maanantai 31. tammikuuta 2022

PictureCorrect.com: 📷 How to Use Auto Exposure Lock on a DSLR Camera

The auto exposure lock (AE-L) function on a DSLR camera lets you physically lock the exposure reading from anywhere in the scene. You can use it on its own or at the point where you focus the image.

Just about all DSLR cameras have an auto exposure lock button. When you press the AE-L button, the current exposure settings are fixed (locked) so that they can’t change as you recompose the shot—even if the level of light alters as you aim the camera elsewhere.

exposure lock

Photo captured by Aziz Acharki; ISO 100, f/4.5, 1/800s.

When the shutter is pressed halfway down, the autofocus mechanism is engaged. As it does so, the camera takes a meter reading and sets the exposure. But what if you want to focus and meter from different parts of the scene?

This is where the auto exposure lock function comes in handy. It lets you take an exposure reading independently of where you want to focus.

The AE-L function is best used with spot or partial metering in order to fix the meter reading from a small area in the scene. This is very useful in lighting conditions that may fool the metering system.

For example, if you shoot a scene that has a bright source in part of the image, an evaluative, matrix, or multizone meter can easily force underexposure. To get the right exposure, you need to take a reading away from the bright region.

This can be easily be done by taking a spot or partial meter reading from a mid-tone area of the scene and then locking that reading by pressing the AE-L button and keeping it pressed until you’ve recomposed and taken the shot. On some cameras you don’t need to keep the AE-L button depressed, on others you do.

The AE-L button can be used if the subject or subjects are positioned off-center in the scene. It is also useful when you’re shooting a sequence of images that you want to be stitched together in order to produce a panoramic photograph. The AE-L function makes sure that every shot taken in the sequence has exactly the same exposure settings.

About the Author:
Chris Smith is a writer for an online photography magazine Photography-Expert.


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PictureCorrect.com: Interesting Photo of the Day: Hong Kong Storefront at Night

In its simplest sense, street photography is about photographing people going about their daily lives. This kind of street photography often captures people in their “purest behavior”. There’s no posing or styling going on, and you as a photographer can’t make any adjustments to the shooting environment. Have a look at the following image by photographer Derry Ainsworth that he took in Hong Kong. It’s a brilliant example of a typical street photograph with a retro vibe:

“A Store in Hong Kong at Night” by Derry Aubsworth (Via Reddit. Click image to see full size.)

Ainsworth took this image with his Sony A7RIII and the Sony 70-200 f/2.8 GM lens at 70mm, f/2.8, 1/200-second exposure, and ISO 3200.

The perspective of this image is what makes it quite interesting to look at. His head-on approach when composing this image gives a feeling of actually being there and looking at the shop and shopkeeper from in front of the store. And then there’s the condition in which the image was taken. The night’s darkness with a fluorescent-lit atmosphere looks simply stunning for this image – it looks so cinematic.


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PictureCorrect.com: Photographing Flowing Fog with a Long Exposure

Landscape photography is one of those genres of photography where everything is beyond control. You have to respect whatever nature chooses and react accordingly. This is especially true during long-exposure photography, when slight changes can cause major abberations in the final product. To give a sense of all the things that can go wrong, as well as the prize you can get when things go right, photographer Michael Shainblum takes you behind the scene of an excursion he took to nab long-exposure landscape photograph:

As you can see in the video, nature can be ruthless at times. For Shainblum, the conditions were far from ideal, but what could he do? He doesn’t quit. Instead, he has a couple of contingency plans along with a good amount of patience and persistence.

“It’s funny how things can change in a split-second. I was so ready to give up, and all of a sudden I turned around and the fog lowered.”

Sometimes, even when you put in your best effort, things may not work out. This is where the luck factor comes into play. If you’re lucky enough, you could come across a magical window in which you can get your shot.

“I was kind of giving up hope for a little bit. I thought of actually starting hiking back. I’m really glad that I didn’t.”

Toward the end of the video, you can see how all of Shainblum’s efforts really paid off. The resulting image is absolutely fantastic. So next time you’re out for landscape photography, think of all the problems you might face beforehand and prepare accordingly. Rising to the challenge will feel a lot better than giving up.

For further training: The Complete Long Exposure Photography Guide


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sunnuntai 30. tammikuuta 2022

PictureCorrect.com: 🔦 Light Art Performance Photography Tutorial

LAPP, or light art performance photography, is a style in which you literally paint your pictures with light. If you own a DSLR camera or even a Lomo camera, this could easily be your new favorite hobby! The crazy part is, LAPP is created with only one picture. There aren’t any Photoshop skills needed; by simply grabbing a flashlight you will create spectacular works of art.

Tools you will need:

  • DSLR camera (or any camera with shutter speeds slower than 5 seconds)
  • tripod
  • shutter release cable (or the camera’s self timer can be used)
  • flashlights of any color

Now here’s how to create simple photo paintings. Start by getting all the camera settings correct for the scene you’re going to paint. It can be real tricky to get the lighting correct the first couple tries, but it will become easier after your first successful photo painting!

Planning. First, start planning on what you want to create whether it be a light globe, a sentence or name, and so on. Having the shutter open for extended periods of time means you will have to pay close attention on how much light you are feeding the sensor. Big objects like globes spanning from head to toe will produce huge amounts of light even if you are able to finish the picture in under 60 seconds. For beginners, I recommend starting with a completely dark room (even small lights like computers or your phone charging light will end up ruining your photo). Once you learned all the variables with of painting with the light, try different outside scenes with surrounding light.

ISO. As ISO settings go for all circumstances, lower is always better. The same goes with light painting photography. Experiment by taking a couple sample shots and try lowering the ISO as much as you can.

Shutter Speed. For the first couple LAPP shots, try shutter speeds of a couple seconds and just scribbling with your flashlight. Then you can quickly adjust the ISO and aperture according to what you plan to paint. Once the photos are looking better and you want more time to draw your photograph, move to the bulb setting on your DSLR.

Aperture. If you want longer shutter speeds based on available light you may need to narrow your aperture to let in less light such as f/11. If you want shorter shutter speeds based on available light then you will want to widen your aperture such as f/2.8.

light painting shapes

photo by Andrew Rivett

There are a couple more tips that will help tremendously.

Always keep the light dead straight toward the lens; if you curve your hand and point it sideways (trying to add depth) the camera wont pick it up.

Make sure to have the light in front of you and not to step in front of it. If you do end up stepping in front of your light it will make a silhouette of yourself!

When you light-paint words, don’t panic if your words look backwards when you first view them, this is normal and you can simply flip the image using any basic photo editor. Some photographers choose to write backwards to overcome this issue – but it is more difficult to write backwards than to flip the image in an editor.

That’s about all it takes to create mind blowing LAPP paintings that will expand you’re creativity—and your portfolio!

About the Author:
James Bern wrote for the former LomoPhotographyInfo, a photo blog dedicated to film photography and Lomography.


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PictureCorrect.com: Interesting Photo of the Day: Beautiful Winter Scene In Kyoto, Japan

It’s amazing how a light dusting of snow can completely transform an already beautiful scene. This serene image of the snow covered Daigo-ji temple in Fushimi-ku, Kyoto was taken by the talented Japanese photographer Azul Obscura:

kyoto japan photography snow

A snow covered Daigo-ji temple in Kyoto, Japan. (Via 500px. Click to view full size.)

Daigo-ji is a UNESCO world heritage site and an important example of a Shingon Buddhist temple. The largest temple in Kyoto was established in the 9th century, but it was later restored by hegemon Toyotomi Hideyoshi in the 16th century. The site includes several temples and buildings set upon the entire mountain of Daigo-san.

The new year’s snow fall on the mountain created an opportunity Obscura could not miss.

“New Year’s Day, it was heavy snow in Kyoto. The next day morning, I went to Daigoji without hesitation. There was incredibly beautiful scenery, I felt like I was in a dream…”

The image was shot with a Sigma SD1 Merrill.


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PictureCorrect.com: Everything You Need to Know About Crop Factor

A lens’s effective focal length and aperture are affected by the camera’s sensor size. So it’s essential to understand the concept of crop factor and how it affects the results of a lens. Photographer Tony Northrup shares his insight:

Crop factor is basically a numerical value that you can use to convert values among different sensor sizes by simple multiplication.

“With crop factor, just like converting miles per hour to kilometers per hour, you just do simple multiplication.”

The crop factor is entirely dependent on sensor size.

  • 35mm full frame cameras have a crop factor of 1
  • APS-C cameras have a crop factor of 1.5 (Canon APS-Cs have a crop factor of 1.6)
  • Micro Four Thirds cameras have a crop factor of 2
  • Phone sensors have a crop factor of around 7 or 8

How Crop Factor Affects Focal Length

To demonstrate how crop factor affects an image, Northrup uses the same lens and mounts it on a full frame, an APS-C, and a Micro Four Thirds camera. He then takes images of his subject from the same distance using the same settings:

crop factor affects focal length

The exposure is even in all the above cases. This is because sensor size doesn’t affect exposure. However, there are other things that have changed.

The most prominent difference is the framing. As crop factor increases, it seems as if the image is zoomed in. Smaller sensors capture only the middle part of what a full frame sensor is able to capture.

“Those images are as if we cropped them from the middle of the full frame camera.”

In this case, a 35mm equivalent 50mm lens has worked as a 50*1.6 = 80mm lens on the APS-C body, and a 50*2 = 100mm lens on the micro four thirds body.

Conversely, the APS-C body would require 50/1.6 = 31mm (approx) lens to act as a 50mm full frame lens, and the micro four thirds body would require a 50/2 = 25mm lens for the same purpose.

equivalent focal length

How Crop Factor Affects Aperture

In the earlier image, the composition looks almost identical in all the images. However, if you notice the background blur, you can still see some difference.

While the full frame sensor produces the most background blur, the micro four thirds camera produces the least. This is because, like focal length, the aperture of the lens is also affected by crop factor.

An aperture setting of f/4 on a full frame is equivalent to 4/1.6 = 2.5 (f/2.5) on an APS-C camera and 4/2 = 2 (f/2) on the micro four thirds camera. Now, if you compare the background blur on these three images, they’re identical.

Therefore, to convert the 35mm full frame equivalent focal length and aperture to your camera sensor equivalent, simply divide by the crop factor.

How Crop Factor Affects ISO

When you reduce the aperture values in the APS-C and micro four thirds cameras to match the aperture value in a full frame camera, you let in more light. This affects the overall exposure of the image. You can compensate for that by reducing the ISO value.

For instance, if you use an ISO of 400 on a full frame camera, the equivalent ISO on a camera with crop factor 1.6 would be around 160.

So, if you remember the following relationships, you can overcome any limitations with cameras having smaller sensors.

“Not only do you get the same amount of background blur, but you’ll get the same amount of noise specially in low light because you’re using a lower ISO.”

Where Crop Factor Breaks Down

Calculations are pretty simple. But they’re not always practical. Consider Northrup’s example. For portraits, he likes to use his 105mm f/1.4 lens.

The problem here is that a 70mm, f/0.9 does not exist. Neither does a 53mm f/0.7 lens. The only solution in such case is to go full frame. Otherwise, the smaller sensors are enough to get the job done for your.

Misconceptions About Crop Factor

Smaller sensors have greater depth of field. This misunderstanding arises because users tend to forget to compare the equivalent aperture values. Always convert the f-stop and focal length whenever comparing results across different sensor sizes.

Small sensor cameras have smaller lenses. Again, if you do not forget to apply the aperture conversion, the lenses producing similar results are approximately the same size. For instance, the APS-C Sigma 18-35mm f/1.8 (approx 27-53mm f/2.7 full frame equivalent) is similar in size to the Canon 24-70mm f/2.8 full frame lens.

Crop factor is applicable to the focal length but not aperture value. Such statements are often made by camera and lens manufacturers. Northrup insists that they do this so that they can overstate their lens’ power. For instance, a 300mm micro four third lens would be the equivalent of a 600mm lens. But when in comes to practice, a 600mm full frame lens produces much better images than a 300mm micro four third lens.

“I wish smaller sensors just made every lens more powerful. But that’s just not the case. There is no substitute for a big huge front element that is gathering a ton of light. That’s what produces all that background blur and gives you amazing low light capabilities. “

Other Facts About Crop Factors and Sensor Size

  • Medium format cameras have a crop factor of less than 1. Hasselblad cameras for instance have a crop factor of 0.69.
  • 35mm is used as a base value because after Thomas Edison adopted 35mm film for movie cameras, other camera manufactures settled for the same. It later became a standard.
  • Crop factor does not affect exposure.
  • Full frame cameras gather more light than small sensor cameras at any given ISO and f-stop as they have a greater surface area exposed to light.

I hope this discussion has cleared up any confusion you might have had regarding crop factor. Understanding crop factor will help you in making informed decisions when it comes to purchasing a new lens or a camera body.


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lauantai 29. tammikuuta 2022

PictureCorrect.com: Metering and Exposure: Introduction

A camera’s metering mode generally refers to the way the camera itself decides which is the correct exposure for a picture. A cameras metering system is the brains behind how your camera determines the shutter speed and aperture, based on lighting conditions and ISO speed. In-camera metering is standardized based on the luminance of light which would be reflected from an object appearing as middle gray.

Today, digital cameras users have the ability to choose and adjust the wide range of metering modes—or how the camera measures the brightness of the subject. Understanding these can improve one’s photographic intuition for how a camera measures light.

Here is a brief introduction to the most common metering modes available.

Spot Metering

Spot metering takes a reading from a very small part of the image and ignores the exposure of the rest of the scene.

center weighted metering

Photo by Petras Gagilas; ISO 1600, f/1.8, 1/20 exposure.

  • About 1 to 5 percent of the view finder area is measured.
  • The readings are usually taken from very center of the scene.
  • This method of metering is very accurate.
  • Spot metering is usually used for very high contrast scenes.

Center-Weighted Average Metering

Here a metering is taken from the whole of the scene first, then the central spot an average reading is then calculated.

center-weighted averaging

Photo by Nathan Siemers.

  • 60 to 80 percent of the view finder area is measured.
  • It is usually possible to adjust the weight/balance of the central portion to the peripheral one.
  • It’s less influenced by small areas that vary greatly in brightness at the edges of the viewfinder. More consistent results can be obtained

Average Metering

  • Light information comes from the entire scene and is averaged for the final exposure setting.
  • There is no weighting to any particular portion of the metered area.

Partial Metering

This is most common in Canon cameras.

  • 10 to 15 percent of the view finder area is measured.
  • Partial metering is used when very bright or very dark areas on the edges of the frame would otherwise influence the metering unduly

Multi-Zone Metering

A type of metering first introduced by Nikon, Zone is a type of metering which takes readings from several different areas—or zones—within the scene to produce a calculated average.

evaluative metering

Photo by Felice Candilio.

  • It’s also called Evaluative/Matrix (Nikon), Evaluative (Canon). This is the default/standard metering setting on a number of cameras.
  • Light intensity measures from several points in the scene, and then is combined to find the settings for the best exposure.
  • The idea behind multi-zone metering is to reduce the need to use exposure compensation

About the Author:
Chas Demain writes for CreativeSlrPhotography, a digital photography site.


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PictureCorrect.com: Interesting Photo of the Day: Antarctic Expedition Essentials

Have you ever wondered what gear a photographer going on an Antarctic expedition would need to take with them? New Zealander John Bozinov gives us an insight into the gear he’s taking for a three-month trip to Antarctica in this stylistic photograph:

antarctic expedition photography gear

Essentials for my Upcoming Season as an Antarctic Expedition Photographer. (Via Reddit. Click image to see full size.)

Obviously, he’s taking a lot more warm clothing with him than the few items in the photo, but the amount and type of photography gear he’s taking is what’s of interest to us!

Bozinov is away on an expedition to the Antarctic peninsula and South Georgia for approximately three months, so his gear has to be reliable and able to work in challenging conditions.

He’s taking two Canon 5D Mark III bodies, a Canon 70–300mm lens, Tamron 24—70mm lens, and a Tamron 15–30mm lens. You may be wondering why he’s taking the older Mark III cameras, instead of the newer Mark IVs, but he took a Mark IV to Antarctica on a past trip, and it got destroyed in a few days with water damage. Apparently Bozinov finds the Mark III bodies to be more robust in that way.

For film fans, Bozinov is taking an Instax film camera with a fixed wide-angle lens. He doesn’t use it much—mostly for landscapes and occasional shots of penguins—but he likes the tactile nature of holding an instant print, and he used to use a Polaroid 600 camera.

Add a sturdy tripod, flashgun, drone, laptop, and sundry other small camera accessories, and Bozinov is all set to go.


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PictureCorrect.com: Flower Photography Basics

Who doesn’t love flowers? They’re not just beautiful to look at but are equally fantastic subjects to photograph. Their vibrant colors, interesting shapes, and striking details, all make flowers brilliant subjects to photograph. Also, the fact that you usually don’t need to look too far to find some flowers is an added bonus. So if you are a beginner photographer, it’s a great idea to go out and photograph some flowers. In this video, team B&H presents some handy tips and tricks to do just that:

In this video, you’ll find out what kind of gear you can use, some compositional tips, and some tricks to  work with artificial lighting when photographing flowers.

As far as gear is concerned, it depends on what kind of shots you want to get. If you want to capture those intricate details, a macro lens is what you’ll need. Otherwise, you can use a telephoto lens, or a fast prime lens longer than 50mm to isolate the flower from its background.

“A lousy background can ruin an image and needs to be taken into consideration for every photo.”

When composing your photos, make sure that the flower you’re photographing isn’t cluttered amongst leaves or other flowers. Choose one that stands out on its own, and be sure to try out various angles and experiment with different backgrounds. Remember, your background has the potential to either make or break your photo. Be sure to check out the video to see how you can also use custom backgrounds to make the flowers pop.

What other techniques do you know for taking better flower photos? Let us know in the comments.

For further training: Photographing Fabulous Flowers Guide


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perjantai 28. tammikuuta 2022

PictureCorrect.com: HDR Photography and Equipment

Because I lead workshops, I am often asked if a point and shoot or entry level digital camera is okay. Well, the simple answer is absolutely yes. Here is a little story to illustrate my point. Let’s say that two photographers wake up early one morning for a full day of shooting. They both want to capture HDR images during the early morning and late afternoon golden hours. Photographer one, I’ll call him Sam, has an expensive, professional grade D-SLR camera with an expensive 28-105mm f/2.8 lens but has only a moderate understanding of the camera and its functions and has generally poor technique.

hdr photo city

Photo captured by Federico Beccari

Photographer two, I’ll call her Betty, is using a mid-level fixed zoom lens on a camera with some manual control options. Betty, unlike Sam, has excellent knowledge of the camera and its functions and has really good technique. If I were to choose in advance which of these photographers will return with better images I would bet on Betty. One becomes a better photographer, not by purchasing expensive equipment, but by learning how to use the equipment one has and by practicing good technique.

If one wants to learn how to shoot HDR then one must first learn technique. One need not have a ton of fancy equipment to create the drama inherent in the HDR image. Quite the contrary, one can get started with the bare essentials. All one really needs to get started is an inexpensive point and shoot digital camera so long as you have the ability to use some kind of manual exposure compensation. You also need a sturdy tripod. Holding the camera steady during exposure bracketing is an absolute must for merging files to create an HDR image. Most point and shoot cameras do not have the ability to capture RAW files but no worries. While not perfect, merging JPEGs works well in most merges to HDR.

arizona desert photo

Photo by Joel Tonyan.

Shooting handheld with a point and shoot camera, or even a D-SLR for that matter, is only possible if the camera offers an automatic exposure bracketing (AEB) feature. Even then, I tend to not recommend one attempt a handheld bracket exposure if one can at all avoid it. Without AEB the tripod is an absolute requirement. It is next to impossible to play with the exposure settings while trying to shoot holding the camera in your hand. Remember, creating an HDR image requires that one merge three to five digital exposures into a single file. While currently available software is really good at aligning images, hand-held exposures may have such a range of misalignment that the merging software cannot figure out just what to do.

When shooting HDR one is also advised to take white balance off auto mode choosing the most appropriate pre-programmed white balance setting. If your camera has an auto ISO feature, take it off auto and select the slowest (lowest) ISO setting possible for the luminance of the scene. Whatever you do, do not use your built in flash.

Here are a few tips for using a digital point and shoot camera when capturing images for later conversion to HDR.

  • Remember, a tripod is preferable to hand-held shooting
  • Turn off as many automatic settings as possible thereby controlling as much as possible manually
  • If your camera offers aperture priority mode then use it. Vary exposure by shutter speed keeping the aperture fixed. This lets you control depth of field.
  • Decide how to bracket. On a bright sunny day +2,0,-2 or a 5-stop range is appropriate range. In shadows or on an overcast day or even indoors a +1,0,-1 or 3-stop range is more appropriate. A bit of experimenting will help you decide which works best for you.
long exposure photo

Photo by Donald Ogg.

In the final analysis, equipment is far less important than learning and then using good technique. I have a black and white image hanging in my home that was shot using an oatmeal box, sheet film and a pinhole. The image is stunning and the camera was made from the simplest of tools.

About the Author:
Roger Passman is an award winning professional photographer located in Northern Illinois. His online store is found at CoolShotsPhotography. He often leads creative photo workshops designed for beginning through intermediate amateur photographers.


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PictureCorrect.com: Interesting Photo of the Day: Light Painting with Fireflies

Fireflies are one of the finest examples of how nature can surprise you. The little insects with lights coming off of their backs are sure to leave anyone fascinated. To take this to the next level, photographer Tim Reaves managed to take a long exposure image of fireflies in the woods of the Great Smoky Mountains, and it truly looks magical:

fireflies long exposure

“Fireflies in Great Smoky Mountains National Park” by Tim Reaves (Via Reddit. Click image to see full size.)

The image is a stacked composite of 13 images taken at the same location with a Canon 800D and 50mm f/1.8 lens. The base was two images taken at f/1.8, ISO 400, and a 15-second exposure. Reaves then took the firefly images at f/1.8, ISO 1600, and 15 seconds and stacked and masked them to bring out the sharpest bits in each of them.

What’s interesting about this image is the length of the trails that the fireflies have left behind. Typical fireflies light up for a second or two and don’t leave such trails when photographed. However, since these fireflies were of a different kind, Reaves definitely got lucky with the shot.

“This is a particular kind of firefly (blue ghost) that stays lit for up to 30 seconds. I don’t think you’re going to get this exact kind of look without shooting blue ghosts or something similar.”


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PictureCorrect.com: Tips for Street Photography During Golden Hour

Golden hour has a special place in photography. If you shoot landscapes, portraits or even weddings, you all know how magical that golden touch of light really is. But seldom do we hear street photographers talking about the value of street photography during golden hours. In this video, photographer Frederik Trovatten goes out in the morning right before sunrise to try out some street photography. He also shares some tips on street photography during golden hour. Let’s see how it all goes:

One interesting trick Trovatten recommends: find a street that’s parallel to the path of the sunrise. (In the evening, you can also look for a street that’s parallel to the path of the sunset.) When the sun is low and close to the horizon, you’ll get longer shadows, which can make your images much more interesting.

Another benefit of shooting street photography during golden hours is that you will come across many subjects starting their day or heading home. That means more photo opportunities for you, because you’ll find people with lots of energy—or maybe not so much, depending on who you’re shooting.

Have you ever tried your hand at street photography during the golden hour? If you haven’t, make sure to check out the video. Hopefully it will inspire you to try out some golden hour street photography for yourself.

For help with photo editing: Street Photographer’s Presets


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torstai 27. tammikuuta 2022

PictureCorrect.com: Too Cold Outside for Photography? Think Again

Many photographers run for cover when the outside air temperature dips five or ten degrees below the freezing point, fearing their equipment may malfunction, or worse, their fingers and toes will fall victim to Jack Frost’s wiles. Although these concerns may hold some truth, the reality is that with adequate and thoughtful preparation, the snow-shy landscape photographer has a whole other side of nature to discover during winter—and a beautiful one at that.

winter photography tips for cold

Photo by Susanne Nilsson; ISO 160, f/5.6, 1/160-second exposure.

Crisp winter air emphasizes the beauty of luminous clouds, eerie fog and mist, and that special light only a sunrise can provide. It is said that “success is the random collision of chance, opportunity, and perseverance.” I can claim that this so called off-season time of year provides ample opportunity for just that: the capture of successful images to add to your portfolio.

Now having said all this, I’ve actually been guilty of not exploring the winter wonderland that lies in my own back yard! Even though I’m Canadian, my nose (and my photo gear) have been kept quite warm, at least until recently.

In early winter a few years ago, a friend and photography mentor offered the opportunity to accompany him on a weekend of travel and photography in one of Canada’s most spectacular areas called Bighorn Wild Land in Alberta. The photo opportunities are plentiful in this region, thanks to the grandeur of the Rocky Mountains, waterfalls, lakes, and wildlife. And my friend is a full-time pro who knows the area intimately, so how could I say no?

The experience was fun and educational. Having worked in the outdoors in the wintertime years ago as a surveyor, I knew to dress warm enough so that shooting wasn’t uncomfortable. Don’t get me wrong though, it wasn’t a walk in the park—pre-dawn setup at the shore of Lake Abraham was very difficult due to howling northerly winds. It was bad enough we had to splay the legs of our tripods wide so they wouldn’t topple, so you can imagine how protecting ourselves from wind chill was essential.

Now, before any of you go trudging out into the wild winter in your brand new custom-made mukluks, there are a few tips and tricks I’ve picked up when it comes to clothing and equipment. But even before that, if you’re inexperienced you should start out taking short jaunts from your vehicle; no big hikes your first time out.

winter photo planning

Photo by armin djuhic; ISO 100, f/1.2, 1/4000s, 85mm.

We kept our extremities toasty with chemical hand warmers. These are a godsend when fiddling with your camera’s dials and knobs. It’s a good idea to wear thin gloves for working with your equipment, and heavy mitts with the hand warmers inside to de-frost from time to time. Footwear should be of good hiking quality, fully intended for cold weather. Remember, you may be standing around for a while waiting for the right light. I mistakenly spent a few hours wearing thinner boots and although purchased as “winter footwear”, my estimation of their insulative value was wrong. It’s best to bring a thinner pair of boots for driving, and heavier ones if you plan to be out for more than half an hour. It’s always good to have options! Dress in layers, with something over your head and ears; remember most of your body heat is lost through your head. A balaclava under your warm winter hat will help when it’s really cold.

For the parts between your head and feet, I recommend long underwear, snow pants, a turtle-neck sweater, an insulated sleeveless vest, and a warm coat with a high collar. Down-filled, or anything rated for minus 30 degrees is good. When hiking to reach your destination, unzip your coat and your vest as you warm up.

Camera equipment, for the most part, will function as normal provided it has been professionally lubricated and cleaned, and it isn’t 40 below! Mechanical parts do have environmental limitations; refer to your manual if you’re in doubt. Even a DSLR without its film transport mechanism has motors, solenoids, etc. to actuate the mirror and auto focus. But, you can usually push the limits beyond published specs by keeping the battery warm, which is usually the first thing to affect camera performance. This can be done with an umbilical adapter that plugs into the battery’s compartment, and a wire long enough for storing the battery in your warm clothing. For digital cameras, image storage is limited around minus 13 degrees, even if you have the latest memory card technology.

If your tripod has metal legs, don’t handle them with bare hands as they will extract the heat from your skin, and possibly initiate the onset of frostbite. Keep those mitts handy when moving from place to place. A trick my friend did to “winterize” his tripod was to fasten pipe insulation to the upper part of the legs with cloth hockey tape. This also makes it more comfortable when it rests on your shoulder while traversing from site to site.

freezing photography

Photo by David Marcu; ISO 100, f/22, 1/15s, 18mm.

Plan your shooting based on the weather forecast. If you haven’t already scouted out some favorite spots, do so with a compass. The sun rises in the south-east in winter, and sets in the south-west. If it’s going to be overcast, waterfalls are great subjects. Other good overcast subjects are ice patterns in frozen lakes and ponds, and babbling brooks with lots of snow and ice formations.

Don’t despair if it’s overcast before sunrise. We were about to give up on an overcast morning but got lucky at daybreak when the sky cracked a bit and the red sun painted gorgeous under-lit clouds and mountain peaks. My friend had the place in mind the day before, so our foreground was already figured out. Good light can appear fast, but disappear just as quickly. If your day is going to be partly cloudy, you’ll be blessed with a killer sunrise photo. Entire books have been written on landscape compositions, but I’ve learned the most magical time to shoot anything can be at sunrise and sunset. The light is fantastic at this time, and more so in winter. Think reflecting pools of water for a foreground—in the right conditions they’ll provide a rising mist that is beautiful when captured during a colorful sunrise.

With the right clothing, planning, and dependable equipment, nature provides us with some magnificent material! I became a fan of winter photography and will continue to enjoy it in the future. Give it a try if you haven’t yet.

About the Author:
James Hutchison is a graduate of the New York Institute of Photography, and a member of the National Association of Photoshop Professionals.


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PictureCorrect.com: Interesting Photo of the Day: Waterfall and Milky Way

The ability to take long exposure photographs has to be one of the best features of a camera. May it be the dimly lit Milky Way, star trails, or a silky waterfall, everything looks magical thanks to long exposure photography. The following image by photographer Daniel Greenwood is a perfect example:

waterfall and milky way

“Waterfall and Milky Way” by Daniel Greenwood (Via Reddit. Click image to see full size.)

Greenwood shot this image at Vancouver Island, Canada. The image is a composite that he accomplished by photographing long exposures of the Milky Way and the waterfall separately. Later, he processed each of the images and stacked them to get this ethereal image.


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PictureCorrect.com: The Landscape Photography Tripod Challenge

Whenever we stumble across a beautiful scene, it’s temtoing to keep moving around and finding unique angles. After all, it’s a good idea to change your perspective and find different compositions. But landscape photographer Nigel Danson wants to challenge that perception. The idea is to stick your camera on a tripod—and not move it. Let’s see how this helps:

In this challenge, the idea is to first find the scene you want to shoot and set up your composition. Once you have your camera on a tripod, you are not allowed to move it. You’re only allowed to change lenses and rotate the camera. That’s it!

“When you’re not worried about moving, you can see a lot more.”

The notion behind the challenge is quite simple. When we move around too much, we lack the patience to really absorb what’s around us. We ultimately end up not seeing the actual beauty that lies before us. By pinning yourself to one spot, you are forcing yourself to spend more time observing your surroundings. As a result, you’ll notice your output could be higher.

Restricting yourself also means that you will have fewer variables to worry about. This way you can spend more time thinking creatively, will make a big difference in your end results.

Watch until the end as Danson shares the images that he took as a part of this challenge. You’ll get an idea of how staying put can actually help you improve your work.

Have you ever tried staying put when out to take landscape photos? We’d love to hear your experience in the comments.

For further training: The Landscape MasterClass


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keskiviikko 26. tammikuuta 2022

PictureCorrect.com: How to Photograph Smoke

At some point in your life, you’ve probably seen an amazing photograph featuring smoke. The smoke might be flawlessly lit against a solid background or feature breathtaking colors, leaving you wondering just how on earth you could possibly duplicate it. While photographing smoke can be difficult due to its unpredictable nature, thankfully, it doesn’t take a lot of special equipment. In fact, once you study a little more about how to light and shape smoke, it’s all about trial and error.

smoke on dark background

photo by Paul Hansen

Supplies and Setup for Smoke Photography

As with any photo shoot, the first thing you need to do is to prepare. Make a list of all the supplies you will need, and get everything set up in advance. Typically, you will want to use the following supplies when working with smoke photography:

  • Black Background / Backdrop. Compared to other colors, a pure black backdrop helps to blend the smoke into your images easier. (You can also minimize the size of backdrop required by using a telephoto lens.)
  • Your Camera. If possible, use a telephoto zoom lens. This will help minimize the required backdrop, and make it easier to control your composition.
  • Extra Memory Card. When photographing smoke, you will typically capture a lot of frames.
  • Flash or Lamp. This needs to be an external source and does not count your camera flash.
  • Incense (including incense holder). While you can use other options, incense not only provides a long-burning smoke source, but it also will not set off a smoke detector or sprinkler system.
  • Reflector (optional)
  • Snoot. If you don’t have one, try using pieces of cardboard. The point is to help direct your flash toward the smoke and away from the backdrop.
  • Tripod. Although it is possible to shoot without one, a tripod helps to ensure stability and keeps your camera steady if you need to walk away to make changes.

After you have gathered all your supplies, you will want to set up in a nice dark and draft-free location. If necessary, wait until it is dark out, and avoid working near open windows. Remember, smoke is easily directed. Even with the slightest puff of air, smoke can move, so always make sure to turn off any fans, and cover up any vents that could cause issues during your shoot. If at all possible, use a cool room with a high ceiling to allow somewhere for the smoke to go.

Although you don’t need a lot of room for your setup, you typically will require around five feet between the camera and backdrop. Your light source should never be placed directly in front of the backdrop; it should always be placed to the left or right to avoid light from hitting it. A great starting point for your light source is between 30 and 45 degrees away with the snoot directing the flash toward the smoke; the incense (or other smoke source) should be in the middle with your camera pointed directly at the backdrop.

colorful smoke

photo by butch

Photographing Smoke

During your shoot, you should always shoot in RAW format. This will make your post-processing much easier, and provides you with as much information as possible. However, if you do not plan on editing your images, you can consider JPEG.

Like most shoots, your camera settings can vary depending upon your location. However, there are a few specifications you can keep in mind. Your ISO setting should be placed at the lowest possible option, and your shutter speed lower than your normal settings, with 1/250 of a second as a good starting point.

Like sports photography, auto focus is not an option. Smoke is continuously moving, so you will need to ensure your focus is in manual mode. Start by focusing on the tip of the incense, using a dim lighting setup. Be prepared to experiment, because what works for some photographers doesn’t necessarily always work for others. Keep experimenting until you fine tune your camera settings, position, flash, and reflector to where your images consistently have a pure black backdrop, as well as a good tonal range and highlights for your smoke.

When working with smoke, make sure to keep safety in mind, not just for you, but for your equipment as well. Smoke has the ability to create a film over your lens, destroy plastic (as well as other parts)—and more. You paid good money for your equipment, so don’t damage it because of small oversight.

It may just be incense, but you still will never want to set up in a location where chemicals or other flammable materials are stored. A good rule of thumb is it is better to be safe than sorry; so while you may not think you need to, always take breaks throughout your photo shoot. Ideally this should be around every 20 to 30 minutes. This will allow you time to open any doors or windows to let out any extra smoke within the room.

smoke setup photo

Photo captured by petr sidorov

Post Processing Photos of Smoke

For most photographers, the fun begins during the post-processing stage. You can remove unwanted smoke areas, change the contrast, levels, curves, and/or other aspects until your highlights and shadows reflect the look you’re trying to achieve. Looking for something different than the same old black background or white smoke? Then try inverting the image (Image > Adjustments > Invert) or using layer masks to change the colors of your smoke. The possibilities are endless, and the only thing that can limit your creativity is you, so play around with the image.

Despite the difficulty, photographing smoke can be lots of fun. Often times, it is hit or miss to capture an amazing shot; but it has the potential to be a big hit. So while you may experience some bumps along the way, the positives far outweigh any of the troubles you had to achieve it.


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PictureCorrect.com: Interesting Photo of the Day: Blood Moon Rising

Blood moon is the name given to a total lunar eclipse due to the reddish tinge it takes on when fully eclipsed. Landscape photographer Jacob Klassen was prepared to capture it on a prior occurrence:

blood moon rising

“Blood Moon Rising Over Rathtrevor Beach” by Jacob Klassen (Via Reddit. Click image to see full size.)

Klassen took this amazing photograph at Rathtrevor Beach on Vancouver Island. Realizing that he wouldn’t be able to get a shot of the exact landscape that the moon was rising behind, he took one as close to the right of it as he could. Through the night, he also took a shot of the moon with its reflection in the tide pool every nine minutes. The resulting image is a composite of all of his efforts, and it looks fantastic.

“It’s night[s] like these where you realize how small and insignificant we are, yet lucky enough to live in a time and place in the universe where sights like this are somewhat common.”


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PictureCorrect.com: Location Portrait: Wide Angle or Telephoto Lens?

When you’re out on location for a portrait shoot, you’ve mainly got two options as far as lens choice is concerned. You can either go wide to cover the model and the location, or go tight with a telephoto lens and emphasize just the model. However, each of these choices has advantages and disadvantages. In today’s video, we have photographer Gavin Hoey from Adorama who demonstrates the results from these two lenses and discusses the pros and cons of each of them:

A close-up portrait is all about the model, their style, or their expression. The location is the last thing that you want to emphasize when taking a close-up portrait. If that’s the motto of your shoot, go for a telephoto lens. As an added advantage, the shallower depth of field of longer focal lengths also helps to emphasize the subject. However, keep in mind that when you shoot tight, you can’t crop much later in post. So be very careful about your composition.

On the other hand, shooting wide should be your obvious choice when your shoot is more about the location and less about the subject. But in the process, you need to ensure that the subject and the location gel together to form an aesthetically pleasing image. You also need to be very careful with things that might creep into your frame when shooting with a wide-angle lens. And since wide lenses have a greater depth of field, going for a shallow depth of field isn’t an option.

“Ultimately, it boils down to what do you want to emphasize in your pictures.”

What kind of portraits do you usually shoot? Let us know in the comments.

For help with photo editing: Luminar Neo Early Access


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tiistai 25. tammikuuta 2022

PictureCorrect.com: Manual Settings for Beginner Photographers

Recently an intern joined me and drove me up the wall with questions about manual settings for photogra​​phy. Questions like ​”What zoom range should I adjust my lens to shoot a portrait and a group photo. Isn’t shutter speed useless?​” drove me absolutely nuts!​ Before I shunned him away, I realized that there are no wrong questions​, and I’ve been telling him that for a while now, especially​ when it comes to photography.

manual camera settings

Have you ever asked a professional photographer, “What are the best settings to take a photograph?” More often than not, the reply is so vague. “Depends… on the lighting,​” or “​What are you shooting?” And you might have thought to yourself, “{facepalm} OK, that’s not helpful at all.​”

I’ve been working on professional photography productions for over two decades. I’ve been lucky to work with some of the top photographers on shoots for major brands. And I’d like to share my story about how I started clicking better pictures.

Like most beginners, I’ve met with vague answers to my photography questions on how to get started. I’ve been guilty of asking the most stupid questions about​ camera settings for photography, too.

DISCLAIMER: The settings below don’t guarantee you the perfect shot. They are only to help beginners to get acclimated to shooting with a point of reference for manual settings.

Shutter speed, aperture, and ISO can confuse the s*it out of any beginner to photography. Before we get started, I’d like to share a quick tip on how to get familiar with manual camera settings for photography noobs.

If you were wondering why your photographs come out blurry or why all the highlights are blown out​, here’s a tip to give you a clue.

Quick Tip​ 1​: Metadata

Check your metadata. When you have a picture ​that makes you wonder what went right or wrong, the metadata has oodles of information. Pure gold. Simply right-click on your photograph and get properties or info and check the last tab. You’ll be able to locate data for the shutter speed, aperture, and white balance on that photo.

metadata

Metadata

A good way to go forward from here is to make a note of different settings that worked best for you. When you attempt a similar capture you can start with those settings. Be open to fiddling about with all the knobs and dials to fine tune your settings a little.

Why Go Manual?

“Real men shoot manual?” Not really… But they do.

Although, the auto settings do a pretty good job, they might not be the best settings that do justice to your photograph or story.

Basic photography is all about saving light. And using manual settings can help you get the best exposure, stability, and lowest noise in any situation.

How do you understand aperture, shutter speed and ISO?

When you first get started these settings can be very overwhelming. It’s a steep learning curve and if you’re like me, you’ll have made some pretty bad mistakes before you get a hang of things.​

aperture

​Quick ​Tip 2​:​​ Make Mistakes​

Make mistakes. Take some horribly wrong pics. Commit to taking gigs as a second shooter. Shadow a professional photographer or an experienced friend when they have gigs.​ Making huge mistakes and blunders helps you remember better. If I open up the aperture too wide, my pics might be brighter but a lot of stuff is going to be out of focus. Or if I have a higher shutter speed, it’s easier to get sharper pictures, especially when there is movement in my frame.​

I ventured out on small trips to the park, longer trips to popular travel destinations with my friends, and even to professional studios to try some photography. My pictures looked pretty good on camera. I’d usually be quite satisfied with the framing and symmetry. But when I got home and pulled them onto our large screen, the horror! Blurry, out of focus, and over exposed. Sometimes noisy and over exposed, too. How did I even manage that? I wasn’t getting sharp, crisp images.

YouTube video tutorials and traveling trips weren’t doing me any good. Adding a speedlight to the mix was just a hot mess, because I didn’t know how to work lighting either.

Things were really bad. When I first tried my hand at photography with my DSLR camera, I didn’t even know the difference between the focus ring and the zoom ring on the lens. And I’d turn the wrong ring and mess up a shot quite often.

​Quick Tip 3: Practice Manual Settings Before a Shoot

It’s good to do a couple of small exercises to get familiar with all the knobs, buttons, and rings for your manual settings. You could keep a couple of reference settings and practice​ about changing your settings a couple of times​ before every shoot​.

​Let’s look at an easy quick workflow to manual settings on any DSLR camera.​

Focus First

​​​The first lesson I learned was auto focus. Don’t bother with manual focusing. Professionals very rarely depend on manual focus.​ ​But things could go wrong when you auto-focus, too. The camera could decide to choose​ any focus ​point ​on your background rather than your subject.​ As a beginner,​ I’ve done that often too—lots of really nice shots that I​ clicked were “out.”

dslr manual mode

What do you do when your camera refuses to focus on your talent or your point of interest?

This is what some called the ​​pull focus and re-frame technique.

Focus and Re-frame​

Look through your camera settings menus and choose the focus point at the center of your frame​. (I set mine to the 1pt AF to use one autofocus point to find focus.)​​ This sets your primary point of interest for focus​ right at the center of your frame​.

grid lines setting

​​​Frame your subject to have your talent’s eyes or your subject​’s leading lines converge​ right in the center of your frame. Half press your shutter until you hear a beep (enable beeps from your camera menu settings if they’re off). This will ensure focus on your subject. Now re​-​frame your picture while your hand is still half pressed on the shutter button. I usually use the one third rule for framing (again it’s good if you have your grid display on). Re​-​frame until your subject coincides with the one third lines on the grid, hold still, and completely squeeze your shutter button and release.

Center frame, pull focus, reframe, click.

​Manual Settings​

Now let’s get to a quick basic understanding of all these complex manual settings.

Let’s look at them one at a time.

All ​your settings​ will​ have dials or buttons​. On bridge cameras you might have to use the menu or touch screen display​. ​Any settings will have two options. You can dial a setting up or dial a setting down. As a result of changing any setting your image becomes brighter or darker. That’s really most of what there is to it, but let’s look a little deeper because there is more.

Sometimes little changes can make huge differences.

Shutter Speed

You can start with a shutter speed of about 1/125 if you’re not sure where to keep it.

shutter speed

​​​If your images look ​shaky or leave trails, then your shutter speed settings might be a tad bit low. A higher shutter speed will give you sharper images and compensate for some mild shake or jitters too​;​​ but will make your image darker​. Sometimes you’ll need a speedlight or external strobe light to compensate for​ low​ light.

When you shoot at ​a ​lower shutter speed​ (e.g. 1/30)​ try using a tripod for stability.

Shutter speed is the amount of time taken for the the shutter to close when you click a photograph. In other words, shutter speed is the time the picture is exposed for.

This is why, when your shutter speed is too slow and if there is movement either in your picture like people walking or if your hand shakes even, you can expect some kind of overlap or blurriness on your image.
​​
Aperture

As a shutterbug​,​ have you​ ever​ been crazy mesmerized by shallow depth of field. Do you love that beautiful bokeh in your backgrounds? This is what aperture controls.

camera settings

As your aperture is set higher​ (e.g. f/6.0)​, backgrounds or areas that are not in focus start to become sharper. When you dial aperture down ​(f/2.0) ​the shallow depth of field increases and your background​s g​o even more out of focus.

Aperture controls the amount of light to the sensor. Controlling the aperture of your camera is like squinting your eye to get a sharper image or reducing the intensity of light when the sun hits your face directly. As you close your aperture by increasing the aperture value (e.g. increase 1.8 to 3.5), less light bounces off your camera’s sensor and your image gets darker.

​ISO

​If you’re shooting in lower light you could set your ISO to about 800 but if you chose to shoot outdoors in the day, you could even dial it down to ISO 100.

​​​ISO is the standard for setting the sensitivity of your camera. It used to have to do with the film standards back in the day.

Most cameras have a native ISO. You might also want to fix your ISO at this number and then play with the other settings to get a good exposure of your scene.​ ​When you are shooting in low-light you could rely on the ISO to pump up the brightness. But you’ll notice that as you start to increase your ISO there is an increase in noise levels, too. So you don’t want to go too far.

Reference Manual Settings ​

Here are some default or rather reference settings you can look at if you don’t know how or where to get started:

​​Zoom Range

70mm for portraits.
24mm for wide landscapes.
​​
Aperture

f/3.5 so that your subject is in focus and the shallow depth of field isn’t too overwhelming.

​With kit lenses as you zoom in the aperture is variable and increases.​​If you’re working with a kit lens you might want to shoot a bit wide so that you may accommodate a lower aperture setting.​

​​White Balance

3000k for a neutral white balance.
5​600k for a warm colour temperature.
You could also leave it at auto.

If you shoot in raw you’ll be able to fiddle with the white balance quite easily while post processing.

You could leave your white balance to something around 3300k to get a neutral white color. Feel free to tweak these settings to get a color temperature that looks as close to what you see.

​​Shutter Speed

1/125 will give you nice crisp image.
If you want to shoot a long exposure shot you could set it to way lower but you’ll want to mount your camera on a tripod.

​​ISO

800 for lower light settings.
100 for outdoors and day shots.

So there you have it—some sample settings to get you started. ​

Steps for Manual Camera Settings

  1. Set your focus to auto.
  2. Adjust ISO.
  3. Set your zoom to about 70​​mm for portraits or 24​​mm to 35​​mm for landscapes.
  4. ​Set your aperture to about f​/​3.5. You could go lower or higher to play with depth of field and control the amount of light.
  5. Set your shutter speed to 1/125.
  6. Center frame​ your image​, focus by half pressing your shutter, re-frame ​to one-third rule, ​and click.

The settings above are only a reference to start with. In almost all situations you will need to dial in some changes for most of the settings to get a well exposed image.

Let’s face it. The truth is we read a ton of stuff and then when we go out in to the field, all the theory goes out the window. The best way to learn is go out there make some horribly horrible mistakes. Take your worst photos. Learn why they came out so bad. Learn lessons and when you’re done taking your worst photographs you can start to consistently make great ones.

Do let me know in the comments below if you find these tips useful. Or if you have some more of your own first time experiences and tips that you’d like to share.

About the Author:
Mark is a corporate filmmaker at Web Interactive Films.


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PictureCorrect.com: Interesting Photo of the Day: Double Exposure of Man in Nature

Is this photo a double exposure? Technically, the term is reserved for when an analogue camera opens its shutter twice over the same slide of film, superimposing one image atop another. Some debate the issue feverishly, with critics complaining that when the images is a Photoshopped composite, it isn’t true double exposure. Others shrug that this is what double exposure has become in the 21st century. Judge for yourself:

digital-double-exposure

A double exposure-style effect can be created easily in Photoshop. (Via Imgur. Click for larger size.)

The photographer snapped two photos, cropped out the hand and pasted one atop the other in Photoshop. He set the opacity of both at 50 percent and fiddled with the brightness and contrast until he found a happy medium. That’s it. No masks, no in-camera editing.

For reference, here are the two images used to create the composite. As you can see, they’re simple shots on their own:

multiple-exposure-online

Via Imgur

reddit-photo-tutorial

Via Imgur

Other photographers choose to use their camera’s built-in double exposure feature.

Is the Photoshopped version of double-exposure too simple? Does it devalue the authenticity of double exposure photography, back when you had to open the shutter twice to impose two images over the same layer of film? Most importantly: does it even matter? Ultimately, it’s a lovely image of the interconnection between man and nature. The process is less relevant.


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