Like any event photographer, most of my wedding shots are of people, i.e. the bride, the groom and their guests. This, after all, is what a wedding is all about and what people mainly want to see when they open a wedding photo album. Weddings, though, are always packed full of other visual details besides the people. So much time is spent in preparation to make a wedding look beautiful that it would be a shame not to preserve some of this in the album. I find that sometimes the best way to achieve this is to make these details the subjects of some of my photographs, even if this means leaving people out of some shots completely.
Some photographers oppose the idea of using flash or light modifiers. Sometimes because it does not suit their style, sometimes because they do not feel comfortable using flash in first place. While we as photographers often love the feel of soft, natural light, knowing how to utilize artificial light can be of tremendous value in low-light environments. Not to mention that such knowledge and being ready to overcome challenging tasks in pretty much any environment can boost confidence and give peace of mind when working in the field. In this article, I would like to go over situations when flash should be used and how it can work to our advantage. I divided this article into indoor and outdoor photography to make it easy for everyone to follow. Please feel free to add your use cases in the comments section below. Please note that I am not going over the basics of flash photography here – the article assumes that you understand the relationship of flash with ISO, Shutter Speed and Aperture.
In this article, Patrick Downs is providing very useful portrait photography tips to our readers, sharing his experience and beautiful images that he has taken as a professional photographer. As a photojournalist for 25 years and shooting for much longer, I may have a different or expanded definition of what a portrait is, and what it takes to produce them. There are genres of portraiture, of course, such as: editorial, corporate, commercial/retail, documentary or candid, and illustrative portraits. With some you exercise almost no control (e.g., William Albert Allard), and with others almost total control (e.g., Annie Leibovitz). There is no right or wrong answer … the photographer chooses their style! There are many photographers whose portraits I love, and not all of them are pure portrait photographers. Allard is a documentary photographer, but his found portraits are wonderful. Annie L. imposes her will on her subjects, but the results are fascinating and something I’d love to be able to do. If I were to pick my top 3 pure portraitists, it might be Arnold Newman, Gregory Heisler, and Annie L, in no special order. I went back and read my Arnold Newman’s “One Mind’s Eye” the other day, and was struck by how many of his images don’t use “perfect” light by today’s standards, but so many are amazing. This one, of Igor Stravinsky, is still one of the most brilliant photo portraits ever taken, I think. It’s interesting to know that Greg Heisler was one of Newman’s last assistants.
This is a quick guide on how to upgrade from Lightroom 4 to Lightroom 5, if you are considering moving up to the latest and greatest Lightroom version. While the process of upgrading the actual software is pretty straightforward, there are some important steps you need to take to make sure that the catalog is upgraded successfully and you are using the latest available features. If you are scared about upgrading and have not done it in the past, this guide might help you to go through the process. The good news is, Adobe allows keeping both versions of Lightroom on the same machine, which means that you can install LR5 and continue to use your old LR4 with the old catalog(s). Once you are satisfied with the upgrade, you can then remove the old version of Lightroom, along with the old versions of catalogs.
In the first article of our Mastering Composition series, we discussed the definition of the term “composition”. We also outlined the main goal of composition and talked about why it is such an important part of any work of art. As we dive deeper, it is necessary to define two discrete types of composition with photographic context in mind. One such type is called “open composition”, while the other one, predictably, “closed composition”. These two types are further split into several smaller branches. Our readers have already mentioned some of them previously, such as symmetrical composition. These subtypes will be discussed in separate articles over the next few weeks. As before, an assignment for beginners is waiting for you to participate in at the end of the article.
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.
Since Lightroom version 3, Adobe has been providing a Lens Corrections sub-module within the Develop Module to correct various optical issues commonly seen on all lenses. It is a very powerful and complex tool that can be applied to one or many photographs with a couple of quick steps, potentially saving many hours of post-processing time. In this article, I will explain what the Lens Corrections sub-module is, how it works and how you can effectively use it to correct optical issues in your photographs. I will also show you a method of adding a lens profile manually, if you have unsupported lenses in your arsenal.
You have heard it said, “Shoot first, ask questions later” but when it comes to wildlife photography, if you will ask questions first, you will get to shoot more later. This quick tip for the beginning wildlife photographer encourages you to ask questions. While you might go to a park to find wildlife, some photo ops might be in your own backyard, literally, and if not your own backyard, maybe in your friend’s or neighbor’s backyard.
Photographers are always looking for something new to invigorate their photography. Sometimes visiting the same old haunts or taking the same types of photographs can get stale. When I mention that I love visiting historic cemeteries, I get quite a few strange looks. Some consider it a bit morbid. Others, uncomfortable with the subject of death, can’t seem to fathom going to a cemetery unless they have no choice! Suffice to say that the notion of visiting a cemetery is not usually at the top of people’s “Things I Would Most LikeTo Do This Weekend” lists!
In my opinion, street photography is a significant craft, geared towards preserving human history and history of any given society. It helps us preserve once-in-a-lifetime moments and capture truly authentic imagery. As many of us start getting weary and tired by the polished, glossy magazine looks we encounter daily, random portraits photographed in streets preserve that originality a lot of us crave, once again reminding us of real subjects and objects around us. Street portraiture is a big chunk of street photography and documentary. Today, I want to concentrate on giving you some tips on street portraiture. I should also warn you that the pointers I give today may work better for female photographers, rather than for boys with cameras :)