Nov 08 2011

Light Timeline

We all know the best time to shoot is just before and just after sunset. The lighting is beautiful, soft and the color spectrum is amazing. The difference between perfect light and horrible light, in the case of the two photos below, 3 minutes. The bottom photo was taken only 3 minutes after the top photo. * No color correction was done, white balance was set in camera. Editing was a contrast adjustment, sharpening and a de-saturation gradient applied to the sky. The exterior of the barn was all ambient light.

However the inside of the barn has 1 speedlight with a pocket wizard. The last two windows and last sliding door had no light in the room, so I stuck a speedlight in there with a pocket wizard. You can see how dark that room was below. This shot was taken about 20 minutes before ‘perfect’ light.

You can see my crazy setup below. Because the ground where I needed to shoot the barn was significantly lower, I had to use a 10′ step ladder, and I mounted my tripod to the top. It was a bit tricky to look through the view finder while standing on top of the ladder without falling off!



Nov 04 2011

Outdoor Lighting – Midday

“This weekend I am going to a park with little to no shade to take pics…I am going at 11 AM”. Ever find yourself in this position? A friend of mine found herself in this situation and asked for some advice.

First reaction of any photographer would be, ‘DON’T do it!’ But if you have to shoot in these settings, let’s look at how we can make the most of it.

Now fortunately 11 AM in November is a lot different than 11 AM in July. The sun this time of year is lower in the sky and not as intense as in July. The first thing when photographing people outdoors is finding soft flattering light. Soft light reduces contrast. The lower your contrast the less of a difference between white and black. Contrast creates hard edges. So knowing this, soft light is most flattering for people, because it helps reduce the appearance of blemishes and makes the skin appear clean and smooth.

How do you find soft light at 11 AM? (1) Ideally you need to find open shade. The image below was shot on a senior shoot, where the sun was still a little hard, but we found this stairwell with amazing light. The top and bottom images are the same, just one is cropped. You can see the bright sunshine pouring in from camera left, this was aided by the concrete floor acting as a beautiful reflector. This produced some really nice flattering light.

In this shot, I just turned the senior and moved her to the edge of the light (the point where the sun stopped and the shade started). This allowed me to have beautiful soft light on her face, while creating a very nice hair light from the sun.

Again another senior, using the open shade technique. You can see on the very front edge of the image the edge of the shade and the back edge of the shade is right under the fence. This provided some beautiful flattering light.

(2) Now if I can’t find open shade, I usually try to back light my subjects. This is best done (in my opinion), by using the best glass you have. Usually this is a prime lens. I love my 50 mm f/1.4, as I feel lens flare and it’s ability to shoot into the sun in amazing. ** Note: This technique may not be successful with cheaper lenses, as the quality of glass isn’t as high. ** When back lighting your subject you can’t rely completely on your cameras built in light meter. If you do use your camera’s light meter set it to center-point. If you use a center weighted or average light meter reading, you are going to be thrown off by the sun. You need to expose for your subject. I often will shoot in full manual mode and lock my exposure. Back lighting is not for everyone, play around with it. I know a lot of my clients have really liked the look and even requested it for their shoot.

(3) The last technique I’ll use when trying to find good light outside takes an assistant (or a free helper whatever you can find). I will use a reflector or a diffuser. They both due exactly what they say, one reflects light and the other diffuses the light. In the image below I’m using a very large reflector. This reflector is working in two ways: first it is blocking the direct sun from hitting my subjects in the face, second it is reflecting soft light back into my subjects to fill in the shadows. For this engagement session I took my wife with me as my assistant, because this was her brother. To help the couple loosen up and bring out their own personalities I let them start walking along these old railroad tracks holding hands. As we moved I would give little directives, like in this shot, I asked Mere to look at Joe like he’s your stud of a man. Of course as you can see in Joe’s face he liked the fact that his lady was thinking of him as her stud, and in Mere’s face you can see she was dreaming of her love. Made for a great shot, but it would have never happened without my faithful assistant walking blindly with a large reflector to keep the sun off the couple’s faces! You can see the edge of the reflector in the un-cropped version of the photo below.

These are three of the techniques I’ll use on an outdoor shoot using only ambient light. Another technique I’ll use, but won’t discuss here is using speedlights.

If you want more information on open shade technique and how to find good light, check out Jasmine Star and her post Reflections: Natural Reflectors. Jasmine does a fabulous job at sharing great tips for improving your photography.

** UPDATE: Right after I posted, I saw Jasmine wrote a new blog post about her recent workshop where she talked about shooting in bright daylight. Check it out here. Notice, she back lit her models.**

The Youngrens are a great photographer couple to check out, http://theyoungrens.com. I don’t think they have a blog posts explaining it, but they are experts utilizing this technique and their work is very inspirational.



Nov 02 2011

Review: Nikon P300

I’m a huge Nikon fan, that’s why all my gear is Nikon and has always been so, and will always be (since I probably couldn’t afford to switch even if I wanted to). One area, I’ve been disappointed with Nikon is in their Coolpix line of cameras. I’ve owned 3 different ones in the last 4 years. They’ve all developed funny quirks about them after about a year or so. The first one, the lens cover won’t open, and the second one the flash won’t pop open. You would think I would learn from my lesson when I bought my wife her new point & shoot camera, but I again choose Nikon.

I have not been disappointed so far. I ordered the new Nikon P300 from B&H and like always great service and fast shipping. I had it on my desk within 24 hours of ordering it! The P300 boasts of it’s f/1.8 lens and ability to shoot in low light situations. As seen below in a shot my wife took at the Grand Ole Opry in Nashville TN, the P300 has a great processor. The camera did a fantastic job of interpreting the scene, the blacks are pure with little to no artifacts or noise. The next image taken at B.B. Kings in Memphis TN, shows again the quality of the P300 in low light situations. I think there are multiple factors involved in the ability for the P300 to create stunning low light shots. The first is obviously the f/1.8 maximum aperture lens. The second may not be so obvious, but I believe it’s the fact that this lens is only rated for a 4.2x zoom [24-100mm]. With this known fact, you can shoot at 24mm with an aperture of f/1.8 and have your shutter speed as low as 1/24 and come away with a sharp image! Now that’s shooting in some low light. So many people when looking to buy a point & shoot camera, look for 2 things: MegaPixels and Zoom. That’s the scheme the marketing department wants you believe. ** The higher the MP, the larger the zoom, does not mean the better the photos! ** With a 24mm lens, this makes you move closer to your subject which helps you produce sharper images in lower light.

The P300 also has a nice macro setting. I find macro fascinating, I’ve haven’t been able to justify investing in a macro lens for my DSLR’s, but it’s fun to play with the macro on the P300. The image of my watch below was taken at my desk, all ambient light (ugly florescent), and a sheet of printer paper. The last image below was shot outside in the shade of a BMW GS.

Overall I’ve been very impressed with this camera. In fact so much so, I hardly carried my DSLR while on vacation. I don’t normally trust a point & shoot, but I have confidence in the P300 that I could create great images while on the go. The battery life is pretty respectable. We went several days without feeling a need to charge. ** Note: I’m the kind of person that is a little crazy when it comes to having things charged. ** One feature that I like, but some may not, is that the flash does not automatically pop-up, you have to release the flash manually. I believe Nikon picked this design because the camera specializes in low-light ambient shooting.


Summary: Good low-light camera, high quality image processing, fun macro mode



Oct 13 2011

Tip :: Image Bracketing

Do you ever find yourself in a situation (like on vacation) where you have a very small window to grab a shot and when you get a chance to look at the image you find it’s way underexposed or even overexposed? Now you are frustrated, because you don’t have a usable image. This is where bracketing can prevent unnecessary frustration! **Side Note** Metering is another topic for another time, but often if you use average metering (which I DON’T usually) and there is a really bright light in the room, your camera will underexpose the entire image.

My wife and I just got back from a trip to Nashville. During our trip we took a backstage tour of the Grand Ole Opry. If you ever find yourself in Nashville, the Opry is a must stop! On this tour there were about 100 or so people going through the self-guided tour, each one waiting for the previous to hurry up and move on so they could get a turn. So I found myself wanting to shoot some of the dressing rooms, because they all had themes and were really fascinating.

If you notice in the room below, there are just a few small bright light sources. So to make sure I got an image I could work with, I took 3 shots with each shot 1 stop apart. So one shot at -1, one at 0 and one at +1. There are several ways you can achieve this. The long way is to actually change your exposure between each shot. That could look like using aperture priority and adjusting the exposure compensate +/-, or you could be in full manual mode and adjust your shutter speed 1 full-stop. Most DSLRs move in 1/3 of a stop increments, so to adjust a full stop you’ll need to move 3 clicks. This technique would probably take a photographer about 20 seconds to adjust the exposure for 3 shots.

There’s a better and faster way, and it’s called bracketing! Refer to your camera manual, but in most DSLRs in the last 15 years bracketing is available. What bracketing allows you to do is specify the number of images in your sequence and what exposure compensation you desire for each image. Once you have your bracketing set, all you have to do is press the shutter button 1,2,3 done! Less than 5-seconds and you have 3 images ranging 2 full stops!

The image above is the middle of the three images taken, the one that was shot with no exposure compensation. Now maybe I got lucky (or maybe I knew what the exposure was supposed to be), but just in case I would have goofed something up I had 2 additional images (-1 & +1) that I could use if needed and it took me less than 5 seconds!

With your bracketing images you have other options as well. You can blend images in Photoshop by using layer masks or you could use HDR software to create a high-dynamic range image. Whatever you use it for, I’m sure you’ll find auto bracketing to be very useful!

*This is not an exhaustive resource on bracketing, in fact in only scratches the surface. If you have more questions regarding bracketing, let me know.



Sep 28 2011

Philly – Scott Kelby

Yesterday I spent the day down in Philly at Scott Kelby’s Light it, Shoot it, Retouch it! seminar.

It was a fantastic day down in Philly.

There were several sessions throughout the day of complete shoots. Scott walked everyone through the process of setting up the lights to create different looks. After setting up the lights, he would begin to shoot the models throwing in lots of fun and humor along the way. He had a way of making the models feel very comfortable and gave everyone a good time! After getting a good number of shots, Scott would walk everyone through his process of selecting a good image in Lightroom, then proceed to teach different post processing techniques. Each session focused on a different lighting setup and Scott introduced a different post-processing technique to add to the previous for each session.

Lunch came quickly, I looked down at my watch when we were told it was time for lunch and it was already 12:30pm! So Debbie Horst and I ran across the street to the Reading Terminal Market. We chose Carmen’s Cheesesteaks and waited a half hour in line, but it was worth the wait! We finished our lunch with some delicious chocolate chip cookies. I’m not sure where Debbie found them, but they were sooooo good!

Throughout the workshop, Scott had his camera tethered to his computer, which was then projected onto two large projectors. This was really nice to see everything Scott shot. He allowed us to see his entire process, mistakes and all! My biggest complaint about the workshop, was that I came away wanting to shoot more photography and buy some more gear!

Benefits of Scott Kelby’s Light it. Shoot it. Retouch it. LIVE!. I feel that Scott’s seminars are so well built that they provide information and benefits for photographers at all levels of skill and experience. I broke down a few thoughts for beginner and more experienced photographers.

For Beginners:

  • Learn basic lighting fundamentals
  • Tips on camera settings to work with off camera lighting
  • How to develop a workflow to optimize your output
  • Basic -> Intermediate retouching techniques in Lightroom and Photoshop
  • Hang out with other regional photographres

For More Experienced:

  • Energize and refuel a passion for photography
  • Receive a glimpse into another photographers workflow
  • Pick up little tips and tricks from an expert in the industry

I came home from this seminar recharged and ready to shoot. I didn’t really learn anything new as far as lighting or shooting, but I did come home with some functions built into Photoshop that I didn’t know about. My intention for attending this seminar was to study and watch Scott’s workflow and techniques, and I feel like I gained some more confidence in what I was doing. Scott hired local models for the day which was a nice touch. The first time he had met a couple of the models was when they walked on stage. This was great to watch Scott have to create and work with the model in a new and fresh shoot. It wasn’t like there was a cookie cutter | robotic walk through the shoot. Even though Scott had general guidelines to follow or main subjects he wanted to focus on, the shoots where very real. One comment I left for Scott and the crew at KelbyTraining was to have one of the sessions with a ‘non-model’. I would say more than 85% of the attendants at the workshop don’t have access to professional models. It was nice that Scott didn’t have to worry about the model and the sessions could focus on proper technique and lighting. It would have been nice to have seen how Scott would work with an ordinary person: share tips on how to loosen a person up and produce great images from ordinary people.

Scott was sharing how incorporating the model’s taste in music into your session will help the process go smoother. However, when Scott turned on the music the model picked, Scott decided to show off his dancing moves!

Scott’s assistant’s name was Brad, and Scott said at one point during the session that ‘Every photographer needs a Brad.’ So…here I am, how can I be of service?

One final thought from the day, came at the very end of the session. All of the lights, cameras and computers where put away and Scott took a minute to share from his heart about photography and photoshop. With the distaste for Photoshop amongst the misinformed, Scott shared some great advice. He shared a story of a beautiful bride he photographed and everyone just couldn’t stop saying how beautiful this bride was. He was so excited to get home and look at some of the images as he thought they were going to be killer. When he opened up the first image, he just gasped. There was a blemish on the girls shoulder that stood out in every image. Scott shared that when we look at a person our image of that person is made up of our 3D perspective, their personality, the environment, the conversation; but when you put that person in 2D space on a print their flaws and blemishes are enhanced. Scott said our goal as photographers to is produce images that ‘make people look as good as if they were standing in front of you’. He went on to share that what you do to an images is ‘the secret between you and Photoshop’. Scott had an eloquent way of saying it, I can’t even begin to do his words justice. So I would suggest you attend one of his workshops. Lucky for most of you, Scott is coming to Washington DC in December!

Scott Kelby, if for some random reason you every come across my blog by mistake, Thank you! Thanks for taking the time away from your family to share with use your workflow and excellent photography and retouching knowledge. You made the workshop very fun and enjoyable; I would recommend any photographer to attend at least 1 of your workshops.