When photographing in artificial light, one has to always watch out for the potential light frequency issue. Due to the different intensities and wavelengths of light emitted by fluorescent and other sources of man-made light, there might be severe variations in exposure when photographing at fast shutter speeds. This is a similar “flickering” issue that you see when photographing or video-recording a TV screen – different light frequencies cause the flicker that is recorded by the camera. This can happen both when taking an image and when recording videos. Take a look at the following image, which I captured in a low-light situation using the Nikon Df:
I guess today is a “blow your mind” Friday, because we have a guest post here by Iliah Borg, the person behind the RawDigger software that is used to analyze RAW images. I had a chance to engage in a conversation with Iliah when discussing the noise performance of the Nikon Df, where he not only proved me wrong on my assumption that the Df had exactly the same sensor as the D4 (turns out that they are similar, but not exactly the same), but also shared some incredible information about testing procedures, data analysis and other crazy, mind-boggling stuff! The learning curve with photography never ends, especially when you get into the whole sensor and image processing pipeline side of it. I must warn our readers though – the below article is very technical and is not intended for beginners! Hope you enjoy it! Nasim.
If one is shooting raw, they might be interested to know if there is any benefit in using intermediate ISO settings like ISO 125, 160, etc. There is no single answer to this question, because it depends on implementation of these intermediate ISO settings in the particular camera. Sometimes they are implemented the same way as the main ISO settings, but other times they are a result of certain manipulations, like digital multiplication.
To demonstrate how this can be determined, we will first analyze the so-called Masked Pixels (often called optically black area, or simply OB), which is a portion of the sensor that we normally do not see in our images. It is covered from light, so it can be a good indicator of the lowest possible noise of the sensor, while noise is what we analyze to learn how to use a given sensor optimally. We are taking a series of shots at varying ISO settings, from the lowest to the highest and, of course, using all intermediate ISO settings available. The subject of the shots can be anything – you can even shoot with a lens’ cap on.
Next, bring the first shot of the series into RawDigger and set RawDigger preferences to display the black frame (Display Options, Masked Pixels checkbox, checked) and not to subtract black Level (Data Processing, Subtract Black checkbox, unchecked).
Even just a few hours ago, I was once again asked by a reader what lenses do I use most for my wedding photography. The answer is and always has been the same for my wedding, family or general photography needs – a classic fifty. I am sure hardly anyone will find this at all surprising, because fast 50mm fixed focal length lenses have become a legend of sorts. Ask any photographer and he will tell you – that is one of the two most versatile fixed focal length lenses you can buy (the other being a 35mm lens). It is time we back up that claim with actual photographs, and plenty of them. Is there a single reason for it being so versatile? No. Rather, it is a combination of various characteristics and generally pleasing manner of “drawing” the photograph that, even today with all the amazing zoom lenses, makes it such a sought-after lens.
Naturally, the Nikkor AF-S 50mm f/1.4G is not the only lens I own and use, but I really do feel this particular focal length deserves a separate article just to show how truly special it is. I adore it. More than that, my warm feelings towards such a lens are not dictated by raw technical characteristics, rather how much it resonates with the way I previsualize my work. And that is why, instead of boring you to death with technicalities, I will gladly let photographs do most of the talking for a change.
Our readers frequently ask us about extension tubes for macro photography. Since I am not much into macro myself, I have not explored this area of photography enough to qualify to write about it. While I have done some macro photography for product shots and ring shots in weddings with my Nikon 105mm f/2.8G VR lens (a very sharp lens that I absolutely love), I have not explored its full capabilities and I have not tried to use extension tubes and bellows to do crazy things that you can achieve with a true macro setup. Meanwhile, our readers have been gracious enough to fill in, and I have recently received the below post from one of our readers, Usama Nasir, who talks about what extension tubes are and how they are used in macro photography.
With the first article in our new Mastering Composition series, it is only fitting that we start off by discussing the very definition of our main topic. In this article for beginner photographers, I will outline the general meaning of the term “composition” in art. I will also briefly discuss the goal of composition, define what a good composition is and why it is such an important part of any work of art. At the end of the article I will provide you with a simple question that is also a hint on what is to come in future articles.
1) General Definition of the Term
The term “composition” applies not only to visual arts, but to music, dance, literature and virtually any other kind of art. In certain contexts, such as writing, this term may not be as widely used, but is just as valid nonetheless. In general, the term “composition” has two distinctive, yet related meanings.
Instagram is my favorite social networking tool for my wedding photography business. If you are not utilizing it for business purposes, you are missing out on a wonderful opportunity. I often connect with wedding professionals on Instagram – wedding planners, florists, calligraphers, venues, dress shops, you name it! It has been wonderful for creating buzz and spreading the word about my business.
One of the key areas that we will be focusing during our upcoming post-processing workshops, is image management and its effect on your workflow process. Unfortunately, many of us end up using Lightroom just for editing images and might not be aware of the powerful filtering and image management tools built right into the software. Before I started using Lightroom, I used to have a very messy folder structure in my computer, with images residing in multiple folders and several drives. I never really bothered to organize images in my file system, because there was no good way to do it – most operating systems cannot even properly read image EXIF data and lack built-in functionality to effectively sort through thousands of images. After discovering Lightroom, I was able to finally organize all of my images in my computer and once I developed a good methodology, I have been using the same process successfully for many years now. I wrote a detailed guide on this a while ago in my “how to organize images in Lightroom” article, where I go into more details on the import process. In short, if you have a messy folder structure today, I highly recommend that you organize it as soon as possible. Not only will it save you from a lot of headaches when searching for a particular image, but it will also standardize your workflow process and make your backup process simple.
I recorded a video earlier today, where I demonstrate the image management capabilities of Lightroom and talk about why you should be managing your files directly from Lightroom rather than your operating system. Here is the video:
For those that cannot watch the video, I will soon be updating my article on organizing images in Lightroom for the latest version and include many of the notes from the above video.
If you have any questions, please let me know in the comments section below. I hope you find the above video useful and I hope it will motivate you to re-organize your photo library.
Food can be photographed anywhere and anytime, given that a photographer has the right tools for the project. Photographing in a controlled environment indoors like in a full professional studio or a mini self-made studio can take a lot of effort to set up and can be very costly. But what if you do not have the required tools for the job or cannot afford a good lighting setup initially? You resort to using natural daylight, which is free for all, thankfully. And while daylight is available for us every day to use, it can be challenging to work with. In this short article, I will provide some tips on photographing food outdoors and talk about using very inexpensive tools that will make a huge difference when dealing with harsh lighting.
If you are planning to photograph outdoors for a paid gig or as a personal project, your first step is to time the photo shoot correctly. While there are some great tools available that will come to your rescue if need be, selecting a desirable time of the day to photograph the process will always give you more flexibility and quicker results. Generally, food photography calls for soft, less contrasted and very appetizing frames. To achieve such look in a natural environment, pick a time during early mornings or late afternoons, when the light is very soft and the sun is not too direct and harsh. If it is a cloudy day, that’s even better, since clouds do an excellent job of diffusing light (with clouds, you can shoot any time of the day, no matter where you are). Simple and basic, but it works!
Of all things photography I love photographing family portraits. For me, family portraiture is generally more flexible than any other type of photography, and it gives me lots of opportunities to express my creativity. If you are thinking about getting into family portraiture or perhaps someone asked you to photograph their family, you might not know where to start and how to plan it all out. In this article, I will talk about photographing family portraits and provide some tips on simple things you can do to come back with photos that the family will treasure for years to come.
It goes without saying that communication is key in people photography. From the day you receive the first e-mail from the client, make sure that you stay continuously engaged. Respond to inquiries promptly and keep your clients informed at all times, especially on any potential schedule changes. Portrait sessions are not weddings and there is always a chance that your client might forget when and where the photo shoot is supposed to take place. Therefore, put some reminders in your calendar to notify your client several days in advance about the upcoming session. I typically remind my clients about a week in advance via email, phone or Facebook first, then send another reminder the day before the session. If my client does not respond, I call them and make sure that they get my message. Effective communication is important for a busy pro, because the schedule can get packed very quickly. Rescheduling a missed photo shoot can get costly, especially if you have that one weekend day planned for a family outing.
In the world of photography, nothing happens without light. In most cases, there are two types of light that photographers work with: natural light and artificial light. Although I often find myself using artificial light sources, I prefer using natural light whenever possible and consider myself to be a natural light photographer. One of the tools that has made the biggest difference to my natural light photography (and, for that matter, studio photography) is a reflector. In this guide, I will show you how to use a reflector effectively to enhance your photographs by simply bouncing natural light.
1) Choosing a Reflector
If you have never purchased a reflector before, the options that you find once you start looking might be overwhelming. There are large and small reflectors. There are round, rectangular and triangular reflectors. There are white, gold and silver reflectors, as well as combinations of these three colors with names like Sunfire, SoftSilver, Zebra and Sparkling Sun.
One of the first things you’ll want to decide on is the size of reflector you’ll need. If you’re mainly shooting individual portraits, a smaller reflector might work better for you than a larger one. Of course, a larger reflector will generally produce a larger area of softer light, but larger reflectors are also more difficult to handle, so there is a compromise to be made. A 42″ reflector is a pretty common size that is a nice combination of ease of use and nice light.
Once you know the general size you’re looking for, you can start looking at different brands and shapes. You’ll find reflectors that have handles, brackets or frames. You’ll also find reflectors that don’t have any fancy features. You’ll usually pay a premium and have fewer options if you choose a reflector that has a handle or a frame, but the added ease of use might just make it worth the extra money.