Top Photography Rules

8/12/2019 Top Photography Rules

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10 Top Photography Composition Rules

The only rule in photography is that there are no rules. However, there are manycomposition guidelines which can be applied in almost any situation, to enhance the

impact of a scene. Below are ten of the most popular and most widely respectedcomposition 'rules'.

Rule of Thirds

Imagine that your image is divided into nine equal segments by two vertical and twohorizontal lines. Try to position the most important elements in your scene along theselines, or at the points where they intersect. oing so will add balance and interest to yourphoto. !ome cameras even offer an option to superimpose a rule of thirds grid over the"# screen, ma$ing it even easier to use.

%otice how the building and horizon are aligned along rule&of&thirds lines. Image byTreyatcliff.

Balancing Elements

(lacing your main sub)ect off&centre, as with the rule of thirds, creates a more interestingphoto, but it can leave a void in the scene which can ma$e it feel empty. *ou shouldbalance the 'weight' of your sub)ect by including another ob)ect of lesser importance tofill the space.

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Here, the visual 'weight' of the road sign is balanced by the building on the other side ofthe shot. Image by !hannon o$os$a.

Leading Lines

-hen we loo$ at a photo our eye is naturally drawn along lines. By thin$ing about howyou place lines in your composition, you can affect the way we view the image, pullingus into the picture, towards the sub)ect, or on a )ourney 'through' the scene. There are

many different types of line & straight, diagonal, curvy, zigzag, radial etc & and each canbe used to enhance our photo's composition.
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Theroad in this photo draws your eye through the scene. Image by (ierre /etivier.

Symmetry and Patterns

-e are surrounded by symmetry and patterns, both natural and man&made., They canma$e for very eye&catching compositions, particularly in situations where they are note0pected. 1nother great way to use them is to brea$ the symmetry or pattern in someway, introducing tension and a focal point to the scene.

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Thesymmetry of this chapel is bro$en by the buc$et in the bottom right corner. Image by3abio /ontalto.

Viewpoint

Before photographing your sub)ect, ta$e time to thin$ about where you will shoot it from.4ur viewpoint has a massive impact on the composition of our photo, and as a result itcan greatly affect the message that the shot conveys. ather than )ust shooting from eyelevel, consider photographing from high above, down at ground level, from the side, fromthe bac$, from a long way away, from very close up, and so on.

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The plain bac$ground in this composition ensures nothing distracts from the sub)ect.Image by (hilipp %aderer.

Depth

Because photography is a two&dimensional medium, we have to choose our composition

carefully to conveys the sense of depth that was present in the actual scene. *ou cancreate depth in a photo by including ob)ects in the foreground, middle ground andbac$ground. 1nother useful composition technique is overlapping, where youdeliberately partially obscure one ob)ect with another. The human eye naturallyrecognises these layers and mentally separates them out, creating an image with moredepth.

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9mphasise your scene's depth by including interesting sub)ects at varying distances fromthe camera. Image by :ule Berlin.

Framing

The world is full of ob)ects which ma$e perfect natural frames, such as trees, archwaysand holes. By placing these around the edge of the composition you help to isolate themain sub)ect from the outside world. The result is a more focussed image which drawsyour eye naturally to the main point of interest.

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Here, the surrounding hills form a natural frame, and the piece of wood provides a focalpoint. Image by !ally #rossthwaite.

ropping

4ften a photo will lac$ impact because the main sub)ect is so small it becomes lostamong the clutter of its surroundings. By cropping tight around the sub)ect you eliminatethe bac$ground 'noise', ensuring the sub)ect gets the viewer's undivided attention.


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#ut out all unnecessary details to $eep $eep the viewer's attention focused on the sub)ect.Image by Hien %guyen.

E!perimentation

-ith the dawn of the digital age in photography we no longer have to worry about film

processing costs or running out of shots. 1s a result, e0perimenting with our photos'composition has become a real possibility= we can fire off tons of shots and delete theunwanted ones later at absolutely no e0tra cost. Ta$e advantage of this fact ande0periment with your composition & you never $now whether an idea will wor$ until youtry it.

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igital photography allows us to e0periment with different compositions until we find theperfect one. Image by:ule Berlin.

#omposition in photography is far from a science, and as a result all of the 'rules' above

should be ta$en with a pinch of salt. If they don't wor$ in your scene, ignore them= if youfind a great composition that contradicts them, then go ahead and shoot it anyway. Butthey can often prove to be spot on, and are worth at least considering whenever you areout and about with your camera.

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Understanding White Balance

If you come from the world of films, you may remember using filters to correct for

incandescent or fluorescent lighting. /ost people don't bother and their indoors picturesinvariably come out with a yellow@orange or bluish cast. In the digital world, thesecorrection filters are no longer necessary, replaced by a feature found in most && even theentry&level && digital cameras called, A-hite Balance.A

Light Colour Temperature

The reason that pictures turn out with a yellow@orange cast in incandescent tungstenClighting and bluish in fluorescent lighting is because light has a colour temperature.1low colour temperature shifts light toward the red= a high colour temperature shifts lighttoward the blue. ifferent light sources emit light at different colour temperatures, and

thus the colour cast.By using an orange or blue filter, we absorb the orange and blue light to correct for theAimbalanceA && the net effect is a shift in the colour temperature.

In digital photography, we can simply tell the image sensor to do that colour shift for us.But how do we $now in which direction of the colour temperature to shift, and by howmuch6

Manual White Balance

This is where the concept of A-hite BalanceA comes in. If we can tell the camera whichob)ect in the room is white and supposed to come out white in the picture, the camera cancalculate the difference between the current colour temperature of that ob)ect and thecorrect colour temperature of a white ob)ect. 1nd then shift all colours by that difference.

/ost advanced digital cameras therefore provide the feature to manually set the whitebalance.

By pointing the camera at a white or gray card angled so that it is reflecting light fromthe roomC as a neutral reference, filling the screen completely with it, then pressing the-hite Balance button or set it in the menuC, the camera does its -B calculation.

3rom then on, any picture ta$en will have its colour temperature shifted appropriately. It'squite simple, really, and you should not be afraid to try it out and see your indoorspictures improve considerably assuming there is enough light for correct e0posureC.

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& 9nsure the card is not in shadows, but illuminated by the artificial light in the room& If you are bouncing light off the walls, ensure the card is reflecting the bounced light& Beware of mi0ing artificial lights && in this case, you might want to use 1- and ad)ustin post processing for each light& Beware of fluorescent lightG since fluorescent light does not contain all the spectrum of

light, you may obtain une0pected results

Preset White Balance

To help us in those special situations without having to go through the trouble ofmanually setting the white balance everytime, cameras provide preset -B settings suchas, Tungsten, 3luorescent, #loudy, !unny, etc. sing preset -B can improve on apicture, especially under indoors lighting.

White Balance

1-B (reset -B Tungsten

In the above e0ample, the picture on the left is ta$en with the camera set to 1uto -B.The indoor lighting is by two ordinary incandescent tungstenC bulbs from the ceiling. It'snot bad, but the fan should really be white. By dialing in a preset Tungsten -B, theimage gives a truer representation of the scene.

sually )ust selecting a (reset -B setting appropriate for the lighting situation is enough.

Auto White Balance

!ince the days of the oda$ Brownie cameras, manufacturers have tried to automateeverything for us. Hence, today's digital cameras also all sport an 1uto -hite Balance1-BC function. epending on the camera brand, some 1-B wor$s better than others.4n the whole, though, 1-B wor$s very well in sunny and cloudy outdoors, and fine formost indoors situations a little orange or bluish cast does sometimes contribute to themood of the picture anyway, e.g. the warm orangle glow of a candleC.

!et your digital camera to 1-B and ta$e pictures under tungsten, fluorescent, and mi0edlighting i.e. tungsten or fluorescent, plus natural light coming through the windowC, andsee if the results are 4. If they are, you can )ust use 1-B.

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Sno

(ictures of snow scenes typically reproduce the snow not as white but with a bluish tinge.!ometimes, the blue adds to the mood of the picture, but at other times you may want toremove the blue.

If your digital camera allows custom -B, then set the -hite to the snow and the blueshould disappear.

Sno ! Using Custom WB

1-B #ustom -B

If your digital camera does not allow custom -B, then post processing can be aseffective. In (hotoshop 9lements, I used 9nhance & #olor & #olor #ast... to specify thesnow as being white, and the resulting image is as good as the one using custom -B.

Sno ! Color Cast in Photoshop

1-B #olor #ast in (hotoshop

Special "##ects

4nce you've selected a -B setting, )ust remember to reset this white balance settingwhen you head bac$ outdoors into natural light, or you may end up with some strange,out of this world, colours.

In fact, by dialing in a -B setting inappropriate for the lighting situation allows us tocreate some special effects.

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"et's say you are ta$ing a picture outdoors and you want to ma$e the light warmer,perhaps creating a late evening, sunset effect. To do that, we dial in a 3luorescent -B, ineffect telling the camera that the light is too cool. The camera responds by shifting everycolour toward the warm, red values. ial in a Tungsten -B, and the camera shifts allcolours toward the cool, blue values. "ots of trial and error recommended here.

RAW $ile $ormat

1 discussion in -B would not be complete without a mention of the 1- file formatavailable in many advanced digital cameras. -hen you save an image in 1- fileformat, you are saving it the way the image sensor sees it && without applying anyad)ustments including white balanceC to it. In fact, the camera ignores any -B settingyou dial in.

"ater, in an image editing software with the appropriate 1- plug&in, you can convertthe 1- image to :(9J, and apply any colour temperature shift. ndo your change and

try again, ad infinitum, in as fine an increment as you wish, until you obtain perfectcolour balance.

!ome professional photographers always use 1- file format. !aving in 1- fileformat comes at a price because it ta$es so much longer to save a 1- image that itmight not be practical in many picture ta$ing situations. (rofessional d!"s and someprosumer modelsC have internal buffers that allow 1- images to be ta$en one after theother in quite rapid succession without having to wait for the saving of one image to becompleted before you can ta$e the ne0t picture.

If you are ta$ing landscapes, and it's early in the morning or late in the evening, or you

are not too sure of which -B setting to use, try it in 1-.1 few digital cameras even allow you to save an image in both 1- and :(9Jsimultaneously, though time to write to memory card is proportionally increased.

Summary

3or most of us, 1uto -B is fine and does a pretty good )ob in diverse situations, outdoorsand indoors.

3or those occasions when you are not happy with the colour cast of your picture, choose

one of the preset -B settings.If this still does not give you what you want, consider manually setting the white balanceby using a white card or sheet of paper or white T&!hirt, etc.C.

1nd, for ultimate control over white balance, consider shooting in 1- file format, andad)ust in post&processing.

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What is White Balance%

-hat is white balance6 It all boils down to the concept of color temperature. #olor

temperature is a way of measuring the quality of a light source. It is based on the ratio ofthe amount of blue light to the amount of red light, and the green light is ignored. Theunit for measuring this ratio is in degree elvin C. 1 light with higher colortemperature i.e., larger elvin valueC has AmoreA blue lights than a light with lower colortemperature i.e., smaller elvin valueC. Thus, a cooler resp., warmerC light has a higherresp., lowerC color temperature. The following table shows the color temperature ofsome light sources.

Light Sources Color Temperature in K

#lear Blue !$y +?,??? to +7,???

4vercast !$y 8,??? to


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the final result may be close to what we see with our eyes, of courseC. But, thealgorithmsC being used may not be accurate enough to ma$e every situation correct.nder some difficult situations when the in&camera algorithm is not able to set the colortemperature correctly or when some creative and special effects are needed, we caninstruct the camera to use a particular color temperature to fulfill our need. This

ad)ustment that ma$es sure the white color we view directly will also appear white in theimage is referred to as white balance.

!etting white balance incorrectly may cause a color shift in the image. 3or e0ample,suppose the camera is told to use a color temperature of sunlight to ta$e an image of anindoor environment illuminated mainly by incandescent lights. The camera will e0pecte0cessive blue light and less red light, and set its algorithm to be more sensitive to theblue light. However, in an environment illuminated with incandescent lights, colortemperature is low with e0cessive red light rather than the blue one. 1s a result, we shallsee a reddish or yellowish image. The following shows an e0ample.

Correct white balance Reddish/Yellowish image

Click on the image to see a larger one

4n the other hand, suppose we set the camera to a low color temperature e.g., that ofincandescent lightC and ta$e a photo under sunlight. Because the white balance is set toincandescent light, the processing algorithm is more sensitive to the red light rather thanthe blue one. Hence, the resulting image will be bluish as shown in the following images.

Correct white balance Bluish image

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"hat is "hite#

-hite balance is essentially a corrective procedure in ad)usting colors in photographs toensure that scenes are as neutral as possible. That would mean ma$ing sure that white

areas are actually white.

Technically spea$ing, the most important aspect of white balance correction is to ma$esure certain reference areas of the scene is neutral, so it doesnLt always have to involvethe color white per se. In short, a scene filled with colored hues without a single shade ofwhite can still be neutralized and rendered in its correct, real&life color hues.

The white balance scale is based on the thermodynamic scale of elvin ratings. Thelower the value, the MwarmerN or MredderN the scene is rendered, while a high elvinsetting would mean the scene is McoolerN or MbluerN.

3igure +G elvin #olor Temperature !cale

Candlelit scenes & ' (000 )*ousehold incandescent +tungsten, Lights & (000!-000)

"arly sunrise or late sunset & -000!.000)

/lder #luorescent and mercury lamps & .000!000 )

Most studio stroes and camera #lash & 000!00)

2eer energy!sa3ing4 daylight!alanced compact #luorescent lamps & 00!5000)

Cloudless right4 sunny a#ternoon & 000!500 )

Typical o3ercast and cloudy s6y ith sunlight & 500!700)

/pen shade4 thic6 cloudy s6ies & 8900)

It seems daunting to memorize the scale in our day&to&day shooting, and it could be.

However, most camera manufacturers include a built&in white balance meter sensor intoour cameras including presets that appro0imate the scenario weLre shooting. /ostcameras will have the following presets, listed from McoolestN to MwarmestN colortemperature with the usual graphic indicatorC.

ifferent camera manufacturers may label these presets differently, so please refer toyour cameraLs user manual for specific information about these presets.

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emember that the camera presets are there to neutralize the colors of the scene. If youchose MTungstenN, for e0ample, it doesnLt turn your imageLs color cast warmer, but itneutralizes the warm scene to a cooler scene. #onversely, if you chose a cooler -Bpreset li$e M3luorescentN, the camera doesnLt add a blue tinge to your image, itneutralizes the cool tones in the scene by adding a warm tone instead.

The presets apply a color cast opposite the actual color cast on the scene to neutralize thescene.

Human eyes are incredible in deciphering colors and our brain has also helped us $nowinstinctively if something is a certain color regardless of lighting condition. 3or e0ample,if we pic$ up a piece of paper, we $now that piece of paper is white whether weLrestanding under the sun or underneath an orange street lamp.

#ameras, however, are not as smart as humans are. If you place the same piece of whitepaper in five different lighting conditions, it will come out as five different shades of

white in our photographs. The camera doesnLt have a ability to neutralize color castsautomatically and accurately in all lighting conditions.

Daylit Scenes

Here we have a pretty neutral scene with a neutral sub)ect in 3igure . 1 glossy whitelaptop on an off&white paper above a neutral gray cement floor.

3igure G !hot with 1uto -B

sing 1uto -B setting, the camera nails the -B perfectly with no hint of out&of&placecolor cast on the laptop and the ground.

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The photograph was in an open shade around 2(/, which is pretty bright and MwhiteN interms of the lightLs color. In most daylit scenes a few hours after sunrise and a few hoursbefore sunset, the cameraLs automatic white balance meter does a pretty accurate )ob inmost cases.

-e can easily mimic a late afternoon light by switching the white balance to M!hadeN orM#loudyN. The fact that the actual light condition still falls within what our eyes thin$ isMwhiteN, the slightly warm glow is still an acceptable e0posure.

3igure 2G !hot with A!hadeA (reset

$rtificial Lighting onditions

"etLs introduce some artificial incandecent tungstenC light )ust li$e we often e0perienceindoors especially in our homes or restaurant lighting.

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3igure 5G Tungsten !pot "ight

3igure 5 shows us a common spotlight incandecent bulb.In many cameras, auto whitebalance will not be able correct the strong orange cast by the incandecent lights, and willoften treat the scene as daylit, using a setting close to the MaylightN preset of the camera.The result would yeild a real reddish hue, as shown in 3igure 7. Technically, this isacceptable if you want to induce a warm feeling to the photograph, but itLs doesnLt depictthe real color of the sub)ect.

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3igure 7G Tungsten !potlight on 1uto-B

emember that setting a white balance on the camera means youLre correcting the actualcolor cast in the scene. The opposite of the red spectrum would be the blue spectrum, sothe camera McoolsN down the image and mi0es some green and magenta to arrive to

MneutralN image. By switching our cameraLs white balance setting to MTungstenN, thecamera removes all red color cast in the image and we now have a photograph thatdepicts the sub)ectLs color accurately 3igure 8C.

3igure 8G Tungsten !potlight on ATungstenA -B (reset

%ood and "hite Balance

%ow that weLve seen how to use the presets to correct white balance, we have tounderstand that McorrectN and MaccurateN may not be the best color temperature for ourimage if we have a certain intent or mood that we want to achieve.

-ith 3igure ;, our main goal is to accentuate the colors of the candies. If we use anMaccurateN white balance, in this case M!hadeN preset because the photo was ta$en in a

shady area on a late afternoonC, the colors are not as emphasized since the white tray andwhite board where the candies are placed are casting a slight orange hue.

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3igure ;G !cenes that 3avor AcoolerA -B

By using a cooler white balance preset, in this case MaylightN, we were able to ta$e out

the warm sunlight hue and )ust made the candies pop as the tray and board became a non&factor in our overall image.

In 3igure < shows the opposite. The photo was ta$en at around 5(/, at least 2 hoursfrom sunset. The correct white balance made sure that the scene is neutral, the whiteteacup is white, the silvery gray metal gate is silvery gray. However, the image loo$sstale and not inviting. By changing our white balance to a warmer M!hadeN, our image isnow a lot warmer and it turns our image into a moody, rela0ing afternoon scene.


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3igure and +? are identical, however, 3igure > uses 1uto -B and the camera used thelarge span of gray and white s$y and neutralized that area. %otice that the warm artificial

light tubeLs upper right cornerC color cast is e0aggerated further.

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3igure >G /i0ed "ighting & 1uto -B

In 3igure +?, we manually pic$ed to neutralize the warm light tube and chose theMTungstenN -B preset. The result clearly shows that the encircled area is well neutralizedbut the whole outdoor area turned blue.

The reason is that we shifted the whole color spectrum McoolerN to accommodate thewarm light, so the previously neutral outdoor areas of the image are now pulled towards

the blue spectrum.

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3igure +?G /i0ed "ighting & Tungsten -B (reset

To summarize, in most situations, we should concentrate on achieving accurate colorreproduction as possible. -e must $eep in mind, however, that there are scenes thatsimply appear much better with MmoodyN colors than accurate colors. :ust li$e metering

for e0posure, the correct settings would be ideal for most photographs, but adding littlead)ustments from the correct settings can turn a purely technical photograph into apersonal creative artwor$.

ead moreG httpG@@www.howitoo$it.com@white&balance&and&color&cast.htmlOi0zz+8$ye77/o

Le3elsigital (hotography is more than )ust using a digital camera= it also entails some postprocessing in an image editing software to the image you captured with your digitalcamera. 1nd it is often not as complicated as you might thin$ it is && or as some ma$e itto be. In this tutorial, we loo$ at A"evelsA and cover the basics of what you need to $nowabout ad)usting levels in (hotoshop 9lements. It's a simple 2&step process that ta$esbarely a minute to perform but that can help you bring bac$ to life pictures you thoughtforever ruined.

Ad:usting Le3els

*ou've read the notes that accompany some picturesG ASome adjustments to levelspeformedA and have probably been mystified as to what e0actly that entailed.

1d)usting levels is a 2&step processG

+. 1d)ust for the shadows=. 1d)ust for the highlights= and,2. 1d)ust for the midtones.

"et's loo$ at a picture that seems Aruined,A in this case, it seems under e0posed, i.e. too

dar$G

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If, in the past, you have )ust thrown up your hands in the air and bemoaned how bad yourdigital camera was, perhaps you were a bit too hasty. -e will recover this picture usingour 2&step levels ad)ustment process.

[If you want to follow along with this tutorial, download the above picture now and openit in Photoshop Elements.]

In (hotoshop 9lements, select 9nhance & Brightness@#ontrast & "evels... 1 histogrampops up on your screen and loo$s li$e thisG

on't panicK The histogram is simply a representation of all the pi0els in the picture. 1quic$ glance at it tells us that most of our pi0els are toward the shadows to the leftC.1long the horizontal a0is, there are 2 triangular mar$ers really, slidersCG use the blac$one at the left to indicate where the dar$est group of pi0els start in your picture= use thewhite one at the right to indicate where the brightest group of pi0els start in your picture=and use the shaded one in the middle to indicate the midtones. It's that simpleK

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"et's apply our 2 stepsG

+. 1d)ust for the shadows. -e want to move the blac$ mar$er to the first group of dar$pi0els. In this case, since the blac$ mar$er is already pointing to the first group of dar$pi0els, we will leave it where it is, i.e. at the ? mar$.

. 1d)ust for the highlights. -e want to move the white mar$er to the first group ofbright pi0els. In this case, we move the white mar$er to the left to a point where we feelthe first bright group of pi0els start, around the +; mar$G

By doing this, notice how the picture has changed already for the better, with AtrueAhighlightsG

2. 1d)ust for the midtones. #lic$ on the shaded mar$er and drag it to the left or right untilyou are satisfied with the result, in our case to somewhere around +.>< ad)ust to yourown personal preferenceCG

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#lic$ 4 and save your ArestoredA picture. %othing wrong with this picture now &&e0pect for the clutter on my des$, that isK

There, that was easy, eh6 Jet into the habit of bringing your picture into levels andad)usting it for shadows, highlights, and midtones before you applysharpeningto itanother easy processCG


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$our $acts Aout *igh ;S/s


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There sure is a lot of tal$ about high I!4s these days. !ome fol$s even say high&I!4shooting is the new frontier of digital photography. #amera ma$ers seem to be focusingtheir efforts on producing better, cleaner, less noisy images, and that translates directlyinto improvements at high I!4s. Here are four facts about high&I!4 speeds that mayma$e you a better photographerQespecially when wor$ing in low light.

+. High I!4s can have minimal noise.!ure, bac$ in the film days it was true that wor$ing at high I!4s and pushing filmprocessing often translated into so much grain that it became hard to ma$e out detailsespecially in the shadowsC of negatives. But with the advances in noise reduction fromtodayLs digital cameras and 1-converters, higher I!4s produce imagequality unparalleled by high I!4 films.%ot only that, digital high I!4s are solow noise these days that manyphotographers are putting them to use in

ways they never considered beforeQli$enighttime e0posures that are shortenough to render starry s$ies withoutblurring, or photographing in dar$interiors without the need for fill flashillumination. (hotographers today $nowthey can pull detail out of the dar$est of shadows, and much of that is than$s to the sameimproved signal&to&noise ratio that ma$es high I!4s so darn attractive.

. igital I!4s arenLt contrasty li$e film.-hen wor$ing with fast film speeds, photographers often found themselves pushinge0posures by undere0posing in camera and overdeveloping in the dar$room. -hile thisprocess did provide higher&wor$ing I!4s than the film was rated for, it also introducedsome ma)or drags on the image qualityQboth the grain mentioned previously as well as awhole ton of contrast. !o much contrast, in fact, that high&I!4 film images couldsometimes loo$ li$e abstract art. Imagine a grainy image with very little detail in theshadows and highlightsQand none available to be pulled from the negative. That )ustdoesnLt hold true today when wor$ing with 1- files. 1- is especially capable ofrendering detail in very dar$ shadows, and the only processing that eliminates shadowdetail comes from undere0posed files. If you can overe0pose a digital image evenslightly, youLll be amazed at the detail that remains in the dar$ tones without any contrastgain at all.

2. High&I!4 performance matters even at low I!4s.*ou only shoot at I!4 5?? or less, so why should youcare about better performance at higher I!4s6 Becausethose low&noise@high&detail qualities are carried acrossthe entire I!4 sensitivity range. In laymanLs terms, I!45?? from todayLs 2 loo$s a lot li$e I!4 +?? did in the+ of yesterday. If you li$e image quality, you li$e to

see advances in I!4 capabilities due to better signal&to&noise ratio. Those gains will show

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up in your low&I!4 images too. !o when you hear of new cameras reaching new high&I!4 low&noise heights, itLs good news for you too.

5. !ometimes itLs better to choose a higher I!4 even if you donLt have to.Jenerally spea$ing, this one appears as if it might be awful advice. But letLs say itLs a

fairly low&light situation in which youLre wor$ing, and you need a fast shutter speed of+@+7th of a second to $eep the sub)ect from blurring. The lens only opens to R@5 andyouLve ma0ed it out, and youLre at I!4 5??. !till, youLre )ust barely getting the correcte0posure. 4ne way to ensure youLre getting an even better e0posure is to boost the I!4 toI!4


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-hite Balance

+se a simple de,ice to get perfect color in all of your shots

By The 9ditors

"abelsG How To, !olutions

This 1rticle 3eatures (hoto Poom

EpoImaging Epo!isc

-hite balance is an ad)ustment that accounts for the color temperature of the light in ascene. 1ll light sources emit light at a specific color temperature, which is e0pressed inelvin. 1s the light travels, it may pass through particles in the atmosphere or a filter onthe lens, which filters some of the wavelengths. 3or e0ample, a sunset is usually around2???&5???, while bright, midday sun is about 7???&87??. The sun is always the sun,so the change in color temperature from midday to sunset is due to the amount ofatmosphere and particles li$e smo$e or dust through which the light travels. -hen wead)ust the white balance on the camera, weLre essentially telling the camera to account forthe color temperature to ma$e the colors more neutral. -hites will loo$ white, greens

will loo$ green, reds will loo$ red.

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"hi#al "hite #alance $ard !atacolor

Spyder$ube

#rno ba%ens

eflective&!tyle -hite BalanceIf you have a neutral sub)ect li$e a white piece of paper or a gray building, you can $eyoff of that. In nature photography, however, we seldom have a white sheet of paper in thescene to use as a neutral point, but you can carry something with you and use that tobalance the scene.

The -hiBal -hite Balance card www.rawwor$flow.comC is a neutral gray card that youcan use to set white balance in the field or to ma$e ad)ustments to a file when you processthe 1- files those of us who shot film and used handheld spot meters will find the-hiBal reminiscent of a traditional gray card and itLs used in roughly the same wayC. The-hiBal is designed for low reflectivity, itLs perfectly gray, and it doesnLt respond to Slight any differently than the visible spectrum. (lace the card in the scene and $ey off ofit, or ta$e a picture with the card in the scene then remove it for your MrealN e0posuresCand use your processing software to get the proper color temperature setting. *ou thencan apply that color temperature to all your other images shot under the same lightingconditions.

The atacolor !pyder#ube spyder.datacolor.comC loo$s li$e a blac$&and&white#hristmas ornament with a small shiny ball on it. The cubeLs surfaces are white, gray andblac$, and each surface is spectrally neutral. 4ne face of the !pyder#ube has a hole thatacts as a blac$ trap to give you a control point for shadow detail. *ou can use it to set theproper color temperature while youLre shooting, or ta$e a picture, remove the!pyder#ube and use the image with the cube to set the color temperature for the serieswhen youLre processing the images in the computer.

Incident TT"&!tyle -hite Balance1 different way to get your white balance set is with a device that sits on the front of your

lens and lets you auto&white balance off of it. 1vailable in most standard diameters, theBrno ba"ens www.hpmar$etingcorp.comC simply snaps onto your camera lens, and youcan attach a neutral or a warm&colored dome to it to get the results you want. The ba"ensalso can do double duty as a lens cap.

90poImaging www.e0poimaging.comC ma$es a few different on&the&lens&type, white&balance tools. esigned for !"s, the 90poisc snaps onto your lens with a pressure&release friction mount. (ress the button and it pops off, leaving you ready to shoot. Thecompany manufactures the discs to strict tolerances, ensuring +


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neutrality in the visible spectrum. That neutrality, of course, is critical for getting themost accurate white balance possible. ThereLs also an 90poImaging white&balance toolfor video, as well as one for point&and&shoot cameras.

1nother on&the&lens white&balance tool is the "ally #ap

www.lallyphotography.comC. ItLs unique as a one&size&fits&allsolution that can be used on )ust about any lens. The fabricMcapN slips over the lens sort of li$e a small soc$, you set thewhite balance, and then you can )ust pull it off and stuff it inyour poc$et.

1ll of the devices mentioned in this !olutions article can fitinto your gear bag and weigh almost nothing. The point is thatyou should always carry at least one of them in your bag. *ouLll be ready with the perfectwhite&balance tool when the perfect day for shooting comes along.

$ocal Length $acts


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the distance, the longer the lens. The longer the lens, the more telephoto itLs considered.The shorter that distance, the wider the angle of view. The most common measurement oflens focal lengths is in millimeters, although some old&school photographers still refer tolarge format lenses in inches. If youLre interested, you roughly can convert inches tomillimeters by using a +G7 ratio. 1n eight&inch lens appro0imates a ??mm lens.C

. 1 full&frame digital sensor is equivalent in size to a 27mm film frame, ma$ing this thestandard focal length baseline that todayLs lenses are measured against. !maller formatsoften have shorter focal lengths say, a +?mm wide angle that seems unbelievably shortCbut in MequivalentN terms theyLre much more a$in to more familiar focal lengths say, a+;mm lens that is the equivalent to a


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lens descriptors such as , 2 or +?. This isnLt actually a representation of the precisefocal length of a lens, but rather the zoom range that lens covers. 1 lens, for e0ample,doubles its focal length from its widest to its longest settingQas in a 27&;?mm lens. 12 zoom triples the focal length li$e 27&+?7C, and a +? zoom multiplies it by awhopping factor of ten as in a 27&27?mm lensC. The bigger the factor, the larger the

range of focal lengths covered by a lens. emember though, )ust because two lenses offer zooms doesnLt mean the lenses have the same focal length. 3or that, youLll have tocompare actual millimeter measurements in 27mm equivalent terms.

;. The longer the focal length of a lens, the shallower the inherent depth of field that lenswill produce. The shorter a lens, the greater the depth of field will be even at wideapertures. In practice that means you have to be more precise when focusing a telephotolens, whereas wide& angle lenses have such depth of field they can be very forgiving ofimproper focus. /any photo)ournalists for years have utilized this MbenefitN of wide&angle lenses in difficult shooting environments, not only because they ta$e in more of thescene and provide conte0t, but because they have so much depth of field to provide focus

from near to far.. !ome lens designations mean that even though the focal length may be the same, thelens wonLt perform the same. 1 macro lens, for instance, can focus e0tremely close,allowing for great magnification of small ob)ects and fine details. 4ne +??mm lens maybe designated macro, while another is not. *ouLre bound to pay a premium for the addedcapabilities, but if ma$ing big photos of little ob)ects is important to you, itLs well worththe investment.

+?. /any photographers utilize special devices to change the effective focal length, or atleast the performance, of a lens. Teleconverters are popular among wildlifephotographers and those who want to double or triple their lensL focal length with a or 2 teleconverterC without carrying an additional, and often quite e0pensive,supertelephoto lens. 90tension tubes are a similar device, but rather than changing thelensL effective focal length they simply change the focusing rangeQma$ing a lens focusmuch closer and behave more li$e a macro lens would. "i$e macro lenses, e0tensiontubes are used to allow close focusing are ideal for flower photography and other close&up uses. The downside with both e0tension tubes and teleconverters is that each requiresa sacrifice in available ma0imum apertureQoften as much as two full stops that turn anR@ lens into an [email protected]. -orth it, though, if youLre wor$ing at smaller apertures, with flashor if you simply need the close focusing or telephoto e0tension effect.

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-edding (hotography= Two M#ampsN 4f !tyle 1nd SisionBy "orraine 1. ar#onte U 1pril, ?+?

There was a time when all wedding photography was pretty much the same. -ell&trainedphotographers wor$ed from Mshot listsN and used high&end, medium format equipment.

They too$ wedding portraits many in&studioC whose hallmar$s included great color,sharp details, beautiful lighting, and well&posed sub)ects. -edding albums were filledwith


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"a#our www.lacourphoto.comC, and creators of !hootV www.!hootV.comC, a studiomanagement solution for photographers, made the switch from news )ournalism towedding )ournalism in ??+. Their approach to photographing a wedding is the same as anews event, which is to follow the story as it happens and allow it to unfold before theireyes. The couple document weddings in real time using a hands&off approach, which,

1ndrew notes, is the closest thing to their training.

Photos 2010, Tony Hewitt, All Rights Reserved

M-e feel the pictures weLre ma$ing are really treasured by the families even though DtheimagesF have a very small audience as opposed to magazines. -e really feel we are doingsomething very important for our clients.N

Though the way they earn their living has changed, the %iesens say their photographicstyle has not, e0cept for some minor twea$ing. 3or instance, theyLve adapted theirapproach from pure photo)ournalismQwhere itLs all about the momentQtophoto)ournalism thatLs something their clients want. M-ith photo)ournalism,N achele0plains, Mwe were capturing top news events and dealing with a wide range of sub)ectmatter. -e realize that sometimes the more bizarre Wartistic imagesL that we appreciate as

photo)ournalists may not be appreciated by many of our clients.N

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2010, LaCour, All Rights Reserved

The %iesens originally pursued photo)ournalism as a career so they could be witnesses onthe front lines of history. However, they feel good about trading their front row seat toworld history for a smaller one in family history. MIn a lot of ways itLs )ust as powerfuland more meaningful wor$ because each family will treasure those photos forgenerations,N achel concludes. MItLs a special feeling to $now the pictures weLre ma$ingfor our clients will be used as a foundation for their family legacy for generations.N

obert "ino www.robertlino.comC, a portrait and wedding photographer for the past 27

years, believes the more traditional style lost favor when it became overly complicated.There were too many comple0 bac$drops and too much time was spent in the studioaway from the wedding. MI believe thatLs one reason the photo)ournalism style became sopopular,N "ino reiterates, Mbecause brides didnLt want to spend the whole night in front ofa painted bac$ground.N

"ino says his wor$ can be described as formal and elegant, with feeling. M/y images arevery controlled and very directed in order to loo$ very natural,N "ino e0plains, who sayshe developed his style partly through observation.

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2010, LaCour, All Rights Reserved

MI also learned from the masters and all the photographers who bro$e the rules= but I gaveit my own twist and my own interpretation.

M3or many years people hired professional wedding photographers. %ow, weLre in an erawhere anybody can shoot a wedding.N "ino believes ta$ing a little more care withimages, such as ma$ing sure the couple holds the $nife correctly when cutting the ca$e,and ta$ing a few formal pictures in front of a nice bac$ground not a bac$drop, but apretty window, etc.C, would go a long way in getting people to hire professionals instead

of having a bunch of people with decent cameras shooting thousands of pictures in thehopes of capturing ? good ones.

5?


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$ilm >s? @igital

$ look at some of the differences -etween shooting in $nsel$dams& era ,ersus today

By :on !ien$iewicz"abelsG How To, !olutions

This 1rticle 3eatures (hoto Poom

-hen we e0amine legendary photographers li$e 1nsel 1dams, we realize that, bytodayLs standards, the equipment they used was more of a handicap than a secretingredient. Half a century ago, serious photography was performed in blac$&and&white,with a great deal of patience and deliberateness using a 507 or largerC view camera on a

sturdy tripod. Images couldnLt be reviewed until after the film was developedQand then,initially, as negatives. Today, we shoot digital images in millions of colors at +? framesper second and edit the M$eepersN while still at the scene.

The two approaches resist comparison. ItLs difficult to derive ob)ective, scientificunderstanding when we compare film&based, silver&halide photography to digitalimaging. The technology someone li$e 1dams used 7?&plus years ago when he wase0ploring *osemite has little in common with the technology used by a modern

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professional shooting with a #anon 94!&+ /ar$ IS, a %i$on 2!, an 4lympus 9&2, a(enta0 &; or a !ony 1lpha >??. In many ways, itLs li$e comparing painting with a brushand monochrome palette to spray painting with every color in the rainbow. In otherwords, almost every element is different.

/ore Sariablesuring the reign of silver&halide photography, the type of filmand how it was processed made all the difference in the world.9ven if a scene was predetermined to be shot in blac$&and&white, there still were many choices to be madeQfilm speed,brand, spectral response, grain structure, format and, in some

cases, emulsion batch. /atching the appropriate developer to the film was another hugechallenge, and results varied widely depending on the choices made.

But in truth, it didnLt end there= that was )ust the beginning. (hotographers had to decidemore variablesQthe right combination of developing time and developer temperature, forinstance. How much agitation6 !wishing the film around too much during developmentcould bloc$ shadows, cause strea$s or blow out highlights. -hat type of stop bath toarrest the development process6 #ould the fi0er sodium thiosulfateC dissolve grain sizeand, if so, how soon should the film be rinsed clean6 1nd $eep in mind that nearly theentire process had to be conducted while the film was in absolute dar$ness. "ast buthardly least, film was fragile and could be irreparably damaged by careless handling.

$ilm >s? @igital

$ look at some of the differences -etween shooting in $nsel$dams& era ,ersus today

By :on !ien$iewicz"abelsG How To, !olutions-eLve succeeded at ma$ing things easier today. %ot to diminish the s$ill andaccomplishments of todayLs digital photographers, but zipping through 1- images byclic$ing a few presets canLt even begin to compare with the intense labor required to coa0the full dynamic range from a 507&inch blac$&and&white negative while ma$ing a contactprint on sensitized paper. 4nce again, the variables were overwhelmingQpaper type,

developer, e0posure time, dodging and burning, etc. ItLs a miracle that so manywonderful, masterful prints were created under those circumstances.

#learly, weLve gained so much by going digital. igital photography is immediate. It hasgiven us the ability to replicate images with +??E accuracy and consistency, and hasdramatically created new avenues to share images. 1nd perhaps the biggest gain of allQthe technology has e0panded the art form and has enabled hundreds of thousands ofpeople to create high&quality results with little or no formal training.

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But weLve lost some things, tooQat the very least, some of our ability to visualize how ascene will appear as a monochrome print. Than$s to the immediate feedbac$ providedwhen we review images on a three&inch "#, we no longer require that level ofperception. -eLve also become less deliberate. -e can shoot and shoot, and even fillcards with +?


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Missing Pages Aperture and Shutter

Priority

Tips for sing *our #amera #reatively by :on !ien$iewicz

IntroductionX IG I!4 !ettingX IIG (rogram 19X IIIG 1perture Y !hutter (riority X ISG-hite BalanceX SG epth of 3ieldX SIG Brac$etingX SIIG /egapi0elsX SIIIG 3lash /odes

'he (issing Pagescolumn is a collection of all of the information that should have beenincluded in your cameraLs 4wnerLs /anualQbut somehow got left out. This is a hybridassortment of short articles that delivers the $now&how you need to derive the ma0imum

en)oymentQand creative e0pressionQfrom your equipment.

ItLs sort of a )uiced&up ser Juide for creative people who are not necessarily technical.9ach part will teach you how to use one of the camera features or functions that youpreviously ignored or left set on 1uto. 1nd each will include a #reative (ro)ect so thatyou can try some scripted e0perimentation.

-e will e0plain comple0 technical sub)ect matter a way that everyone can understand.1nd if you happen to be a technical e0pert yourself, weLre including M%erds 4nlyNsidebars )ust for you. That way you can dig in deepQor )ust straddle the edgesQof thetechnological stuff. ItLs your decision.

)nstallment ))). $perture / Shutter Priority

@e#inition eposure modes that pro3ide more control than Program

A" ut less than Manual mode?

!hutter (riority is an auto e0posure system in which the camera achieves correcte0posure by selecting the aperture after the user has selected the shutter speed.

#onversely, 1perture (riority is an auto e0posure system in which the camera achievescorrect e0posure by selecting the shutter speed after the user has selected the aperture.

9ach system has its own set of distinct advantages and disadvantages. But to fullyunderstand 1perture (riority and !hutter (riority you must understand the fundamentalsof e0posure. (lease refer to the preceding segment (rogram 19C if you need a quic$review.

TodayLs digital !" cameras and a few high&end compact models li$e the #anon(ower!hot J+?C offer both 1perture (riority and !hutter (riority automatic modes inaddition to (rogram 19. There was a time, however, bac$ during the era of #anon 19&+

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popularity, that 27mm film cameras offered one autoe0posure system or the other. 1ndeach method had its own passionate group of proponentsQand detractors.

The #anon !hutter (riorityC crowd argued that it was better to set the cameraLs shutterspeed and allow the camera to respond by setting the appropriate f@stop. They claimedQ

and rightfully soQthat by choosing a fast shutter speed it was easier to control camerasha$e and to stop sub)ect movement. /inolta, %i$on and (enta0 1perture (riorityCfollowers insisted that setting the aperture was the preferred procedure because it gavethe user full control over the depth&of&field and allowed the user to preselect the optimumaperture for any lens.

Both sides were correct, of course, each in their own way. In retrospect, this issue wasone of the most polarizing disputes among camera enthusiasts, no pun intended. 4nemight have e0pected a different outcome to this hotly debated argument, but the finalresult was the development of (rogram cameras that set B4TH the shutter speed andaperture, essentially leaving the user out of the equation almost entirely. Better cameras

offered all threeG 1 mode, ! mode and (rogram 19. The /inolta &++, which debutedin +>;;, was the first camera that could claim Mual /odeN by offering both 1 and !modes.

se 1perture (riority to control the bac$ground.

$perture Priority

!ometimes called M1perture (referredN because that term more accurately describeswhatLs in the userLs mind when they ma$e decisions about the camera settings= andlabeled M1vN 1perture SalueC by #anon and others= 1perture (riority allows the user tocontrol depth&of&field that zone of sharpness that e0tends in front of and behind theactual point of focusC. Because itLs often indicated by an M1N on the control dial, somepeople mista$e the setting for M1utomatic.N

Having control over the 43 is very important in more situations than not. -henshooting portraits, for e0ample, itLs desirable to force the bac$ground to blur by using alarge aperture. This effect separates the sub)ect from whatLs behind them and gives theappearance of accentuated sharpness. It also allows you to deemphasize distractingbac$grounds by ma$ing them fuzzy and indistinguishable. #ontrolling 43 is similarlyimportant when you want a larger zone in focus greater 43C, such as when shootingclose&ups or certain landscape scenes.

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#ontrolling the aperture allows you to select the Msweet f@stopN that delivers the sharpestimages. There are rare e0ceptions, but most lenses perform better when stopped downtwo or three f@stops. 1 7?mm f@+.5 %i$$or, for e0ample, will yield better results at f@5than it will at f@+.5. 1nd contrary to intuitive logic, using an f@stop li$e f@ thatLs quitesmall introduces diffraction, which robs the image of sharpness, despite the e0tended

depth&of&field.

se !hutter (riority and a high shutter speedC to stop action.

Shutter Priority

nown as MTvN to #anon for Time SalueC, thereLs a lot to be said about the efficacy ofthis systemQparticularly in light of the fact that all camera ma$ers recognize thedetrimental effects of camera sha$e and are moving toward some sort of Image!tabilization to reduce it.

In ! /ode, you set the shutter speed and the camera does the rest. -ell, not quite. Theargument that the 1perture (referred crowd often made was thisG if you set a shutterspeed thatLs too high +@7?s indoors, for e0ampleC youLre li$ely to get no picture at all.

1s a countermeasure, many cameras will warn you and then shift to a slower speed whenitLs impossible to achieve correct e0posure at the speed you selected. 1nd some will evenad)ust I!4 although thatLs really a case of relinquishing control over the final outcome tothe camera and hoping for the bestC.

#ontrolling the shutter speed means you can help prevent camera sha$e and moreimportantly, freeze sub)ect movement. If youLre shooting a trac$ and field event, fore0ample, or a little league game, you can use a very fast shutter speed to stop motion.

This theory wor$s well indoors, too. 3or any given lens you should $now the minimumshutter speed you can successfully handhold without sha$e. I call this the M!B1N or

M!ha$e Begins 1tN shutter speed ungrammatical but easy to rememberC. -ith a 7?mmlens equivalent, for e0ample, most people can shoot at +@8? of a sec or so. Jeneral rule ofthumb is M+ over the focal lengthN as in the fraction +@focal length. !o the equivalent to a+27mm lens would require a shutter speed of about +@+7 or higher for safe, )iggle&freeresults. emember that this old rule came to be before digital, so you must account forthe lens multiplier when calculating.C In !hutter (riority you can set the camera at your!B1 and blaze away with little fear of camera sha$e.

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especially during the wee hoursC or typical preschoolers after a sugary snac$C willprovide enough sub)ect movement to ma$e this test worthwhile. In ! mode, select a veryslow shutter speedQone&half second or longer, unless itLs so bright that youLllovere0pose. /a$e sequential e0posures at progressively faster speeds until you reach thespeed that completely stops all sub)ect movement. Then compare the results in your

favorite image editor.

-hat about / mode6 / stands for /anual, of course. ThatLs a great #reative (ro)ect butthatLs for another episodeK

For 1erds *nly

-hatLs (i got to do with f@stops6 1nd why is f@ twice as big as f@.< and four timeslarger than f@56 !houldnLt bigger numbers mean bigger apertures6

!hutter speeds are pretty easy to understand. +@+?? of a second is obviously half as long

as +@7? of a second. But when it comes to f@stops nothing seems to ma$e sense. ThatLsbecause an f@stop is a fraction. ItLs the ratio between the lensLs focal length and thediameter of the active aperture. 3or e0ample, a 7?mm lens that is set at f@ has anaperture that is 7mm in diameter. !imilarly, a 7?mm lens that is set at an aperture that ismm in diameter is said to be set at [email protected] i.e., 7?@ 7.8C.

emember high school algebra6 ILm sure many photo.net readers will want to )ump inhere and untangle my amateur math, but hereLs what I remember. To calculate the area ofa circle one multiplies the radius times the radius times pi. 4r in other words, the radiussquared multiplied by the constant 2.+5+7>.

If youLre still with me, loo$ at the following table.

3or a 7?mm lensG

5


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!o, itLs fairlyC easy to see why f@ is about twice as large as f@.


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Photography Basics

By 3redri$ !ilverglimthX +?5 #omments

Hey T9 Fans, Don't forget to Share!+?8 !hare

9ver wonder what it is that actually ma$es a camera wor$6 This tutorial will cover theinner wor$ings of a camera, and introduce you into photography asicsand thee0pansive world of ta$ing better photographs.

To ta$e beautiful photographs you do not need an e0pensive camera and a bag full ofequipment. -hat is important is the photographerLs ability to see his@her surrounding anduse $nowledge and personal feel for the sub)ect.

Being the first article in a series, this lesson is meant to only cover the basics ofphotography. The idea with this series is to get people more interested in photography,awa$en creativity and hopefully help people en)oy this hobby even more. The communityhere at Tutorial> is an important part of this series and I would love to hear your feedbac$and questions.

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An introduction to Photography

The word MphotographyN is 3rench but is based on Jree$word and literarily means Mdrawing with lightM. ThatLs what photography is all about,without light Q no photograph. The art of photography is basically seeing and balancingthe light.

The illustration to the left shows the path the light travels from the ob)ect to the sensor orfilm in non&digital camerasC.

3irst the light needs to go through the lens, which is a series of differently shaped piecesof glass. If the focus is good then the light will meet on the sensor.

The apertureis placed inside the lens and is basically an opening that controls howmuch light reaches the sensor.

4n most modern cameras the shutteris placed inside the camera body. This piece ofmechanics is what controls how long time the sensor is e0posed to the light.

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The sensoris a very sensitive plate where the light is absorbed and transformed intopi0els. 1s you can see on this illustration, the image the sensor pic$s up is actually upsidedown, )ust li$e our eyes sees the world, the processor inside the camera then flips it.

Aperture

The aperture sits inside the lens and controls ho much lightpasses through the lens andonto the sensor. 1 large aperture lets through very much light and vice versa. nowinghow the aperture affects the photograph is one of the most important parts of photographyQ it affects the amount o# light4 depth o# #ield4 lens speed4 sharpness and 3ignetting among other things. I will tal$ more about these things in later parts of this series.

$!numers, a mathematical number that e0presses the diameter of the aperture, are animportant part of understanding how the aperture and eposurewor$. 1ll f&numbershave a common notation, such as [email protected] for an f&number of 7.8. There are a set numbers off&numbers that are used in photography, there are several different scales but theMstandardN full&stop f&number scale is thisG

R@O +.5 .< 5 7.8 < ++ +8 2

These are $nown as #ull!stop #!numers. If you decrease the f&number with one full&stop, li$e =.to =(?9, the amount of light that passes through will double. If you increasethe f&number with one full&stop, li$e =?5to =9, only half the amount of light will reachthe sensor.

There can be several f&numbers between the ones above Q depending on what scale isbeing used. The most common one is a 1=-scale, which means that every third step is afull&stop, and thus giving you two settings between every full&stop. 3or e0ample between=9and =11you will find =Dand =10. This can be rather confusing at first, so hereLs ashort reminderG

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1 higher f&number a smaller aperture less light

1 lower f&number a larger aperture more light

Shutter

The shutter is what controls ho long the sensor is eposedto the light. The longer theshutter is open the more light can be captured by the sensor. 1 fast shutter speed willresult in M#reeEingN a moving ob)ect and a slow shutter speed will let you capture themotionof a moving ob)ect.

There is a scale of stops for the shutter speeds )ust li$e for the aperture, below are thefull&stops.

+@+??? s +@7?? s +@7? s +@+7 s +@8? s +@2? s +@+7 s +@< s +@5 s +@ s + s

1nd )ust as with the aperture, the shutter speed is often on a 1=-scale, giving your twosteps in between every full&stop. 3or e0ample between 1=50sand 1=1(syou will find1=90sand 1=100s.

The two primary factors which control e0posure are shutter speed and aperture. -e willcover these things in greater detail in other lessons.

!ee D"I% T4 9(4!9 TT4I1"F for an article on how e0posure wor$s.

ISO

The I!4 speed the name comes from theInternational )rgani*ation forStandardi*ationC is a measure of the #ilm speed, or its sensiti3ity to light. -ith digitalcameras the I!4 affects the sensor instead of the film, but the principal is the same. 1lo ;S/speed requires a longer e0posure and is referred to as slow, a high ;S/speedrequires less time to give the same e0posure and is therefore referred to as fast. 4ne stepin the I!4 equals one full&stop, so the I!4 is not on a +@2 scale Q film can be found with

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+@2 I!4 speeds, but itLs uncommon in the digital world. These are the most common I!4speeds.

I!4 7? +?? ?? 5??


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Shoot During Dusk

!ome of the best night photos are ta$en during dus$= when the s$y isn't completely blac$.Ta$ing pictures during dus$ will show more colors and details in the distance and will letyou use a faster shutter speed.

se High ISO

se a high I!4 if required. It is better to get recognizable photos of your friends that aregrainy than blurry photos. *ou can reduce noise with image editing software but youcan't remove blur.

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eep it Steady

Ta$ing photos at night requires slow shutter speed. To shoot bright pictures without theblur at night, use a tripod or monopod to $eep your camera steady.

In addition to using a tripod or monopod, enable your cameras mirror loc$up setting andgently press the shutter. If your camera doesn't have mirror loc$up, you can use the selftimer mode instead.

If you don't have a tripod or monopod with you, find some support ob)ects to $eep your

body and arms stable. 3or e0ample, you can lean on a wall or place your elbows on atable to $eep your arms steady. If there's nothing to help $eep you steady, stand with yourlegs far apart from each other and hold your breath while ta$ing the picture.

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"otion #$urs

%ot all blurs are bad. !ome blurs such as motion blur can add interest. Try shootingphotos of moving ob)ects, or deliberatly move your camera to create a motion blur.Pooming in while the shutter is still open will also add an interesting forward&motioneffect.

Free%e your Friends

-hen ta$ing photos of your friends at night, combine flash with a long e0posure. Theflash will freeze the foreground and the long e0posure will reveal the bac$ground.Because people tend to move right after they see the flash, set the shutter curtain sync to

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the second curtain sually in the custom functions settingsC. This will fire a flash )ustbefore the shutter closes instead of in the beginning. sing second curtain sync will alsoput your friends in front of any motion blur so nothing is covering their faces. !econdcurtain sync is available in most new digital !" cameras but rarely seen in point andshoot cameras.

Shoot for High Dyna&ic ange (HD)

(lace your camera on a tripod and shoot three e0posuresG one dar$er, one lighter, and one)ust in the middle. *our camera may have auto e0posure brac$eting to help you with this."oad the images into (hotoshop and create H file out of the three e0posures. %ow youhave a H image that you can apply tone mappingto to reveal more details. Tonemapped night photos can give results similar to shooting during twilight with more post&processing control.

Shoot Se*era$ and Stack

!ometimes when you shoot long e0posures, noise and hot pi0els will appear even at thelowest I!4 setting. To overcome this problem, shoot the same photo a few times more isbetterC, and use (hotoshop #!2 image stac$ing to combine the analyze the image toremove noise and hot pi0els.

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+. !tart (hotoshop #!2.. 4pen the 3ileZ !cripts menu and choose "oad files into !tac$2. #lic$ the Browse button and load all the images.5. #hec$mar$ the A#reate !mart 4b)ect after "oading "ayersA and clic$ 4.7. 4pen the "ayersZ !mart 4b)ectsZ !tac$ /ode menu and choose /edian.

*o to Create Sunshine "##ect in Studio

ith Arti#icial Sunlight

In this tutorial video well give you tis on how to !heat "other #ature andshow you How to Create $our %wn &unshine in the &tudio'&unshine always evo(es war)est e)otions when we loo( at the i)age' &unnyday asso!iates with leasant e)otions !aused *y in!rease o+ vita)in - that isrodu!ed in the s(in when ./dehydro!holesterolrea!ts with ' However our

)ind !an trigger ositive e)otions 3ust *y anti!iating the drug 4vita)in 5' I+ ani)age with sunshine !an )a(e us haier, how a*out hotograhing sunshineindoors on a rainy day6Ideal lighting s!enario outdoors would *e )orning or evening light with so)eu++y !louds to !reate good )id/tones and *eauti+ul highlights'

+onceptua$ reakdo-n.a' &un7ire!t sour!e o+ hard light 8 !la) la) with !lear *ul*

*' Ti)e o+ the day7 9) early evening 8 osition !la) la) at a low angle

!' Clouds7i++usion 8 Roll o+ ra+ting ellu)

d' &unlight i!(ing through the !louds7 !ut a hole in the dra+ting vellu)

e' #ow that you have !ontrol o+ the sunshine you !an even go gra* a sandwi!h andthe sun will *e there when you return' 4thats what I did5

/0tras (if desired).a' se a +ill/light or *oun!e/light +ro) the +ront o+ your su*3e!t to so+ten hard

shadows !aused *y dire!t light'

*' se&ele!tive +o!us' &hallow eth o+ +ield o+ten hels to )a(e your hotograh)ore interesting' And to draw viewers eye to arti!ular art o+ the i)age'

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$inal Shot

/1uip&ent and sets.

&LR !a)era, 1./:;)) lens,Triod, &ur+a!e, a!(ground, Two!la) la)s on light stands, Roll o+ di++usion vellu) on oo) ar),


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Professional Lighting in %odel Photography

By /acie) (est$aX 7+ #omments

Hey T9 Fans, Don't forget to Share!8 !hare

This case study shows how lighting was manipulated to create the perfect environmentfor a fashion photoshoot.

Vuic$ %avG

3inding (erfect /odel !etting ey "ight Bac$ground "ight eflector, eflector and 3lag #amera !ettings

"ateria$s 2eeded.

!trobes !hoot Thru mbrella Big 4ctagonal !oftbo0 Tall Blac$ Jobo deflectorC

ound !ilver eflector Big 4ctagonal !oftbo0

A +ase Study in 3ighting

This article in a close loo$ at a pro)ect I recently wor$ed on. Together with !tylist %atalie!vi$le, we teamed up to create an fashion story that will be based on the way frenchwoman dress. -e called it "L1ffaire (arissienne.

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Step 4. Finding Perfect "ode$

It too$ a long time, before we found right model.-e needed someone very soft and friendly on the face, with chee$y smile that will bringan under layer to the shoot.

1fter about a wee$ going through model boo$s, we found #athyfrom #ompton /odel1gency,here in ublin.

!he was sweet, nice and most important for our pro)ect, she had that 3rench quality, eventhough she is not 3rench at all.!he was the one we wanted[

The Model is more important than you might thin6F

emember that the model is not only a pretty girl. !he has to communicate with you verywell too. In order to get desired loo$@pose, meet her before shooting to ma$e sure that

you are on the same page.

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Step 6. #ackground 3ight

1fter setting my main light, I thought that the bac$ground even though it is whiteC cameout in my test shot too dar$. 1lso, the model was casting a shadow which I didnLt want.

I needed additional light in the bac$. 1 Shoot Thru umrellawas the perfect solutionG itgives nice, soft light, with quite an obvious hot spot. I placed it on the left of the camera.

1s a -hite !hoot Thru umbrella is a type of light modifier that has very broad range ofemitted light, it will also brighten up a whole scene a little bit. -e will ta$e care of thise0tra light in the ne0t step.

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Care#ullF

-hite !hoot Thru mbrellaLs used in the way described above will spill on the model,creating unwanted shine on the side of the sub)ect.

Step 7. Def$ector, ef$ector and F$ag8

3irst of all we have to get rid of light spilling on our model from Bac$ground "ight. Todo this, I used Blac$ Jobo a &ind of flag used to bloc& lightC as a 3lag and at the sametime it helped me to deepen the shadow on the models left side. #reating nice contrastbetween the well lit bac$ground and the modelLs left side, I gain more focus on theclothes she is wearing.

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9verything seemed to be ready for shooting. But shadows created by my $ey light, underthe chin and nose, were a bit too dar$.

1 Sil3er Re#lectorwas the perfect solution. (laced )ust under the camera, flat on thefloor, the reflector bounced light coming from the $ey light and filled unwanted shadows

with soft light.

Step . +a&era Settings

9verything was shot with simple +yet powerfulC Canon .00@and $it lens 19!mm Gmm. 1s you can see, even with low budget camera it is possible to get very attractiveshot.

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/y white balance was set to flash, I find it easier than ad)usting in 1dobe #amera aw. I

used I!4 +?? to get away from any possible noise, and than$s to f+8 I could be sure thateverything will be sharp in the shot this is very important in fashion photographyC.90posure time was +@+7.

photography (aciej Pest&a

Styling -atalie Svi&le(a&eup $iara anlon

(odel $athy / $ompton

Portale Lighting #or the Studio and on Location

$ lesson produced -y "e-PhotoSchool4

The "ighting Jear 1 !imple 3ull&"ength (ortrait 1ccentuating the -indow "ight

-hen it comes to illustrating lightingtips and techniques, we at

(hotofle0"ighting!chool

\

and-eb(hoto!chool\often li$e tochallenge ourselves by honing theelements down to their most basicparts. It's important to understand thenature and quality of various lightsources so that you can $now how tobest use them to your advantage whenta$ing pictures.

1s an eager photographer )ust startingout, one of the mista$es you can ma$ewith lighting gear has to do with over&complicating things. It's very easy towant to throw another light into themi0 of your set to try to resolve thelighting. But unless you $now whateach light is doing, you can spend alot of time chasing your tail.

In this lesson, we decided to $eepthings very simple and )ust illustratesome uses of this one simple shoemount flash lighting $it, the !4ctoome\n0t Basic it with Jrids,for both indoor and outdoor portraits.

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Have it, -ill Travel 4utside the 3ish /ar$et 4n the oc$s

/1uip&ent sed.

3ighting /1uip&ent

1ccessoryG 1d)ustable !hoe/ount 1ccessoryG Heavyuty !wivel "ite(anel 2>0; inch $it "ite!tandG medium 4ctoome n0tG e0tra small (routy Bac$rop !upport it

3or this lesson, I wanted to try and demonstrate the versatility of the new (hotofle0\ ! 4ctoome n0tBasic it with Jrids by shooting both in the studio and on location with it. 4n the day of the shoot, however,I discovered that I did not have the Jrids that come with this $it, as I had thought. !o rather than postpone orscrap the shoot, I decided to carry on and demonstrate the rest of the $it with the thought that there'll be morelessons upcoming that will demonstrate the use and effectiveness of these Jrids.

In the meantime, if you're interested in learning more about Jrids in general, ta$e a loo$ at these lessonsG

3ine&Tuning *our !oft "ight -ith Jrids & (art 4ne

3ine Tuning *our !oft "ight with Jrids & (art Two

The Lighting Hear

The equipment used in this lesson all folds down verycompactly. Here, you can see all the components thatma$e up this $it. The only other pieces of equipmentmissing in this shot are the (hotofle0\ ! 4ctoomeJrids and a /edium (hotofle0\ "ite!tand.

Here's what you're loo$ing atG1G (hotofle0\ Heavy uty !wivelBG (hotofle0\ 1d)ustable !hoe /ount Hardware#G (hotofle0\ Basic /etal 4ctoconnectorG (hotofle0\ 4ctoome n0tG e0tra small

-)'E 'he attached brass mounting stud shown here

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3igure +mounted to the 0djustable Shoe (ount ardware +#1

actually comes with the eavy !uty Swivel +01.

3igure

-e decided to start off with a simple full&lengthportrait on white seamless paper in the studio andwanted to use two sources of lightG the light from the! 4ctoome it and the natural light comingthrough the large studio windows.

-ith the 4ctoome mounted to the camera brac$et,

we were now ready to attach the shoe mount flash.Dfigure 2F

1fter ad)usting the primary cold shoe of the 1d)ustable !hoe /ount Hardware for positioning, we thensecured the shoe mount flash to it. 4nce the shoe mount flash was in place, we mounted the secondary coldshoe to a wireless receiver and secured it to the rail of the 1d)ustable !hoe /ount Hardware. Dfigures 5 Y 7F

To see this process in more detail, chec$ out the following lessonGBaby (ortraits with the ! 4ctoome it

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3igure 2 3igure 5

I realized that -hitney's left side would fall into pretty strong shadow, so I decided to set up a "ite(anel it,position it off to the left, and bounce light from the window into the shadows.

#ollapsed, the "ite(anel frame doesn't ta$e up very much room at all. 1nd since all of the pieces of the frameare shoc$&corded together, it's easy to pop into place. Dfigure 8F

4nce the frame was set up, :ames attached the #rossbar for added stability. It's also an ideal part of the frameto mount the supporting hardware if you're only using one "ite!tand, as you'll see. Dfigure ;F

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3igure 8 3igure ;

3igure 3igure +?

3igure ++

Accentuating the Windo Light

The loo$ was clean and simple, but I realized that I wanted the emphasis to be on -hitney's face, rather thanher hair, which seemed to be stealing the show. !ince I was only using one light, I decided to reposition it sothat it would serve to accentuate the main window light, rather than compete with it. Dfigure +2F

!o, I too$ the bo0 off the Boom, mounted it to the "ite!tand, placed it in a similar position as the windowlight, and angled it to illuminate -hitney's face. Dfigure +5F

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Top Photography Rules

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