the dry side and an extractor fan located above the wet side ensure a continuous supply of fresh air.

Water - And lots of it - both hot and cold, ideally with a mixing control that maintains a constant, selected water flow temperature. Such controls can be quite expensive. Most amateur darkroom enthusiasts rely instead upon a simple thermometer and their own attentiveness to temperature variations. (In a pinch, when you don't have a darkroom sink, you can haul water in and out in pails - an activity youll probably soon tire of.)

Ventilation - A darkroom should have a continuous supply of fresh air. One problem that can occur by zealously sealing off light leakage cracks and crannies is that you also seal off entrances for fresh air. The answer is a light-tight air entry, which can be achieved in a number of ways. One way to do it is to cut a hole in the outside of a wall at one height, preferably about a foot above the floor, and another hole on the inside of the same wall at another height, ideally above shoulder height. Like a chimney, air can get in; light cannot. The air enters the lower wall opening, travels up through the wall space and goes into the room through the upper wall opening.

The darkroom should be equipped with an extractor fan that pulls air from the room, causing fresh air to be drawn through the light-tight air entry. It is important to locate the extractor fan above the wet side and to locate the fresh air intake on the dry side. This way, fumes from the liquid chemicals are not drawn across the work area, but are instead extracted away from you. The extractor fan can be an ordinary bathroom fan, a multi-speed fan, a special darkroom fan or even an air conditioner. The fan should be exhausted to the outside, which may require a duct. The bonus in having a duct for the exhaust is that it usually must be bent and turned to direct the exhaust outside, thereby creating an effective seal against light. If using an air conditioner, its installation should be made so that light cannot leak in around its edges.


A few words of caution about air flow and dust. If your darkroom's intake vent brings in air from a dusty room - where there is a furnace, for example, or from outside in a city environment - you would be wise to place an air filter in the vent to trap particles that can settle on your film or printing paper. Don't sweep the floor or dust your darkroom before you begin to work in it, because you'll find that airborne particles can stay suspended for just long enough to settle on and ruin your work.

Room height - You never know how high you may need to raise your enlarger head when cropping or making a super-sized enlargement, so be sure that there is sufficient headroom for your enlarger to be extended to its full height. Sometimes, this can be achieved by removing the ceiling tile directly above the enlarger, if you have a suspended tile ceiling. Can't raise the enlarger? Lower its base. When you just don't have the ceiling height, you can often build a drop-base - a paper support that can be set at different heights beneath the enlarger. (We've even made enlargements with the paper on the floor.)

Four kinds of lighting - (1) white light, (2) safelights, (3) enlarger light and (4) no light at all.

No light - Film must be handled in total darkness. Keep in mind that it is so sensitive to light that exposures of 1/8000 sec can be used to take pictures, so film that encounters the slightest amount of light in a darkroom can be irretrievably destroyed. Panchromatic black and white film is also sensitive to all colors of the spectrum, so it cannot even be exposed to a safe light without damage.


Don't locate your safe light switch close to the room's main white light switch to avoid accidentally turning on the wrong light.
Don't locate your safe light switch close to the room's main white light switch to avoid accidentally turning on the wrong light.

White light - You will be amazed how frequently you will need ordinary, bright room lighting in a darkroom. You use it for negative selection, mixing chemicals, cleaning up, inspecting finished prints, and so on. Just be sure to turn it off when handling unexposed film and paper.

Safe light - Photographic paper, unlike film, is designed to be handled under certain colored, dim lights, known as safe lights, without adversely affecting the paper. Nonetheless, printing paper should be kept in the dark as much as possible, and should not be brought nearer to safe lights than is absolutely necessary. Make sure you are familiar with the manufacturers recommendations for safe distances, and never use a bulb that is brighter than recommended.


Enlarger light - When you turn on its light to focus the enlarger or to expose printing paper and make a print, that is preferably the only light that is on in the darkroom at the time. However, many darkroom technicians are comfortable with also having a safe light on at the same time. The advantage of having only the enlarger light on is that you are able to clearly see the resulting projection on the enlarging base or paper, without the influence of the safe light.

Room temperature - You don't want to work in a room that is too cold or too hot, and your photographs don't like such conditions, either. If the temperature of the air in the darkroom is between 65 and 80 degrees F., you and your images will both be all right. Any colder or hotter, and you will not enjoy your darkroom experience.

Source: http://www.photographytips.com/page.cfm/4710