perjantai 5. helmikuuta 2016

PictureCorrect.com: Interesting Photo of the Day: Three Weary Wolves

On a foggy morning at Omega Park in Quebec, Cananda, photographer Daniel Parent was able to capture this shot of three arctic wolves cautiously listening to the sounds of the forest. Parent is an enthusiast photographer who boasts a very impressive and extensive profile of wildlife imagery. Strolling through the images makes you wonder if Parent lives with some of these animals:

three arctic wolves forest foggy morning

Three arctic wolves on a foggy morning in Omega Park, Quebec, Canada (imgur)

This photo begs the question of how the photographer was able to get so close to these wolves without them noticing him. His photographs are so close and personal, you’d think that he could talk to the animals. This spacing of the wolves in this photo is beautiful, and the look of the closest one sets a tone of majestic cautiousness for the whole image.


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PictureCorrect.com: 3 Easy Ways to Instantly Improve Your Photography

Digital camera technology is improving at a rapid pace. It’s easier than ever before to take a correctly exposed, correctly focused photo. Yet most people’s photos just look like snapshots. They’re a long way from the beautiful photos you see in magazines. I’m a professional photographer based in London and I’d like to share with you three simple ways to instantly improve your photography, even if you’re a complete beginner.

1. Improving your Composition

Most people’s instinct when taking a photo is to place the most important thing in the middle of the picture. When photographing a person, that person’s head is the main subject of interest, so they place that right in the middle. This is the sure sign of an amateur.

What it means is you get tons of empty space/sky in the top half of the photo, and the person is squished into the bottom half. If the photo is framed horizontally (meaning you’re holding the camera the normal way up and the picture is wider than it is tall), then this effect is even worse because there is also lots of empty space to the left and right of the person you’re photographing.

Instead, try looking at the whole space of the picture and fill as much of it with the person as possible. Tilt the camera on its side so the picture is vertical (taller than it is wide), as that naturally fits the shape of a person better. Zoom in or lower the camera until the top of their head is almost at the top of the picture. Immediately the photo will look more professional. Practice that a few times and you’ll never take an amateur-looking shot again!

2. Improving the Lighting

Cameras need a certain amount of light to be able to take a photo, and when there isn’t enough light, it takes longer to take a photo because the camera has to wait longer to let in more light. The longer it takes, the more the risk of the photo being slightly blurry, because hand holding the camera makes small shaky movements that affect the photo. To compensate for this, most digital cameras come with flash, and in most ‘automatic’ modes, the camera will automatically detect if there’s insufficient light and pop up the flash. When you’re outdoors in bright sun, the flash never goes off because there’s plenty of natural light. When indoors, the camera flashes, because it detects there’s not much light and compensates with a flash.

However, the flash on a camera is horribly unflattering. This is because the light comes from the same direction as the camera. As a result, it ‘flattens’ whatever you’re shooting, eliminating shadows and taking away any sense of depth in the person’s face. When light comes from the side, or above, it tends to look much more flattering; you get a nice sense of 3D depth. Yes, we use flash in studio photography, but from flattering angles—-not the same angle that the camera’s looking from.

Turn off the flash on your camera. This is possible in most digital cameras. So look in the menu for your camera—read the manual if you have to—and figure out how to turn off the flash.

window light portrait no flash

photo by Wendelin Jacober

Instantly your pictures of people will look better than when you used flash. You will need to become more aware of what the natural light is like though, because you now need to make sure there’s sufficient light to avoid the photo being blurry. Position the person by a window or a light if you’re indoors. Reduce camera shake by placing the camera on a steady surface or a tripod.

3. Choosing Your Subject

Tourists often take photos of each other with a famous landmark next to or behind them. This can look amateur unless you really know what you’re doing. Imagine someone seeing a photo. They must first determine what the subject of the photo is, and then they can appreciate how well you’ve captured that subject. The problem with the tourist photo is that there are two subjects. The viewer’s eye is drawn between the person and the famous statue (or whatever it is) and it’s never clear which the photo is about.

You can avoid this by simply getting your subject clear in your mind. (Hint: Usually it’ll be the person!) So give your friend the starring role in the photo and reduce the statue to a bit part in the background to give it atmosphere. You can still have it in the picture—just make it seem incidental.

make your subect obvious

photo by Philippe Put

Enough for now. If you found this useful, please check out my photography ebook, How to Start a Successful Photography Business, which is packed with useful tips to take your photography to the next level so you can start making money from it.

About the Author:
Titus Powell (www.tituspowell.com) is the only independent professional photographer in London who specializes solely in modeling portfolio and studio portrait photo shoots.


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PictureCorrect.com: How to Photograph Windsurfers with Off-Camera Flash

Stormy weather makes for the best of images. The worse the weather becomes, the more breath-taking the images tend to be. To prove the point, Red Bull Illume photographer Jaanus Ree headed out to the beach on a stormy afternoon. By the time the weather turned bad and the surf got really strong an important element of the shoot was all set and ready to fire—the lights:

Ree used two strobes for her shots. They were set up next to each other on camera right, a little further away. But even with two lights and a fast lens, most of the high speed shots were possible only at ISO 1000 and above.

lighting diagram

Position of the lights relative to the camera and the windsurfers

Here are a couple of images from the shoot:

high speed wind surfing photos

high speed photography story weather

Wicked!


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PictureCorrect.com: Lighting Ratios Quick Tip

A lot of times, it’s the simplest of tips that have the biggest impact on the work that we do. Today, we’re going to explore this with a recent video from photographer Daniel Norton, showing us a quick useful tip on lighting ratios:

The video is pretty straight-forward and involves some trial and error on your part until you find the best look for the type of shoot you’re trying to go for.

lighting ratios one stop difference light

For the above photo, Norton set the key light to the appropriate exposure, the hair light is one stop overexposed, and the fill light is one stop underexposed.

lighting ratio after fill light

As you try out different settings, you might end up with a photo like this one, where the fill light was dialed down from 9 stops (in the initial photo) to 3. Notice how the shadows are much more prominent here than in the initial shot.

But, as I said above, and as Norton says in the video, the best results are obtained after testing in your specific conditions.

For further training, launch sale ending soon: Fast Flash for Portrait Perfection


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torstai 4. helmikuuta 2016

PictureCorrect.com: How to Achieve Multiple Catchlights in a Portrait Subject’s Eyes

Here’s my two cents on the “you don’t have to have expensive lights to create beautiful portraits” topic—an attempt to harness multiple catchlights in a subject’s eyes.

"Tori Tracy" captured by Julia Kuzmenko McKim.

“Tori Tracy” captured by Julia Kuzmenko McKim.

I’ve been shooting at Dale Heise‘s studio with some awesome Profoto lighting equipment for a while. Right now, Dale is in the process of moving into another space, so I’m shooting wherever I can with whatever I have and can find. In this blog post I’m going to try and come up with an interesting lighting setup using my own lighting equipment and other affordable light sources.

Here’s what I own:

  • I still shoot with Canon 5D Classic (update: I got my pretty little Canon 5D Mark III now.)
  • Speedlights: Canon Speedlite 580EX II Flash and Canon Speedlite 430EX II
  • Einstein E640 with a silver beauty dish
  • Elinchrom Skyport Speed Trigger Set
  • Westcott 5-in-1 Reflector Kit
  • A few Heavy Duty Light Stands and tons of color gels which are actually just rolls of colored cellophane ($3–5 each at craft stores like Hobby Lobby, Michael’s, and $1–2 on Amazon)

Beforehand, I bought a box of warm white Philips LED lights at Target ($12), found a large piece of cardboard in the garage, and bought a sheet of thick white paper at Michael’s.

Building the Light

When our model, Tori, and my assistant and new photographer at OIP, Shelby, arrived I handed the lights, cardboard, scissors, tape, and a handful of binder clips to Tori to make our lighting instrument, while Shelby and I were busy setting up my MacBook Pro to shoot tethered into Lightroom.

multiple-catchlights-1

Tori drew a circle around my biggest lens cap in the middle of the cardboard and paper clipped it together. She then cut out a hole, taped the cardboard and paper together, and clipped the lights to our new white board.

multiple-catchlights-2

The Lighting Setup

When we were ready to shoot, I set my Einstein to my left and turned the slave off, so that I could use only the modeling lamp and focus properly.

“Tori Tracy” captured by Julia Kuzmenko McKim.

After plugging in the board to turn on the lights, Shelby held the plugged in board for me right in front of Tori’s face as I shot through the hole in the board. I had a few lenses available to use, including a Canon 24–70mm f/2.8, a 50mm f/1.4, and a 100mm Macro f/2.8. Since these particular LED lights were pretty weak, so I ended up shooting with the 50mm, bumped ISO up to 800, and opened the aperture to f/1.6 (it’s difficult to nail focus on the eyes, especially when you’re so close to the model’s face, with f/1.4).

Tip: If you decide to try this out, find stronger/brighter LED lights and an extra extension cord to make sure you’re not stuck by the power outlet because the LED lights’ cord is very short.

Adding the Final Touches

To finish the images I added a few touches in Photoshop, and we’ve got these stunning portraits with interesting catchlights in the eyes and magical soft light.

If you decide to try this out for yourself, I would love to see your results. Feel free to post them in the comments section below.

About the Author:
Julia Kuzmenko is a Los Angeles based beauty photographer & retoucher.


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PictureCorrect.com: Low-Light Photo Trick: How to Create Clouds From Sand

Sometimes in-camera cloud effects can give an image a sense of texture and style that’s unachievable any other way. Here, Isabelle Chapuis and Alexis Pichot team up with Nikon to show us how they create a simple cloud effect in low light:

Shooting with a Nikon D7200, Chapuis cranks the ISO up to 2000, opens the aperture as wide as it will go (in her case, f/1.8) and keeps the exposure open for a manageable 1/80 of a second.

Then Pichot runs toward her with a handful of sand and throws it in the air. The result is simple, but pretty cool:

Nikon photo tips

So if you ever need a quick and different photo project—or you’re looking to add texture and depth to a low-light image—consider throwing some sand around. Just be careful not to toss it too close to your lens.

For further training: The Trick Photography eBook


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PictureCorrect.com: Interesting Photo of the Day: Astronaut Photographs the Eye of a Deadly Hurricane

Astronaut Edward M. Fincke, a NASA ISS science officer and flight engineer, captured this incredible image as he orbited 230 miles above the storm aboard the International Space Station. He was using a Kodak DCS 760 camera set at 22mm, 1/500 of a second, f/2.8, and ISO 100:

hurricane ivan 2004 NASA International Space Station ISS Astronaut Edward Mike Fincke

“The Eye of the Storm” by NASA ISS (Via NASA. Click image to see full size.)

Many people who see this image admit to experiencing feelings of vertigo and unease, thanks to the disorienting perspective. In actuality, the metal panels pictured are ISS solar arrays, but let your imagination drive, and they quickly become skyscrapers beneath impending doom.

Hurricane Ivan ranked as a Category 5 storm with sustained wind speeds reached 165 mph and qualified as one of the strongest hurricanes on record. It caused significant tropical storm damage more than 170 miles from its eye in Grenada, Jamaica, the Cayman Islands, Cuba, the United States, and other areas.


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