Taking Stock of Your Own Photography
A Guest Post by SusanG from Camelot Photography Forum.
We talk about things like Workflow and Task Management. Yet, how much time do we dedicate to looking, really looking, into our own work? The end product itself!
I spent eight months last year photographing one linear mile. It wasn’t a planned series, but evolved into a long-term project. I recently reviewed the whole collection to select forty images as representative. In re-assessing the series, I took a long hard look to determine if the photography was an evolution of a signature approach, or a rut. That was not easy. It almost teetered into a self-involved downward spiral of “Why is everything rubbish?”
I kicked my ass out of that one ASAP as the end result of whinge-influenced decisions often is not a forward motion but a knee jerk response. Which can result in decisions that don’t further the goal. What does further the goal is to analyse objectively why an image (or images) failed or didn’t succeed as well as expected. Define the problem then look for solutions.
Also take the time to see what has been accomplished. If you know in your heart and mind that you have achieved a goodly portion of your photographic goals, take a moment to bask in that. There is more to be gained from honest congratulations then beating your self up. But keep that “Why Is Everything Rubbish” on hand for brief self-indulgences, and then use it in a positive manner.
My appraisal identified what lens and camera purchases I will be making next. I see that I still have issues resolving what I think I’m seeing to what I’m actually seeing in terms of composition. Which tells me I need to evaluate more completely the scene before I think I’m ready to click the shutter.
Perhaps that isn’t earth shattering, or a Road-To-Damascus moment. It is an important process and it has helped me to plan the next steps to where I want photography to take me.
Practical Things – Recap!
- Look at what makes the bulk of your subject and composition. Think about making a specific purchase (lens, filters, even camera upgrade) to take those types of images.
- Look for what’s missing! Could you have repositioned the camera to take a better or more complete perspective? Do you need to spend more time looking for different views to photograph a scene or subject?Be brutally honest with yourself when considering the above. You’ll stand a better chance of purchasing the equipment you need, and have a better idea on how to use it.
- Look for what’s right in your photography! No matter how small you may think it, everything you feel you got right is one more step towards becoming the photographer you want to be!
These are only a part of an ongoing process. Once you know where your photography is, you have taken an intelligent and objective look at your work. There’s bound to be items I missed or are unique to your own photography. That is what makes your work unique. That is what defines part of your signature style.
SusanG is the Creator of Camelot Photography Forum, a MySpace™ Photography Site where anyone can find their new level.
Post from: Digital Photography School - Photography Tips.
Taking Stock of Your Own Photography
How To Make Your Own Postcards: Cheap!
I’m Benjamin and am a hitchhiking photographer. In my travels I quickly realized a need to make my own postcards for my friends and family.
I wanted unique and personal postcards at a cheap price. Here is the result of that quest. This is a post for those whom aren’t familiar with Photoshop and editing their photographs. You should be able to make postcards that are one-of-a-kind and appealing at less than the cost of buying a postcard.
Read on and when you are finished, please share this post with others, whom would benefit from it. Also, check out my journey hitchhiking around the USA, sharing stories of the Goodness of People at my blog, Create Our World.
Here we Go!!!
What You Need:
- A digital camera.
- Access to a Computer and the Internet.
- About 15 to 30 minutes.
- A Free Picnik Account.
- About 30 cents for the card and 44 cents for the stamp.
- A Zip Drive.
Make Your Own Postcard (here is a photograph I took of my friend, Nai, in Austin, Texas)
1. Take a Photograph and Upload it to a computer
I love to photograph people. I love to remember places by the people I am with, so my postcards are of friends, either new or old. What do you want to remember about the place or what do you want to share? Be personal and be yourself. And take that shot and upload it to your own laptop or upload it at a computer lab.
After Editing
2. Edit your Photograph. (Optional.)
If you are a Photoshop expert, you can skip this page and just do what you do. Or if you don’t care about jazzing your photograph up a bit, then skip it as well. But with a few clicks, you can really improve how your image looks and trick your granny into thinking you are a professional photographer.
Open up your photo editor. I use iPhoto for my Mac. I have also used Picasa by Google, which is a free download and is easy to use. You can also do this in Picnik, which I am going to explain in the next step.
Here are two easy steps you can take to making the photograph look more vibrant. One increase the contrast of the photograph. Usually there is a little pointer that you can just drag. Contrast makes the darks darker and the lights lighter. The second step is to increase or decrease the color saturation. You can make the colors a little richer to improve the photograph or sometimes by lessening the colors, it will catch the eye more. Fool around with these two settings until you have a photograph that you are happy with.
3. Upload your photograph to Picnik
Picnik is an online photograph editor. Picnik is free for the basic edits and it has a lot of options to use. Sign up for a free account and follow the instructions to upload your photograph.
After the LOMO filter, adding a Border, and the 1960’s filter
4. Create Your Postcard
Here we are going to jazz our photograph up a bit more, add borders, and add our message. (Picnik has lots of options, so feel free to add any options that you want)
A. Open up the CREATE tab along the top of the border.
B. Click on the LOMO Filter under EFFECTS. (This simulates how a LOMO camera would take a photograph, which is toy camera.)
This increases the saturation of the photograph, adds a vignette (a dark shadow around the border), and blurs the outside of the photograph. Mess around with the settings until your photograph looks as you want.
C. Add the Border in Frames.
Every good postcard has a border. Choose a color for the border that goes well with the photograph. Go with black, if you can’t decide. Then, make it look like a postcard, by increasing thickness of the OUTER COLOR and leave the INNER COLOR alone. In my photograph of Nai, I decide on a Dark Orange and Black (University of Texas colors). Finally, increase the CORNER RADIUS too to give it an interesting look.
D. Go back to EFFECTS and chose the 1960’s effect.
I love the look of old film photographs. This adds a slight reddish tint to the photograph and also curves the outside edges. Tweak these settings again, till you like the look of your postcard.
E. Add Your Personalized Message in the TEXT tab.
Here is where you add your message. Anything you like works. “I love Mom!” or “Wish you were here!” are good. I am a huge fan of the “Greetings from…” postcard series that was popular a long time ago. There is a host of different fonts to chose from, so chose one or more that fit your style. For my photograph, I chose PANHEAD for “Austin, TX”, which is a western-looking font and then a bold font, IMPACT for the “Greetings from…” I keep my color theme similar as with the border colors.
F. SAVE your photograph & SHARE it.
Now you can save it to your computer or Zip Drive, share it on Facebook or email it.
5. Print Your Postcard
Save your postcard on something that is portable. I bought a Zip Drive for 15$ and I upload my postcards to this and head to a local store with a photograph kiosk. Walmart, CVS, Rite-Aid are very common options. However, more and more stores have a place that you can print your digital photographs on location.
Upload your postcards to the kiosk and chose the quantity, before hitting PRINT!
NOTE: Make sure your postcard fits and the border will not be cut off. Sometimes, I will lose my border by how the machine cuts the photograph, so you may have to make little edits at the machine.
Print off your new postcards!
6. Write on the back and Send it!
Write on the back like any postcard and send it off with a stamp in the top right corner. Your Mom and Granny will love you and tell all their friends!
Finished! Enjoy making your postcards and share this post with your friends. I will be blogging from all over the USA on my hitchhiking journey. I usually write about the people I meet and about the goodness of people, but I also share budget travel advice on my website, Create Our World.
Post from: Digital Photography School - Photography Tips.
How To Make Your Own Postcards: Cheap!
Infrared Digital Photography: An Introduction
An Introduction to Infrared Digital Photography by Chris Folsom.
The Old Ways by Chris Folsom
Infrared photography allows us to see the world in a way that our naked eyes (and traditional cameras) can not. The infrared spectrum exists beyond the spectrum of visible light, but it is always present and can have a very dramatic effect on your images when properly captured.
Carousel Horses by Chris Folsom
The Gear
Modern digital camera sensors are already capable of photographing in the infrared spectrum. Camera manufacturers use a special filter on the sensor to block most (but not all) IR light in order to improve the quality of the visible light being recorded. Despite this, there are several options available for capturing images in infrared:
- Use a camera that includes a “night vision” mode. These cameras generally include an infrared light to help illuminate objects in the dark and the normal IR filter can be removed from the camera’s sensor with the flip of a switch. Though they are generally limited to monochrome images, the results can still be very pleasing. An example of this type of camera is the Sony DSC-H9 which has been out of production for about a year but had very good monochrome IR capabilities.
- Purchase an infrared filter for your camera. This is probably the easiest way to try infrared photography as it doesn’t require a particular type of camera or expensive modifications. Despite the IR-blocking filters put in place by camera manufacturers, some infrared light still comes through. Attaching an IR filter (such as the Hoya RM-72 to your camera will block out all visible light so that only the infrared image is visible. The downside of this technique is that it typically requires lengthy exposures (10 seconds or more) and thus a tripod (and some patience) is required.
- Purchase or modify a camera to natively shoot infrared. There are a number of companies that sell modified cameras (both compacts and DSLR’s) that have had the infrared filter permanently removed. Additionally, many of these companies will perform the modifications to an existing camera that you already own. These modified cameras are capable of photographing infrared images as easily as most cameras capture visible light… no lengthy exposures or special filters required. Cameras modified for infrared photography are no longer capable of taking traditional photos though.
Color vs. Monochrome
As previously mentioned, cameras using a “night vision” mode are typically only capable of monochrome infrared images. Using traditional post-processing techniques, these photos can be converted to a variety of tones and contrasts… much like typical B&W image conversion.
Crystal Pool by Chris Folsom
Cameras using an IR filter or that have been specially modified to exclusively shoot in infrared are capable of recording different wavelengths within the IR spectrum which is interpreted as colors by the camera sensor. These colors don’t typically have as much variety or saturation as visible light, but the effect can still be very interesting. Here is an example of an IR image right out of the camera, with the normally blue skies shown as a deep red:
Red Dawn by Chris Folsom
Using software like Photoshop, the red and blue channels can be flipped so that the colors are a little closer to what we are traditionally used to seeing while still retaining some of the other-worldly effects.
Power Station by Chris Folsom
Subject matter
What makes for a good infrared photograph? There are no set rules… one of my favorite aspects of IR is the unexpected quality it brings to images. You are never quite sure how things will look when captured in the infrared spectrum.
Typically though, the biggest differences happen with organic material. Grass, trees, people… they all appear much differently in infrared and can be particularly fun to photograph.
Ghost in the Kitchen by Chris Folsom
In a future article, I will get into more detail regarding the IR photography process and discuss some of the post-processing steps involved. Until then, enjoy some of the amazing infrared photographs available on Flickr in groups like Converted Digital Infrared Cameras and Digital Infrared.
Chris Folsom is a hobbyist photographer who spends much of his time photographing abandoned buildings. You can view his site at www.studiotempura.com or see more of his photos at Flickr.
His photos have been published in newspapers and on numerous websites.
Post from: Digital Photography School - Photography Tips.
Infrared Digital Photography: An Introduction
How to Geo-Tag your Photographs with Google Maps
A Guest post from Lisa Newton by Lisa Newton Travelin’ Local
My business website is a hyper-local niche online lifestyle magazine, Travelin’ Local, where I features countless walking and bike riding maps, including a judicious quantity of photos to accompany my stories for the area that we specialize in, which includes Los Angeles and environs.
Eager to figure out and learn how to Geo-Tag my walks, I was amazed at the lack of information and knowledge regarding the how’s, what’s, where’s, when’s, why’s, and who’s, as it pertains to this technology and how to integrate it into stories, blogs, and websites. So, I took matters into my own hands and learned the old fashioned way; by investigation, experimentation, and implementation.
The first stop on my learn-by-doing adventure was, of course, the king of maps, Google.
Simply put, I would walk a route, and keep copious notes of the streets I was walking, the turns I made, or the landmarks I saw along the way.
While taking pictures at the same time, my goal is to obtain the best possible visual record of where I’m going, and where I’ve been. Sometimes, I would just shoot the street sign to avoid the interruption between story and record keeping, as well as having to not write anything down.
After I got home, I’d pull up my Google Maps and create a new map based on whatever particular story I was working on. You need to have a Google account in order to create a map, but that’s a snap to set up.
Once you have an account, go to My Maps and “Create a Map.”
moves the map around
creates a place marker. By using the dropdown menu, you are offered many choices for this icon.
the third and final option is the best of all. With its line tool dropdown list, Google provides several methods for mapping your route:
- Draw a line, which allows you to draw any type of line anywhere on your map
- Draw a line along roads: Just as the name suggests, the tool follows lines along established roads. Here it pays to mark your route by clicking often. Sometimes, Google tends to have a mind of its own.
- Draw a shape: If you need to map an area rather than a route, this freehand tool allows for that.
Once you determine which tool suits your purpose, you’re ready to start creating.
After you get your route done, the fun part starts by adding points of interest, photos, comments, information, links, and any other necessary information to create the story you want your readers to enjoy.
Within the place marker box, Google gives you three options to take advantage of:
- Plain text which is just as it reads; you type and it appears
- Rich text parallels WYSIWYG, giving you the ability to add images, make font changes, and add bullets, etc., to your place maker. If you’re not an expert at coding, which is where I tend to live, this tool is a lifesaver.
- Edit HTML allows you to get behind the scenes, so to speak, and change the coding or add coding as you deem fit.
Basically, if you’re skilled at coding, you can create a webpage for each place maker.
As far as geotagging your pictures within Google Maps, it’s a totally manual project. You place the marker where the photo was taken, and when you hit the image icon, an html box pops up. Each picture is uploaded via the Rich text tool, so each picture has to have its own URL. When I add pictures to Google Maps, I upload them to my blog first, cut and paste the URL, and then add them to Google.
Once you finish your map, the best part is that you can now embed it into your site, or share the link with friends:
View Hollywood Walk of Fame in a larger map
It’s a time consuming process, but one well worth the effort. I love sharing my walks with my readers, and Google Maps is one way to do that.
What experience have you had with Google Maps?
Lisa Newton is the publisher of the online lifestyle magazine Travelin’ Local. Along with her passion for writing and photography, she loves discovering new places to go and sights to see in Los Angeles.
Post from: Digital Photography School - Photography Tips.
How to Geo-Tag your Photographs with Google Maps
Neutral Density Filters
A Guest Post by Robin Ryan
I’d like to talk today about the potential offered by Neutral Density filters, and how they can make your photos more unique.
Ruined Harbour II by Duncan_Smith (used with permission)
The smooth watercolour feel in the above photo is due to a Neutral Density 64 Filter. This filter has interested me lately and this photo demonstrates one of its primary uses: to smooth out water and skies without the use of post-processing. I think the results are perfect, and I’d love to have this on my wall.
A Neutral Density Filter is one designed to block out a substantial amount of light. This enables the photographer to slow down his shutter speed and/or shoot at a faster F-stop.
Most photographers will use what is called an N2, N4, or N8 filter to smooth out waterfalls, rivers, oceans. This photographer has used an N64 filter which is far stronger, letting him have an exposure of 60 seconds at f/16 for this image. Without the filter, the photographer would have had to use f/2 to get away with a 60-second image, or less than a second at f/16.
An N64 filter allows for 1.5% of available light to enter the lens. Here is comparison table for the other filters, courtesy of wikipedia:
Filter Name F-Stop Reduction % of Light Transmitted
ND2 has an F-Stop Reduction of 1 which means 50% of the light gets through
ND4 has an F-Stop Reduction of 2 which means 25% of the light gets through
ND8 has an F-Stop Reduction of 3 which means 12.5% of the light gets through
ND64 has an F-Stop Reduction of 6 which means 1.56% of the light gets through
ND1000 has an F-Stop Reduction of 10 which means .1% of the light gets through
Options
It’s important to remember that filters are designed to fit your lens diameter. Look at the front part of your lens and check for a 2-digit number followed by mm. Common diameters are 77mm, 72mm, and 52mm.
Robin Ryan is a Vancouver-based photographer always hunting for beauty through the rain. Or in it. Anyways, he runs “Your 1000 Words” and his portfolio is found at www.robinryan.ca
Post from: Digital Photography School - Photography Tips.
An Introduction to Photographing the Northern/Southern Lights
The northern and southern polar lights have fascinated and hypnotised man for as long as we have graced the planet. The unearthly flame-like lights have been the inspiration of folk tale and legend for generations and since the invention of the camera a holy grail-like conquest for many enthusiast photographers.
Image by Orvaratli
Named after the Roman Goddess of Dawn (Aurora) and the Greek name for north wind (Boreas) the Northern lights AKA Aurora Borealis, are seen in areas that are within or surround the Arctic circle, for example: Norway, Sweden, Finland, Canada, Alaska etc. Equally the southern counterpart ‘aurora australis’ is visible from high southern latitudes in Antarctica, South America and Australasia. The mesmerizing wisps are actually solar charged particles reacting with the magnetic field as they make contact with the upper atmosphere gases. The most common lights star-gazers are likely to see are the green variety, with the red variant only appearing in tandem with the green. Sometimes the lights lie horizontally like an expanse of neon fog, other times in vertical streaks dancing their way across the night sky – whatever the colour or form the results are quite awe striking and will make for the most wonderful of subjects.
Image by Orvaratli
Spring and Autumn are the best times to witness the event (March to April, and September to October), but if you choose to visit in the winter months you will find the temperatures can be extremely cold often between as low as 35 below, and the days can be shorter with less light. For example at this time of year in somewhere like Sweden the sun rises around 9am and sets about 3pm but the window, this is great for star gazing but will mean your camera’s ISO capabilities will be put to the test.
Both factors will influence your choice of kit so pick a DSLR which can withstand the cold and work at high ISO. Nikon’s revolutionary D3S with 102,400 ISO is a fantastic choice; similarly the Olympus E3 is famed for its ability to withstand extreme conditions. Fast lenses are an absolute must, with a wide angle or fish eye acting as the best choices for capturing that great expanse of night sky. If you’re concerned for your camera or its potential demise in longevity take a fleece blanket or towel and gently wrap it around your DSLR, this is particularly wise for those models sensitive to colder climates.
Image by Orvaratli
Battery life is a big issue for any electronic device when the temperature is low so be sure to charge several spares if you are trekking out away from power supplies. Keep these close to your body when not in use.
A tripod is essential for stability and ultimately the success or failure of your shots. Long exposures of 15 seconds plus are going to be needed so a good solid contender that can withstand the cold and can be collapsed and erected with ease is going to be your best ally here. Manfrotto’s carbon fibre line up is definitely worthy of consideration, but ideally avoid anything that is predominantly constructed of metal. Furthermore to ensure the camera suffers minimum camera shake during exposures – which would result in blur – operate the shutter with a remote control/release or use the unit’s self timer mode.
Image by Orvaratli
Common sense would dictate that you do not head out into the snow-capped wildness alone or without at least notifying someone, and a compass or some form of GPS device is essential. Likewise sensible clothing is a must; plenty of breathable, thermal layers, with a waterproof out layer, sensible snow boots, balaclava, hat, scarf and gloves. When it comes to gloves double layered products are superb, especially those with a tip-less outer layer or grip coating – extending a better grip of camera controls to photographers. Lowepro, Peter Storm and Sealskinz in particular all make excellent items suitable for shooters.
In terms of transporting your kits, you are going to want your camera and lenses to be as snug and protected as you are, so this is no time to scrimp. One standout brand noted for its sturdy rucksacks is KATA and in particular the R-family of camera orientated luggage. Insulated with Thermo Shield Technology, the bag protects from the cold as well as knocks and bumps. The bags are cabin friendly (check with airline policy) and feature soft removable padding that cushions valuable items and the bright orange colour of the interior fabric is a boon for night time photographers. Another valuable asset to carry is a light; once away from the light pollution the only available light source will be from the stars, so until glow in the dark controls are invented remember to bring along a torch or if you do forget it a mobile phone will suffice.
Image by Orvaratli
As well as incorporating the beautiful streams of light which will no doubt fill your shot it will add interest and scale to incorporate a foreground subject such as a tree or cabin. Once you’ve found a good scene, be patient as the aurora borealis can appear in fits and burst over a period of many hours, and sometimes not at all. This is why travelling with a guide or experienced local can be of benefit. Once you do see the glow and take the shot be patient again and stand back from the tripod so your movement does not affect the stability of the capture.
In terms of technique switch to manual mode and open the lens’s aperture as wide as it will go. Next dial in the shutter speed, starting with 15 seconds but extend this duration as needed. It will be too dark for your lens to autofocus so opt for manual focus and adjust the ring with small incremental turns until the correct position is achieved. Keep checking the LCD for confirmation.
Experiment with ISO until it becomes uncomfortable. Some photographers favour exploiting the Noise Reduction mode in these conditions. After each shot zoom in on the LCD to check the level of grain, if things are looking uncomfortable opt for a longer exposure instead of degrading the quality of the shot further.
Rusty Old Shack - by Orvaratli
For capturing beautiful star trails in tandem with the lights, take dozens or even hundreds of frames of the same scene of 15 second exposures and flatten and merge them into one individual file in a software package later.
After an evening spent shooting be sure to reintroduce your equipment into warmer environments (i.e. indoors) slowly, to avoid the build up of condensation in the lens. Begin by leaving the camera and lenses by the door, drawing it into the premises in regular stages.
According to experts there is an extraordinary solar storm on the way (which happens roughly every 11 years in the solar cycle) and experts have forecast 2012 will be one of the most prolific seasons to witness the lights. It is during these times that the lights can be seen further outside the usual areas – especially those with less light pollution. For up to the minute information on flares and sun spots visit www.spaceweather.com.
Check out more images by Orvaratli’s Aurora set on Flickr.
Post from: Digital Photography School - Photography Tips.
An Introduction to Photographing the Northern/Southern Lights
How To Be Inspired Every Day
A Guest post by Eva Polak
“Inspiration does not come like a bolt. Nor is it kinetic, energetic striving. It comes into us slowly and quietly all the time, though we must regularly and every day give it a little chance to start flowing, prime it with a little solitude and idleness.” – Brenda Ueland
Whether you have been creating photographs for years or only for few weeks, finding inspiration is not always easy. We all experience periods of creative blocks when we get stuck and all our good ideas come to a halt. Inspiration seems to elude us. So, what can we do to help a creative energy affect us day after day? Is there a way to stay inspired? For me there is a definite “Yes” to these questions.
Throughout the years I developed some systems and strategies to ensure I remain creative and make things happen. The followings are my favourite ways to keep igniting my creativity.
1. Keep a Notebook
Keep your notebook with you whenever possible, so that you can write all your ideas, notes, inspirational quotes, dreams, goals, etc. Be consistent and add items to it often. In time it will become a great source of inspiration but also a reminder of your goals to keep you focused and motivated.
2. Take your Camera with you Wherever Possible
There are possible photographs all around us. You never know what you will see. Be prepare.
3. Read Biographies of Artists that you Admire
A biography is a great source of inspiration. You can learn, not only facts from someone’s life, but also discover important insights while gaining a deep appreciation for challenges these artists faced and the accomplishments they achieved. You may find parallel experiences in their life, be inspired by their persistence, and be motivated by their success.
4. Experiment
Take risks and try photographic styles or techniques you’ve never done before.
Use different camera settings. Play “What if…” game. Don’t be afraid to make mistakes. Just explore and have fun.
5. Start a Personal Project
Set realistic goals and plan your photo shoots. This requires a lot of discipline, so start small and you can always build up.
Evaluate your results from time to time, but remember this is your project, your ideas and your photographs. Don’t let anyone discourage you.
6. Visit Art Galleries
Going to see an exhibition can enrich your imagination. You will get new ideas to focus on and see your own art in a new perspective.
7. Learn Something New Everyday, Every Week, Every Year
Start reading books about art and photography. Subscribe to newsletters, podcasts and feeds. Take a class, attend a workshop, join a photography group. These activities will trigger new ideas, increase the level of your skill and boost your confidence.
8. Visit New Places
You don’t have to go overseas to find something exciting to photograph. Explore your neighbourhood. You will discover all sorts of places that you didn’t even know existed.
9. Look after Yourself
A healthy body equals a healthy mind. Exercise, eat plenty of fruits and vegetables, drink a lot of water. Take some time out to relax.
And above all have fun!
Eva Polak is fine art photographer based in Auckland who specializes in impressionist photography. Author of two books “At the beach” and “Impressionist Photography Techniques” – visit her site at www.evapolak.com.
Post from: Digital Photography School - Photography Tips.
3 Ways to get Better Control of Autofocus
In this post, Steve Berardi from PhotoNaturalist talks about three ways to get better control of autofocus.
Sometimes autofocus can be really annoying. For some shots it’ll focus on the right part of your subject, but then the very next shot it may choose to focus on something far and away into the background.
Sure, you could avoid this problem by always using manual focus, but autofocus is great when you need to focus quickly or when you’re photographing a landscape and you need to focus on a certain spot in the scene.
Well, autofocus doesn’t have to be annoying anymore, because here are three ways to get better control of it:
#1 – Press your shutter button half-way to activate autofocus and then recompose
Set your autofocus point to the center spot, then point this spot where you want to focus and press your shutter button half-way (don’t press it completely yet) to initiate autofocus. Then, while still holding down the button half-way, recompose your shot and press the button completely down to snap the photo.
#2 – Switch to manual focus after autofocusing
Use autofocus as you normally do, but once it focuses on the right spot, just switch off autofocus on your lens to manual focus. Your lens will keep the current focus when you do this. This method works well when your camera is on a tripod and you’re taking multiple exposures from the same spot, like when photographing a landscape.
#3 – Use back-button autofocusing
Normally, your camera will autofocus when you press the shutter button, but with back-button autofocusing, you have to press a button on the back of the camera instead, giving you complete control of when autofocus is initiated.
With back-button autofocusing, you can just set the autofocus point to the center spot, then point that where you want to focus, and finally press the back button to automatically focus on that point. Now for all the shots you take from that position, that focus will be maintained (the camera won’t randomly focus into the background anymore).
You can do the same thing without this back-button autofocusing by switching to manual focus after the camera focuses properly, but using the back button saves time and this way you don’t have to constantly switch back and forth between manual and autofocus (which can inadvertently move the camera sometimes).
Back-button focusing is especially helpful for photographing moving subjects, like birds in flight or other wildlife: just switch on the continuous focusing mode, set the autofocus point to the center spot, and hold down that back button. Now you don’t have to worry about accidentally hitting the shutter button while you’re tracking the subject in your viewfinder.
How to enable back-button autofocusing: Unfortunately, this feature is called something different on each camera, so you’ll probably have to do some digging around in your camera’s manual and “custom functions” to find it. If it’s not labelled clearly on your camera, try changing the settings of the different buttons on the back of your camera (like the AE lock button).
About the Author: Steve Berardi is a naturalist, photographer, and computer scientist. You can usually find him hiking in the beautiful mountains and deserts of Southern California. Read more of his articles on nature photography at the PhotoNaturalist and follow him on Twitter.
Post from: Digital Photography School - Photography Tips.
3 Ways to get Better Control of Autofocus
15 Tips for Low Light Landscape Photography
Capturing scenes in low light remains one of the most challenging aspects of photography, yet the results when executed well can be truly captivating. Whether it’s an energetic cityscape or ethereal seascape the possibilities are endless. Here are a few essentials points to consider before you begin.
- It’s a good idea to formulate a plan of attack before the twilight hour so scout out a position while there is another available light and grab a few set up shots to make sure your scene works and will be free from distracting objects. Cityscapes are best viewed from a distance, whereas seascapes are more dramatic nearer to the shoreline. Consider compositional elements to add scale, interest and context. When twilight occurs you’ll only have around 20-30 minutes of optimum shooting time so be ready for all eventualities.
- The best time to shoot a low light scene starts just half an hour before the sunsets until an half an hour or so after wards as this will produce beautiful colouration in the sky; resonating in a display of pinks, purples, reds, oranges eventually fading into an enigmatic blue. This shade of sky is more useful than the night sky as exposure times can be reduced if and helps to define the subjects within the scene.
- The key to flawless low light shots is long exposure which means slow shutter speeds so a sturdy tripod is unquestionably your most vital accessory. Manfrotto and Gitzo produce solid but light products which are ideal for landscape shooters. However, the ever portable and incredibly flexible gorillapod can be a great boon when creative angles or positions are desired. By supporting your camera you will be able to lower the sensitivity and decrease noise but leave the shutter open for as long as necessary without the worry of blur.
- If you are without a tripod but can’t resist a capture then look around for some other form of support, be it the top of a wall, the top of a rubbish bin, a fence, the ground, your rucksack or even your shoe – there are many ways to get around this problem. If there are literally no objects to support your kit from underneath, try leaning against a building or strong structure instead and press the camera into it and support it as calmly as possible with your hand underneath.
- So start by setting your camera upon a solid tripod and switching the unit to manual or shutter priority if you are wish. Lower the ISO to 100 (for some DSLRs you may need to access a sub menu to find this value) and dial in a shutter speed of 15 to 20 seconds (this will take some trial and error to find the optimum value). In terms of aperture you are going to want capture a longer depth of field to ensure far off elements within your scene remain in focus so try varying from f9 to f14.
- In relation to lenses the faster the better and a healthy wide angle will draw the whole scene in, something like a 12-24mm or a 10.5 fisheye can produce exciting results. However a zoom lens can be of benefit when shooting a city scene to pull in sections of the skyline or play with perspective.
- Using an auto white balance may result in lack lustre colours so set your white balance manually or dial in 5500k, as this is the average colour of daylight. It is advisable to shoot in RAW however as you can always alter the WB in processing if needed.
- Another key piece of kit is a remote control shutter release like Nikon’s ML-L3 wireless control which works with Nikon’s enthusiast range of cameras; D40, D40x, D60, D80 and D90. There are many varieties of release out there for all makes and models; some wireless others tethered. The benefit of a remote shutter release is the photographer can ensure they do not accidental nudge the camera during it’s exposure as this would show on the capture as shake or blur, distorting the overall crispness and clarity. Another trick to employ if you are without a remote shutter is to use the self timer.
- If you do have a trigger release take this practice a step further by employing the camera’s bulb setting and mirror lock up functionality. First press the trigger to lock the mirror out of the way and wait for any residual vibrations to subside then press the trigger again to start the exposure but hold it down for as long as you want the capture to last.
- Camera manufacturers are stepping up their game all the time pushing DSLR technology to the limits, most recently and perhaps notably is Nikon’s D3S which is capable of shooting at ISO 200 to an impressive 12,800. Further still this ISO can be expanded to an unprecedented 102,400. By utilising higher ISOs such as this photographers can sample low light photography hand held as the shutter speeds can be sufficiently increased.
- Although powerhouses such as the D3S cope admirably with noise, the same cannot be said of all cameras. Therefore if you do opt for a High ISO instead or supporting the unit with a tripod noise is inevitably. However there are ways to reduce the effect. First your device may offer a Noise Reduction system, activate this and the camera will automatically search for the incorrect coloured pixels within your scene and map the correct the values instead. This isn’t the best idea by any means but is an option if handheld shooting is the only option available. There are many Noise reduction software products available on the market that can resolve this issue post capture as well and if processing in Photoshop opt to process as a 16-bit file rather than an 8-bit one as you’ll retain more image information which will extend the opportunity to recover shadows from burnt highlights and retrieve details from the shadows – both a hazard of low light shooting.
- Incorporate a foreground element to add interest, scale and to help contextualise the piece. For example the combination of natural and artificial light can be very dramatic in cityscapes, high levels of light pollution colour the night sky and the vast quantity of glowing orbs scatter light across the scene but including a bridge, highway or structure will help to lead the viewer into the frame. If it’s a twilight landscape you desire consider a diagonal row of trees, a fence, a hedge or farm house. Likewise with a sea scene incorporate a lighthouse, Cliffside or groyn.
- With so much or so little going on in your low light scene in can be a job to know where to meter from so set your camera to matrix or multi-segment metering and take several readings using the elements in your scene to judge the optimal value. Ideally it’s best to start with a midtone rather than highlights or shadows and if you are using a zoom lens, scroll in to meter from the detail of the subject or object and then zoom back out to compose the shot.
- Another handy trick some low light enthusiasts employ is exposure bracketing. Use Aperture priority and meter from one area of the scene (later repeat this for the various elements in turn). Dial in the exposure and use the histogram to ensure accurate results. Keep aperture and ISO consistent throughout but vary the length of the exposure in half a stop increments. Later you can package these into one shot in editing.
- The wonderful thing about digital is the instant feedback. A lot of your technique will be trial and error in the beginning but use the histogram to check exposure. It may indicate that part of the shot is overexposed but this may be the areas of bright lights in a city scene for example and is therefore perfectly fine. Ideally your frame will present a post sunset sky or veil of blue twilight but still offer detail in buildings on foreground instruments. The most important thing is to have fun and experiment!
Image by V31S70
Image by kern.justin
Image by Paco CT
Natalie Johnson is the former editor of Digital Photographer magazine and after seven years in the business has chosen to pursue her dream of becoming a freelance photographer and writer.
Post from: Digital Photography School - Photography Tips.
15 Tips for Low Light Landscape Photography
My Photography “Bucket List”
Like most of you, I got interested in photography after viewing so many other photos that I thought were beautiful, and I thought “I want to be able to do that!” So I started reading, and practicing, and getting a better camera, and upgrading my lenses… and I still haven’t been able to take any of those photos that I drooled over all those years ago.
But I do have a list – what I call my Photo Bucket List – of all the photos I hope to one day capture – no matter how cliche and overdone some of them are, I don’t care, I want them.
Sunrise over water – I tried this once (to say I’m not a morning person would be a vast understatement). You can see my results up there, which isn’t much of a sunrise. The fog was so dense that morning that my view went from completely dark to a blueish-gray fog to white fog. It had to play with the white balance to get those warm colors. Yes. I CHEATED on the only sunrise photo I have. Needless to say, I can’t cross this off the list yet.
Sunset at a beach – When I say beach, I mean a real honest-to-goodness beach – one on the ocean. I think I need a trip to California for this one.
Under the Pier Shot – Hopefully I can get this one at the same trip as the above one.
Foggy tree-lined street – Last year I decided I wasn’t going to buy anymore photographs to put in my house, instead I was going to strive to take good enough photos myself that I’d want to hang in my house. I made that decision, thankfully, after purchasing one of my favorite photos that hangs over my fireplace. It’s of a foggy tree-lined street. I really want to duplicate this shot. Now I need to do is find a tree-lined street and make sure there’s fog there the day that I find it.
Long-exposure waterfall – The main thing that was holding me back from getting this photo was that I didn’t have a tripod. Now that I have one, the main thing that’s holding me back is being willing to set up the tripod when there’s always a large group of people trying to see the falls at the same time I am. I want a good view for my photo, but I always feel like setting up my tripod and getting a good shot is like telling everyone else that ventures down there “hey, my photograph is more important than you enjoying your visit.” Perhaps I need to figure out a time when my favorite falls near me aren’t very crowded!
Panning – I’ve attempted some panning shots before. Let’s just say you won’t see me posting any of those photos.
A lone tree in a field – I’ve seen so many different versions of this photo that I like – ones with brilliant green fields surrounding the trees, ones with fields of wheat, ones that are black and white, and ones that are snow-covered. Now, if I could just find a field with one lone tree in it….
One great wedding photo – I don’t want to be a wedding photographer. I’ve actually had nightmares before that friends get married and their photographer drops out at the last minute and they ask me to take over. Nightmares! That being said, I bring my camera to every wedding I’ve been to, and I’d like to get one good shot of the bride and groom.
A group jumping shot – I’ve taken a few photos of myself jumping, but nothing that compares to a group shot. I’m picturing either one on a beach, or one in the middle of a street with no cars on it.
A baseball bat hitting the ball – I don’t go to many baseball games, but whenever I do, I try to get a shot of the instant the bat connects with the ball. Maybe I’d have a better shot of getting this photo if I was a fan of a winning baseball team.
A silhouette of a couple kissing – especially if I combined this with the sunset on the beach. Even better if I could get myself in there as one half of the couple.
Baby detail photos – You know, of tiny feet and minuscule hands, and itty bitty ears. I don’t plan to have any children of my own, so I don’t have much control over when I’ll ever have an opportunity to take photos like this.
The good news is, while I haven’t been able to cross any photos off of this list yet, I know that the photos that have taken are all getting me one step closer to being able to get these “dream shots” of mine.
So, what’s on your photo bucket list?
About the Author: Jennifer Jacobs is an amateur photographer who runs iffles.com – a site for photography beginners. She’s also addicted to flickr and you can follow her stream here.
Post from: Digital Photography School - Photography Tips.