9 Nude Photography Tips

 

Warning: Lets start this tutorial with a warning. This post is about Nude Photography and does cover a topic that some may find offensive. We’ve only included one very tame image and the post is (in my opinion) very tastefully written by a woman (one of our forum members who wishes to remain anonymous) who shares her experience and some lessons learned while photographing a friend.

If you think you’ll be offended by this post we do invite you to skip this post. This is a topic many of our readers are interested in so we feel it is relevant but do understand that it is not everyone’s cup of tea.

9 Nude Photography Tips

Let me start by saying that I never thought I’d do any nude photography – not because I am against it as a form of Art – but partly because it never seriously crossed my mind as something I’d do and partly because I never thought I’d come across anyone who would pose for me.

However recently a long term friend asked me if I’d be interested of taking some nude photos of her for her husband.

At first I thought she was joking but she was quite serious. They’ve been married for 10 years and she wanted some tasteful shots – nothing too risque or explicit – that she could give to celebrate their anniversary. She wanted someone that she could trust and someone who she thought could take a decent shot.

After attempting to convincing her that perhaps I wasn’t a good enough photographer for the job – I eventually agreed. We set up a time for the shoot at my home and I set up a simple make shift home studio. Below are some of the lessons that I learned from the experience.

1. Know what you’re looking for before you start shooting – 

what ended up happening with us is that when my friend arrived for the shoot and we started taking photos we quickly realized that we didn’t really have too many clues when it comes to posing for these types of shots. The first shots I took were quite bad and we quickly realized that we (or I) were not prepared. We decided to take a break and I pulled out a few of my photography magazines and books where I knew there would be examples of some poses that we could aim for.

We chose a pose that we wanted to start with – a shot of her standing with her back to the camera – the focus being her back – lit from the side to accentuate her curves. We saw this ‘classic’ nude shot in a couple of different books and thought it’d be a good place to start. Knowing what we wanted to achieve in this shot helped a lot. Taking nude shots is not as simple as grabbing a camera and getting your gear off – it helps to know what shot you’re attempting to get.

2. Try Black and While – 

at the start of our shoot we were shooting in color. The results were quite confronting to my model. She is a beautiful woman but even the best of us have a few blemishes or blotches on our skin that can be quite eye catching in shots. I had been intending to shoot in color and convert the images to black and white later but on seeing her reaction to the shots I’d taken decided to shoot in Black and White.

In doing so I noticed that the shots completely changed in their look and feel. They became less about the body in the shots and more about the shapes, the light, the shadows etc.

3. Warm up the Room – 

ok, so a practical tip and perhaps an obvious one. Make sure the heating is on! I actually didn’t notice the coolness of the room (I had my clothes on after all and perhaps had a bit of adrenaline at the thought of messing up the shoot) but my friend certainly did. It’s hard to pose and look relaxed when you’re shivering!

4. Use Longer Focal Lengths – 

this will probably vary from person to person but we found that things worked best when I shot with longer focal lengths. Perhaps it was partly that I wasn’t up real close and personal as I took my shots and this allowed my subject some personal space – but the shots when I used a longer lens were better than those when shooting with short ones. I had started off shooting with a 50mm lens but ended up using a Canon 85mm prime lens that I’d borrowed from a friend for most of the shoot and was very happy with the shots.

I also had a 70-200mm lens which came in handy towards the end of the shoot when we did some shots that focused upon taking some more close up shots of parts of her body – almost abstract type shots.

5. Anonymity Helps –

 another thing that we discovered as we went along is that the shots where my friend’s face was turned away from the camera were somehow more photogenic than those in which she was looking at the camera. Again it wasn’t that she’s not attractive or that she was uncomfortable with the situation – but something about seeing her face proved to be a little distracting in the images. Not seeing her face on the other hand added a little mystery into the shots. I’m not quite sure how to describe it any other way but the images also became a little less confronting.

6. Keep the mood relaxed and fun –

 I had the advantage of being friends with my subject and being a woman myself put her at ease more than if I were a male – however even with those two advantages it was a somewhat never wracking experience for both of us. Being naked in front of another person and being that other person can be quite confronting – although it can also be quite funny if you let it be. We took the ‘funny’ approach and spent a lot of the time giggling like school girls and I think it helped us move beyond the initial awkward stage.

I also had a couple of sheets and blankets handy so that between shots my friend was able to coverup and keep warm. We also used them to keep her covered when we were taking some of the close up shots later on where they couldn’t be seen.

7. My Home Studio – 

we used a couple of setups that worked well. One was with black material behind the model and a couple of spot lights lighting her from the side. We did this with the first shot that I mentioned above and it left us with the effect of her standing in front of a dark background. The other shot was her sitting on a chair that we covered with a white sheet. This we lit with natural light from a great window in my home.

My main advice is to keep it simple when it comes to your set up. You don’t really want your subject standing around while you adjust settings and get things set up – you want him or her to be relaxed and not put out by the experience.

8. Simple Poses – 

I wish I could show some of the shots we took (by my friend would be horrified with that as they were shots just for her husband and her and not the masses here at DPS) but the best shots were very very simple shots.

I’m not sure if this helps but I found that when I stopped treating my friend as a person wanting a portrait and started looking for shapes and considering how light was falling on her body (almost more like a landscape) that I started to get the best results. As a result I had her stand, sit and lay in comfortable positions and found myself moving around her more than having her move around me.

9. Cover Up – 

another lesson that we discovered over the morning that we shot was that sometimes less skin is more. We tried a few shots where my subject covered herself up in a number of ways – either by using her hands and arms to cover her torso or where she even at one point wore an unbuttoned shirt.

As it turned out some of these were her husbands favorites.

Over all the experience of photographing a naked person was one that was a great learning experience. I’m not sure that it will ever be something that I’ll do again (although my friend wants to do it again for their 20th anniversary) however it was one that taught me a lot. I am sure many other DPS readers have experiences that they could add to this in comments below – I’m looking forward to learning more from you.

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Top 12 Macro Photography Tips

Close-up macro photography is great for really bringing out the detail of your subject. Colin Varndell offers 12 creative macro photography tips

It may seem daunting at first, but macro photography really isn’t so different from other kinds once you get a graps of the basics. Pro photographer Colin Varndell offers his top 12 macro photography tips…

1. Choose the Best Lens

The focal length of macro lenses ranges from 50mm to 200mm. Although many zoom lenses boast a macro setting, these are usually less than half life-size magnification – true macro, however, begins with 1:1 and nothing less.

A 50-60mm lens is suitable for general macro work but if you want greater subject-to-lens distance a 100mm lens will give you this at a price.

For creatures like butterflies and dragonflies, lens-to-subject distance becomes even more important so focal length needs to be greater.

The 150-200mm range is the most expensive, but you will appreciate the extra power when stalking flighty subjects like this Gatekeeper butterfly.

2. Make a Standard Zoom Focus Closer by Adding Tubes
Extension tubes fit between the rear mount of the lens and the camera body to make the lens focus closer and therefore produce a much bigger image of a small subject.

This image of a thick-legged flower beetle was shot with an 18-200mm zoom lens and a 20mm extension tube added. This is a much cheaper alternative than buying a macro lens but tubes are more fiddly to use in the field.

Also, with an extension tube fitted you lose the infinity end of your focusing range. Add more tubes and this becomes increasingly more limited.

3. Add a Dioptre to Make a Lens Focus Closer

Close-up filters are single-element lenses that look like magnifying glasses.

These filters screw into the front element thread and can provide an inexpensive alternative to splashing out on a pukka macro lens.

They come in a variety of strengths that are measured in dioptres.

Close-up filters are often available in sets of +1,+2 or +4 dioptre magnification.

Dioptres are also available to fit Cokin style square filter systems.

Add a dioptre to a bridge camera or a compact to achieve real close-up shots.

The golden ringed dragonfly shown here was shot on a Lumix FZ30 camera with a +3 dioptre added to the front element.

4. Use Apertures to Control Depth of Field

The left snowdrop shown here was shot at f/2.8 while the one on the right was taken at f/22

To get the most out of available depth of field, select a small aperture like f/16 or even f/22.

You will find that at half-life size the depth of field you can achieve at f/22 will be only around 15mm at best.

On the other hand you may wish to go to the other extreme and show as little sharpness as possible by opening up to full aperture like f/2.8 or f/4.

One advantage of the latter option is that any out-of-focus highlights will show as circle-like bubbles that can look very attractive.

5. Blend Flash with Ambient

With more static subjects it can be fun to add a blip of flash just to liven up an image.

In this composite shot of a sycamore leaf, both images were exposed for natural light; however, the bottom image was given a blip of off-camera fill-in flash and the shutter speed was increased by one stop in order to darken the background.

6. Use a ‘Third Hand’

A ‘third hand’ device is an essential macro photography accessory. It will enable you to support or position subjects just where you want them. In turn, it can also help to provide endless possibilities of positioning backgrounds.

7. Fine-tune Macro Pattern Compositions

Although we can crop things using software later, it is best to fine-tune composition in-camera at the time of shooting as much as possible.

With close-up pattern details, ensure they either fill the frame completely so that there are no gaps around the edges.

Alternatively show the entire pattern with space all around it.

These two shots of the same fungus illustrate how these opposite approaches look in practice

8. Point of Focus

It is imperative to consider the actual point of focus when working close-up with tiny subjects. You can dramatically change the appearance by where you chose to focus.

These two shots of the same teasle head were both shot at the same maximum aperture, but the point of focus was changed by a couple of millimetres to produce an entirely different effect.

9. Check LCD Panel

Use your rear LCD facility to ensure you have got the shot you want before moving on. Look carefully at the corners to make sure there are no intrusions.

Tidy up any unwanted debris in the scene and make sure that your composition concentrates on your subject as intended. It’s also wise to carry a spare battery, as constantly reviewing shots will drain power.

10. Raindrops

After rain can be an excellent time to search for macro subjects when everything is dripping with droplets of rain water.

Go in close to show how the raindrops act as miniature lenses, magnifying the veins in leaves.

11. Backgrounds

Add different coloured backgrounds to macro shots to change the look of the subject.

These four backgrounds were all natural subjects but shot deliberately out of focus. Grass was used, and tree foliage and a combination of bushes and sky.

12. Butterflies
With small but lively subjects like butterflies, it can be difficult getting close enough to them for frame-filling shots.

Try stalking them later in the day, just as they are about to settle down for the night.

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Terminology and classification Camera Lens

The lens is a major part of the camera arrangement comprising an optical element which serves to capture the image in front of the camera so that it can be accepted by the sensor or film. In compact cameras and prosumer cameras, the lens is made ​​into the camera body, but the lenses used in SLR cameras sold separately. Both lenses are fused with a special lens camera or SLR cameras, both have similarities in working principle, optical design and characteristics.

High quality lens has the ability to deliver satisfactory results in terms of sharpness, contrast and color. To assess the performance of the lens makers can use MTF charts describing the quality of the lens. Thanks to modern lens manufacturing technology with the help of computers, today more and more quality lens and is equipped with modern features such as a special coating that can improve the sharpness and reduce flare. In choosing a good lens, the necessary basic understanding will be terms which are common to the lens, as well as recognize the division or classification by type lens.

Focal Length (Focal Length)

In discussing about the lens, the first thing seen of a lens is the focal length of the lens. By definition, the focal length indicates how the distance between the sensor (or film) of the lens, while the camera focuses to infinity (infinity). To show the focal length of this lens is used millimeters (mm). In a more general understanding, lens focal length indicates how much the corners of the image (picture angle or the angle of view) that can be produced by a lens. Corner of the image is what will determine the extent of the image area can be obtained at a particular focal length. Note:

• - Short Focal lens (eg 28mm) produces a great picture angle so as to obtain a wide image area or width (wide-angle). The shorter the focal then the vast area of the image that can be produced. Then the 18mm lens can be called more 'wide' than 28mm.

• - Focal length lens (eg 200mm) resulted in a small corner of the image so as to obtain a narrow area of the image, suitable for long distance photos (telephoto). The longer the focal, the more distant telephoto capabilities possessed the lens. So a 400mm lens can be called more 'tele' of a 200mm lens.

The lens focal length is considered equal to the area of the image seen by the human eye (angle picture about 46 °) is 50mm, so the lens with a 50mm focal commonly referred to as a normal lens. Focal lens with a smaller than 50mm wide lens called, objects are photographed with a wide lens result will look much further than the reality. Lens with a focal greater than 50mm is called a telephoto lens, the object photographed with a telephoto lens results will appear closer than it should.

So based on the focal length, at least we know the three types of lenses are lenses wide, normal and telephoto lenses. Wide lens suitable to get a photo with the widespread impression, such as scenery or architecture. While the telephoto lens is suitable for photographing distant objects such as when outdoor or sporting events covering the event. Normal lens itself is more suitable for facial portrait or other needs that require a normal picture angle.

Fix Lens and Zoom Lens

When viewed from the focal design, the lens can be classified into two main groups. The first is a fixed lens / prime (have a fixed focal length) and the second is a zoom lens / vario (have a focal length that can be changed).

Fixed lens has a small size, with a bit of an optical element and as the name implies, only fixed lens has a fixed focal length. Primes are available for a wide range of focal lengths ranging as:

• - Fix wideangle lens (24mm, 35mm)
• - Normal fixed lens (50mm, 60mm)
• - Fix telephoto lens (85mm, 105mm)

The zoom lens itself has advantages over fixed lens that has a focal range that can be changed, from the shortest focal to the longest focal. Ability is measured by comparing the zoom lens focal longest to shortest focal, eg, a 28-280mm zoom lens, the focal length is 28mm shortest and longest focal is 280mm, so the lens is called with a 10x zoom lens (or 280 divided by 28). The zoom lens has advantages in terms of practicality because the lens can be obtained with a wide variety of focal lenses for a variety of photographic needs and desired perspective. But in terms of sharpness, the zoom lens is not able to match the fixed lens. This is due to the complexity of the optical arrangement of the zoom lens so that potentially reduce the sharpness in general. In the zoom lens, the focal sharpness longest and shortest focal generally decreased.

Lens opening (aperture)

In the camera lens there is a mechanical component called the aperture or diaphragm, which serves to adjust the amount of light entering the lens. The diaphragm is composed of a set of thin metal layer (blade) that form a circle and the iris aperture size can be enlarged or made ​​smaller. Setting the entry of light is done by changing the size of the aperture of the largest to the smallest openings in units of f-number. Large openings expressed in a small f-number, and vice versa small openings expressed in a large f-number. Lens with a large aperture has the ability to incorporate more light making it possible to use a higher shutter speed.

The picture above is the shape of the diaphragm of the lens, where the picture on the left shows the small openings and the right shows the large openings.

Large aperture (eg f / 1.4 or f / 1.8) is more easily realized in the fixed lens design. Then the majority of the fixed lens has a large aperture which also had the privilege to create an alias blur out-of-focus in the background. But not so with the zoom lens, in which to make a zoom lens with a large aperture a bit more difficult to do. In the zoom lens, maximum aperture common is f / 2.8, although there are now beginning to be found pocket camera has a lens that can open very big to f / 1.8.

Judging from its aperture design, the zoom lens itself is divided into two groups:

• - Constant aperture zoom lens
• - Variable aperture zoom lens

With a constant aperture zoom lens, for example, lens 24-70mm f / 2.8 or lens 70-200mm f / 4 maximum aperture lens indicates that this at any focal position is fixed. So for example the lens 24-70mm f / 2.8 will be able to open at f / 2.8 at 24mm to 70mm focal position. Such lenses are more difficult to make, also have a larger size and weight, so the lens of this type belong to the class of the zoom lens is expensive.

Variable aperture zoom lens with an easier and cheaper to produce, and has a smaller size so compact and lightweight. This type of lens has a maximum aperture that will shrink when the zoom lens at the shortest focal position to the longest focal. To determine the maximum aperture lens of this kind can be seen from the information that is written on the lens, such as lens 18-105mm f / 3.5-5.6 means this lens has a maximum aperture of f / 3.5 at 18mm focal position and maximum aperture will shrink up to f / 5.6 at 105mm focal position. Although not written in the lens, minimum aperture can actually shrink when the zoom lens. It depends on the design of the lens, the lens usually has a minimum aperture can shrink when the zoom lens is a lens SLR camera.

Due to the large aperture of a lens can incorporate more light making it possible to use a higher shutter speed, then the lens with large openings called with a fast lens. For a fixed lens, because generally large maximum aperture, then almost all primes called fast lenses. However, since it is difficult to make a zoom lens with a large aperture, the aperture zoom lens with constant f / 2.8 already can be called with a fast lens. Most SLR camera zoom lens which has a small size is a slow lens because it has small openings and will become smaller when the zoom lens.

Features Image Stabilizer

Some modern lens has now been equipped with image stabilizer feature that serves to dampen vibrations that occur when we take pictures. This feature adds an element lens special function to compensate for hand-shake is detected by the sensor, so that the risk can be reduced image blur. Own stabilizer function is required when the camera is used to take photos at a low shutter speeds or when using a telephoto lens.

When concluded, the classification of the lens can be arranged by:

Focal length:

* Wide Lens
* Normal Lens
* Telephoto lens

Lens Type:

* Lens fix / prime (fixed focal)
* Zoom lens / vario are subdivided into:
- Constant aperture zoom lens
- Variable aperture zoom lens

Design aperture lens:

* Fast lens (have large openings)
* Lens slow (have small openings)

Aside from the general classification as above, there are special lenses that are used for specific purposes, such as:

* Fish-eye lens for extreme picture angle (180 °)
* Macro lens for photographing objects very close (magnification 1: 1)
* Tilt and Shift lens for professional needs (control perspective)

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Histogram Function In Digital Photography

One term that is popular in the era of digital photography is the histogram. This term can be found on most modern digital cameras and the image processing program in the computer. Histogram itself is actually a representation of a digital image that is displayed in the form of graphs and can be displayed on the screen when the camera preview (record mode) or can be displayed on the captured image (playback mode). Histogram feature is important in evaluating the accuracy of exposure, but for that we need to understand the meaning of the graph shown by the histogram.

Little mention of exposure, there are two extreme conditions that can occur when the camera's exposure settings are not right. The first condition is called over-exposure where the image becomes too bright, there is a loss of detail in bright areas (termed blown highlights). The second condition is under-exposure, in which the image is too dark, and the detail in the dark areas become lost. The function of the histogram is telling us about how the exposure held by the pictures we took. Although digital cameras have an LCD screen is sharp and bright, but the LCD screen can not always be relied upon as an accurate reference exposure. Sometimes the images on the LCD screen looks bright, but it turns darker actual results depending on the type and settings on the camera LCD. Arguably the histogram on a digital camera into a modern light meter precision, where the graph shown represents the actual value of the dark light capable captured by the camera sensor.

Histogram in general looks like in the example image above. The graph above has a dark light range of 256 levels from 0 (minimum) to 255 (maximum), with the assumption that the camera sensor has a dynamic range of 8 bits. Each pixel of the sensor chip will catch the light with different light-dark and graphics that appear in the histogram shows the number of pixels for each level starting from the value 0 to 255. A value of 0 which is located at the far left of the histogram indicates the darkest conditions (pure black), in the center of the histogram is a middle-gray / midtone (gray) and the far right represents the most light conditions (pure white) with a value of 255. How to view the histogram is to see the spread of the graph on the horizontal plane (left and right) and also see the number of pixels in the vertical plane.

Consider the example above. Histogram in the above example is more dominant on the left so that the image is represented by a graph of this kind tend to be dark. Peaks also appear very high graphics indicate clipping or under exposure. There are some parts of the picture are losing detail in dark areas (shadows). When the display of this kind is found before the photo is taken (when the preview), then we can do the exposure compensation to a positive direction so that the peak of the graph can be shifted from dark areas.

The picture above shows the histogram graph dominant on the right so that the picture will be too bright. The peak of the graphic on the right side is also very high in the area indicate clipping highlights due to over exposure. When this condition is experienced as a preview, exposure compensation can be performed in the negative direction so that its spread could be in the middle.

The picture above shows the histogram which has a dark and bright areas are equally dominant, usually occurs when the dynamic range of the object to be photographed is much wider than the dynamic range of the camera. For example, when shooting a landscape dominated by bright sky and dark land.

So basically no histogram is considered 'true' or 'standard' because of the shape histogram will always vary depending on the condition of the image represents. But as a comparison, an image that has high contrast and detail and did not experience under or over exposure will have a graphical form that spreads from a dark area to a bright area with peaks that do not experience clipping. Use the information displayed by the histogram as a means of evaluating exposures and know is there is no clipping region of a photograph.

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Image Stabilizer, the essential features of a digital camera

 

 

One of the important features that affect the quality of the image is an image stabilizer or stabilizer gambar.Fungsi this feature is to dampen vibration (hand shake) when shooting the potential to make the images become blurry. Often without realizing it, our hands can not actually really solid in holding the camera.

The working principle of this feature is to rely on a gyrosensor that detects camera shake and mechanically compensate for the vibration damping. The camera manufacturer adheres to two different versions of mechanical compensation, namely the principle of lens-shift (add the stabilizer on the lens elements) and sensor-shift (stabilizer incorporated in the sensor). Both although technically different, but the principle is the same.

System stabilizer of the most common is the stabilizer with lens-shift principle embedded in the lens. Most digital cameras and even digital SLR camera lens was put on this manifold stabilizer. In principle, the hand vibration detected by the sensor are processed digitally and stabilizer on the lens element to be moved in the opposite direction to the direction of hand tremors.

Different as lens-shift principle, the principle of the camera with a sensor-shift stabilizer system combined with the camera sensor itself. So the camera's sensor which embraces the principles of sensor-shift can move to compensate for hand-shake is detected. Most DSLR cameras like Pentax, Sony and Olympus implement this system so that the stabilizer feature can be used with any lens used.

Naming the image stabilizer feature can be different for each brand camera, although the principle is the same:

Canon : Image Stabilizer (IS), including the lens DSLRnya
Nikon : Vibration Reduction (VR), including the lens DSLRnya
Panasonic : Optical Image Stabilizer (OIS)
Pentax : Anti-Shake (AS)
Sony : Super Steady Shot (SSS)
Other brands : Use the generic name Image Stabilizer (IS)

While the third party lens manufacturers also began to provide stabilizer feature in some of their lenses as:

Tamron : Vibration Correction (VC)
Sigma : Optical Stabilizer (OS)

In conditions such as whether the stabilizer feature is very beneficial?

There are at least two conditions that require the presence of a stabilizer feature, namely a low speed when shooting wear and when to wear lenses with a focal length (telephoto). Indeed vibration when shooting hand does not always result in the images become blurry. Apaalaagi when using high shutter speed, vibration experienced by the camera does not affect anything because the time between the shutter button is pressed until the photo is taken only in the range of milliseconds. However, when using a low speed, for example, 1/20 sec or slower, vibration hands will begin to potentially interfere. Even when using a very low speed like 1 second, the use of stabilizer feature is no longer effective and it is necessary to use a tripod.

There is a classic guideline in photography where to produce images that avoid blur due to hand shake, use a shutter speed that is contrary to the position of the focal length used. So for example, we use a lens with a focal 300mm, then the required value of at least 1/300 second shutter speed to a safe outcome of a blur. In other words, when using a lower shutter speed of 1/300 sec then the images are at risk of blur. Compare when using wide angle lens with 30mm focal instance. According to the guidelines above, it is necessary to 1/30 second shutter speed so that the images are not blurry. In conclusion, the focal length of the lens blur due to hand shake potential greater.

How to prove that this stabilizer feature actually works according to his theory?

In principle, using stabilizer feature, we can take pictures with a lower shutter speed can be compared by using a camera without a stabilizer features. So to prove the performance of this feature is quite easy, by trying to shoot at low speed. Manufacturers usually claim that features homemade stabilizer able to work between 2 to 4 stops lower.

Examples of cases, for example when no stabilizer we can only shoot at the lowest speed 1/100 sec (if lower than the result will shake), then when the stabilizer we can use up to 1/20 sec speeds, it means that the effectiveness of the stabilizer feature around 2 stops lower.

Features stabilizer can be utilized to stabilize the hand-shake when recording video. Although not applicable to all digital cameras, but generally feature stabilizer function well when taking pictures or recording video. Without the stabilizer features, hand tremors can be seen when the recorded video is played back. Vibration will appear more severe when the focal length of the lens being used enough.

Tips to maximize the features stabilizer

Stabilizer feature is intended to help reduce vibration hand, while the results will vary depending on many factors. Here are the things that need to be considered to get the most out of this stabilizer feature:

• Most people feel to have had a full-featured camera stabilizer, he can shoot with the condition of a moving hand. Whereas before photographing make sure the position of the body and has been silent and steady hand. This will facilitate the work stabilizer function.
• Features stabilizer starts working when the shutter button is pressed half, and to achieve the best performance of this feature needs a little time. For that do not directly press the shutter button too quickly because there is a possibility of photos taken while this feature is not yet achieving the best results.
• When shooting without a tripod, avoid wearing shutter speed is too low. The lower the shutter speed, the work will be heavier stabilizer. At very low speed stabilizer feature has no use, that's why it takes a tripod.
• Because sometimes despite the stabilizer result is still too blurry, it helps to use a multi shot facility. For example, take three or four at once, and then select the best one. Thus opportunities medapat sharp photos even greater.

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UNDERSTANDING THE PRINCIPLES OF AUTO FOCUS ON CAMERA

Caution:

All contents of this document are the property of Intellectual Property (IP) copyright of Focus archipelago, is prohibited to copy or move into the form, format or media whatsoever without the prior written consent (written consent) from Focus archipelago.

The term means that the point of focus appropriate terminology gathering place through an optical light or lens. In photography, a focused image is obtained by placing a collection of light at the exact point being in a movie or on the sensor (called focal plane). When the dot is formed in front of or behind the focal plane, the resulting image becomes unfocused or out of focus.

The lens of the camera, like the human eye, should ideally be able to focus on objects that are close or far away with just as good. But there is the nearest boundary where the lens can lock the focus, while the farthest limits commonly referred to infinity (infinity). In camera lenses are optical elements that can move back and forth to adjust the distance to objects in front of him so that the fall of the beam direction can still be collected at the focal plane. Exceptions to the camera with fixed focus lens manifold, where no lens element that can move. Camera with fixed focus and use a small aperture wide angle lens that is simple to save on costs such as camera phones.

Once upon a time, the lens on the camera requires setting the focus manually. To focus, we have to rotate the focus ring on the lens and see the effect in the viewfinder to get the sharpest image according to our judgment. Fortunately, in the end found auto focus technology that allows us to take pictures. With auto focus, the camera automatically moves the lens elements to obtain the best results, in a fairly short time.

In modern cameras are digital, there are two differences in the working principle of auto focus depending on the type of camera. In a DSLR camera, auto focus is still the same principle as film SLR cameras using the principle of phase detection (phase detect) using a separate module. This system is more complicated, expensive but very accurate and fast. In addition to DSLR cameras such as compact cameras to the new format cameras such as the micro four thirds, the principle use contrast detection auto focus (contrast detect) is more cost-effective.

The principle of contrast detection is actually present in the digital age whose characteristics capable of displaying a preview of the image to be captured via the LCD screen. What appears on the LCD is what is received by the sensor, so-called live-view. With live-view, a lot of information that can be processed before the photo was taken, call for example the color information (for setting white balance), dark light information (for setting exposure) and contrast information (for setting auto focus). Modern DSLR cameras that already have a live-view feature brings two principles AF, good concept phase detect and contrast detect. Under normal conditions of speed and accuracy, DSLR cameras would use phase detect module as its default mode. However, when using live view with a stationary object (such as macro photo), we can use contrast detect mode by utilizing the magnification on the LCD screen, so we can be sure that the focus is taken just right.

The process begins when the auto focus shutter button is pressed halfway. When the camera immediately moves the focus element inside the lens back and forth to get the best contrast and give a confirmation in the form of sound 'beep' as a sign've managed to get the focus. This whole process takes between less than one second to several seconds. At DSLR, auto focus speed is much faster than other cameras for wearing special module principled phase detect AF. But whatever the method, there are some things that determines the speed cameras in finding focus, including:

• - There is a good contrast to the object to be photographed. The lower the contrast of the object to be photographed, the camera is more difficult to get the right focus.

• - The lighting conditions around the object to be quite good and not dark. Dark current is usually helps auto focus camera with AF assist beam firing light.

• - The movement of the object to be photographed also affected, if the object moves too quickly it is difficult for the camera to lock focus.

In addition to pressing the shutter button halfway, the camera is a serious class as prosumer cameras and digital SLR cameras, there is the AE-L / AF-L that can be used to lock the focus. AE-L stands for Auto Exposure - Lock, while AF-L stands for Auto Focus - Lock. in settings further, this button can be customized into several functions, such as exposure and focus lock as well, or just lock the exposure, focus lock it, and lock the focus during this button is pressed (AF lock-hold). Choose which one best suits your wishes.

Initially known as auto focus, the camera simply choose the midpoint of the object image as a reference focus. This turned out to be difficult when the objects are not actually in the middle area of the photo. So it then made ​​the zone of focus or focal point spread in some areas of the photo. Generally, there are now at least three zones, namely focusing middle zone (main), left the zone and right zone. The more powerful the more the camera focal zones are available so that they can be more flexible and avoid mistakes locking focus. Special modules on DLSR camera AF, the AF point can be any cross-type sensors aka cross-type sensors. Such sensors are sensitive to differences in contrast both vertically and horizontally. The central AF point is certainly manifold cross type, while the other point is not necessarily. The more diversified cross-type AF points, and the more accurate the more expensive DSLR camera is in focus.

In addition to the focus zone, there are now more options on the camera auto focus mode, the servo AF mode option. Options are stationary or continuous, and adapted to the conditions of the object to be photographed. Stationary mode is chosen for stationary objects, and these tend to be the default mode on most cameras. Continuous mode will detect the movement of objects and try to continue to follow wherever the object moves. Currently DSLR camera was able to lock focus on a moving object left or right forward backward (3D tracking AF).

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Understanding White Balance

Caution:

All contents of this document are the property of Intellectual Property (IP) copyright of Focus archipelago, is prohibited to copy or move into the form, format or media whatsoever without the prior written consent (written consent) from Focus archipelago.

One of the important features of the digital camera is White Balance feature. This feature can be found on all digital cameras ranging from cameras on mobile phones, pocket cameras to digital SLR cameras. Why is quite important feature? The answer is none other than because this feature will determine the color accuracy of every photo we make. The resulting color digital camera can be affected by light sources used when we take pictures, whether sunlight, flash or other sources.

Light itself is actually a blend of various mixed color spectrum so that various light sources have different color character. In photography known various light sources to suit shooting conditions, such as sunlight, flash, light room (bulb or fluorescent) to the studio lights. Despite the fact that the light source has the same color visible to the human eye, is not the case with the camera. A light source such as incandescent bulbs will tend yellowish (or orange) while other light sources exist which tend to bluish .Warna of various light sources and is expressed in color temperature (degrees Kelvin) with a temperature range of between 1,000 K to 10,000 K. The lower a source color temperature, the color will be yellow (warm). The higher the temperature, the color will be blue (cool). Although the human eye color temperature difference is not a problem, but in digital photography this can interfere with the final color produced. For the human eye, a white object will appear white under different light sources. On camera, white object can appear yellowish when exposed to light with a low color temperature, or bluish when exposed to a light source with a high temperature. This is because the human eye has a color compensation capabilities while cameras only record what their color, the color temperature of the light source used could potentially shift the color produced by the camera so that a photograph can seem unnatural.

For that the digital camera is given a feature called White Balance (WB), which is a color compensation process performed on the camera to prevent the images whose color is not natural. WB process on the camera will adjust the color temperature emitted from the light source so that a white object will still look white, not too orange or blue.

Why should the white stuff? This is because the object putihlah easy to be a reference and be able to react to changes in the color of the light source. White color uncompromising, no young or old, gray white, no bluish white or yellowish white. The white color will be yellow when exposed to light yellow, and will be blue when exposed to blue light. So the white stuff could be appropriate benchmarks or not the camera WB settings. When the camera is set to WB for low color temperature light source, but given the higher color temperature of the white stuff last result will be bluish, otherwise if the camera is set to WB for high color temperature but given light source warnanyaa temperatures lower then the result is the white stuff This should be yellow (or orange).

The working principle White Balance on camera
Process White Balance on a digital camera can be done automatically by the camera, the term Auto White Balance (AWB), is available on all digital cameras from camera phones to high-end cameras. When the results of the AWB is not satisfactory, we can also choose from a variety of preset WB value available on the digital camera. In modern cameras even available option to perform the calibration manually.

Auto White Balance (AWB) is an internal process of the digital camera will automatically adjust to the color temperature of the light source. You could say in this process camera 'guess' the color temperature of the light source and compensate the color shift as necessary so that the resulting color becomes natural. AWB mode is in most cases unreliable for outdoor use day and night, with or without flash. How well this AWB could get a natural white color is determined by various factors such as the type of light source, the atmosphere around and the color of the object to be photographed. AWB will be safe when used during the day and use the flash, and AWB can deliver different performance when confronted with a light source that temperaturnnya low enough or high enough. When using the AWB does not give satisfactory results, use preset WB are already adapted to a wide range of color temperatures.

Here are some preset WB are common in digital cameras, sorted from lowest to highest temperature:

• Tungsten or Incandescent (2500-3500K):

This preset is suitable to compensate for light sources such as incandescent light yellowish and is usually used for indoor shooting without flash. When the preset is applied to other light sources result will be very blue.

• Fluorescent (4000-5000K):

Peset tailored to the color temperature of the fluorescent lamp. In the market generally available fluorescent light with two choices of warm white and cool daylight, where the two types of color temperature is different. Warm white has a low temperature approaching incandescent bulbs, are cool daylight has a color temperature closer to the sun in the daytime.

• Daylight (5000 - 6500K):

Suitable for use when shooting outdoors in daylight with direct sunlight. 

• Flash (5600K):

Adjusted preset color temperature of the camera's flash. This color temperature is considered the most natural, not bluish or yellowish.

• Cloudy (6500 - 8000K):

These presets for use in the daytime but cloudy conditions (sometimes when using AWB results are somewhat bluish). These presets can produce a warmer color when compared with Daylight presets when used in daylight.

• Shade (8000-10000K):

Preset to face the color temperature is very high, usually occurs while under the shadow of the sun or very cloudy conditions. Use preset Shade when the AWB you still have the photos are bluish. When the preset is applied to other light sources would be most yellowish.

By selecting a preset WB setting above, in principle, we are the ones who tell the camera will light sources that we use to take pictures. It is expected the camera will give the best results for WB existing light sources. Especially for the source of light, selection of preset WB presets do not have to always wear Daylight alone, because the color temperature of the sun is also dependent on the time, altitude and cloud. When using preset Daylight or use AWB still produce a bluish color (meaning presets that we choose are still too low) could try to raise the temperature by using a preset Cloudy Shade even. Conversely, if we photograph yellow (meaning presets that we choose too high), lower the temperature by using fluorescent light presets even incandescent lamps.

In particular camera facilities are also available to perform manually preset by pointing the camera to the object is white or gray to get the most natural colors. It is available as an accessory to a tool called gray card that is usually used for more precise WB settings. If color accuracy is a must, it is advisable to wear shooting RAW format so that the resulting color can be set accurately by computer.

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Various options Metering Mode In Photography

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All contents of this document are the property of Intellectual Property (IP) copyright of Focus archipelago, is prohibited to copy or move into the form, format or media whatsoever without the prior written consent (written consent) from Focus archipelago.

The term metering in photography play an important role in determining exposure, in this case the brightness of images produced. Metering in principle is the process of measuring light as a reference camera to determine the optimal components of exposure (shutter speed, aperture and ISO). Logic will attempt to keep the camera metering exposure fitting where the resulting image has a dark area (shadow), the central area / gray (midtone) and light areas (highlights) impartial. Unlike the human eye, the sensor in a digital camera has a range of limited sensitivity to light so that the camera is difficult to reproduce the dark light conditions that match the original condition. Metering performance of a camera will be very decisive to avoid the images are too bright (over-exposure) or too dark (under-exposure).

In DSLR cameras, there is a light meter module that has multiple sensors (segment / area) light sensitive. This module will receive the light entering through the lens duty to send information to a DSLR camera processor to illustrate the measured light conditions. On the other digital cameras, direct metering process carried out by analyzing the intensity of light on some parts of the sensor CCD / CMOS. Both processes metering with a DSLR camera or a regular digital camera, we can find there are several options available metering modes. Various metering mode will work when we use a digital camera with an automatic or semi-automatic exposure (Program / ​​Aperture Priority / Shutter Priority).
Choice of metering modes available on digital cameras including:

1. Multi segment / Evaluative / Matrix Metering

The first metering mode is commonly used mode in which the camera will determine the exposure by averaging measurements of light in all areas of the photo. In other words, the camera considers the measurement of light in all areas of the photograph has an equally important priority. In this mode the camera referring to the dark light of information received by all segments in light meter and then combining the results and averaged to determine the appropriate exposure. Each camera has a number of different segments and also averaging techniques are also different. The more segments are used for these measurements it will be more complete information received by the camera and the more accurate the results.

This mode is considered unreliable for most shooting situations (indoor and outdoor) and because the camera takes into account all segments of the photo field this mode is able to avoid the result that over-exposure photograph. But there are situations where this mode gives inaccurate results like landscape photography has a dominant element of the bright sky and high contrast.

2. Center-weighted Average Metering

In the second mode, the center-weight, the camera still rely on the measurement of many sensor area but a higher priority on field measurements middle of the photo (approximately 75% of the area of the photo) and not too into account the measurement of light outside the central area.

By using this metering mode, the central area generally be subject, can get a more precise exposure. This mode is suitable for facial portrait or other needs that are focused right exposure on the majority of the center of the photograph, while in the outer area may be a bit too bright or too dark.

3. Partial Metering

This metering mode as the name implies, only a partial measure of the central area of the sensor (approximately 15%) and will ignore the outside area, so it is suitable to cope with a brighter light from behind the object image (backlight).

When using the Multi Segment mode or Center-weight against the backlight still generate object silhouette, Partial metering mode can be used. However, because many areas outside that are not taken into account in the determination of exposure, outside the area can be very bright objects to experiencing clipping or blown highlights. This mode is suitable for facial portrait or other needs experienced backlight.

4. Spot Metering

In the spot metering mode named this camera measures only a small point of light on the plot (approximately 5% of the area of the photo) and will ignore 95% of the area besides the point earlier. This small point should be directed right at the object to be measured, if a little off the mark then the result will be different. Not all digital cameras offer this mode. This mode is useful for taking pictures in places where the lighting is very complex when not wearing the fashion spot will not obtain the appropriate exposure.

Usually the condition that forces us to use a spot meter is the current field image has contrast (light-dark difference) are very high, such as when shooting full moon. But if we are wrong in using this mode, the object to be photographed can be too bright or dark.

Keep in mind that the value of exposure there is no definitive standard. We only rely on eye to assess whether the resulting image already has the right exposure (sometimes rather dark picture or a little light does not mean the picture failed). If we think it turned exposure image produced by the camera is not in accordance with our wishes, can be overcome with exposure compensation (Ev) in the negative direction (darker) or positive (lighter). Can also use the help button locks exposure (exposure lock / AE-L), or the difficulty in obtaining a correct exposure can also be overcome with the help of reflectors or even flash.

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Understanding Components Exposure in Photography

Caution:

All contents of this document are the property of Intellectual Property (IP) copyright of Focus archipelago, is prohibited to copy or move into the form, format or media whatsoever without the prior written consent (written consent) from Focus archipelago.

Term exposure in photography can not be separated from the main factor in the photography itself is light (light). In theory exposure photography is defined as the amount of light that is allowed on the medium of film or sensor. The more light on the film or sensor then the resulting image will be brighter, and vice versa. When a photograph becomes too bright, the image is called over-exposure, are photos that are too dark so-called under-exposure. To regulate the entry of light into the camera, there are two main components, namely the shutter and aperture.

Shutter

Shutter function as a component of determining how much light is allowed to hit the sensor. At the moment the shutter button is pressed, the shutter will be open for a while and then close again. The time required for the shutter is open until closing hereinafter referred to as the shutter speed (shutter speed). The shutter speed can be set on the camera, ranging from the highest to the lowest value (this value varies for each type of camera). The faster the shutter opened the less light that can be included, otherwise the longer the shutter is open, the more light to enter the camera. Available shutter speed value (in seconds) is in the form of raw multiples rows as follows:

1 - 1/2 - 1/4 - 1/8 - 1/15 - 1/30 - 1/60 - 1/125 - 1/250 - 1/500 - 1/1000

From the series above we can see that multiples of this value is a multiple of two. So 1/30 seconds is two times slower than 1/60 sec, so if the value of the shutter on the camera was changed from 1/60 sec to 1/30 sec means the amount of light that enters the camera plus two times more than before. Likewise 1/500 sec was two times faster than 1/250 sec, so if the value changed from 1/250 sec shutter becomes 1/500 sec it means reduced amount of light entering from the previous half.

Besides useful to set the brightness of a photo, be creative with the next shutter speed can produce images of high-speed and slow-speed photograph which both have their own uniqueness and artistic value. Just use the shutter speed is too slow required a tripod to prevent blurry photos due to hand shake when shooting.

Aperture

Second exposure control is the aperture. Aperture is a part of the lens in a hole that can grow and shrink (commonly called the aperture or diaphragm), where the greater the opening then the more light that can enter, otherwise the smaller the opening, the light that can enter the less. The size of the aperture This is expressed in f-number, where the f-number large and small states bukaaan large f-number states small openings. F-number standard for modern lens is as follows (in order of largest to smallest aperture):

f / 1.4 - f / 2 - f / 2.8 - f / 4 - f / 5.6 - f / 8 - f / 11 - f / 16 - f / 22

The concept of light settings by changing the lens aperture is a bit more complicated to understand. First keep in mind, the above sequence is a multiple of the stop or the Exposure Value (EV). If we increase the aperture by one stop (eg from f / 11 to f / 8) means that we increase the amount of light that enters the camera doubled, while if we turn down the lens aperture by one stop (eg from f / 2.8 to f / 4) means that we reduce the amount of light coming into the camera as much as half.

Second, for a more precise setting, the diaphragm in a modern lens capable set in smaller steps, generally a multiple of 1/2 and 1/3 stop. For example, between f / 2.8 to f / 8 there are some f-number multiple of 1/3 with a stop (marked in blue), namely:

f / 2.8 - f / 3.2 - f / 3.5 - f / 4 - f / 4.5 - f / 5 - f / 5.6 - f / 6.3 - f / 7.1 - f / 8

From the sequence above, it appears that turns between f / 2.8 and f / 4 is still available two f-number, which represented 1/3 EV is f / 3.2 and f / 3.5. Thus we have the flexibility to control the opening of the finer and more precise.

In addition to a control brightness of a photo, be creative with the lens aperture wide variation also determines the depth image or depth-of-field. Photos taken using a large aperture will give background blur (out of focus), while a small aperture will give a sharp background.

ISO

In addition to the above two components, there is one more factor that played a role in determining exposure, ie the sensitivity of the film or sensor is commonly referred to as ASA or ISO. The sensitivity level is expressed in numbers and also made ​​following the series multiples of two (one stop), namely:

ISO 100 - 200-400 - 800-1600 - 3200-6400

ISO 100 to ISO low (as well as a default ISO value) and the value of the sensitivity of the sensor is located at the lowest value. To make the sensor more sensitive to light, ISO value can be raised to a higher ISO values. When the ISO is increased, the sensor output voltage signal is made ​​larger so that the camera becomes more sensitive to light. In theory, if the ISO is increased as much as one-stop means the sensor sensitivity is increased by two-fold. In everyday use, the ISO is used can use the default values ​​in the low ISO (eg ISO 100). Higher ISO takes on two conditions, first during low-light or use in low light. Second, high ISO is required when we need a faster shutter speed. For example when using ISO 100 value obtained shutter speed is 1/500 seconds, then if the ISO is increased one stop to ISO 200 that occurs is the shutter speed is also up one stop to 1/1000 sec (assuming the lens aperture is not changed). But keep in mind that high ISO also carries consequences of noise in the picture. For film cameras, ASA value determined on film that we use so as to change the value of ASA we have to replace the film used.

Reciprocity

Set the exposure can be done manually or automatically (determined by the camera). In most compact cameras, we can not determine the value of the shutter speed or aperture. There was even a camera that does not allow us to set the ISO value, aka the camera automatically determines the ISO of each photo that we took. However, when the available camera manual exposure control, we can create adjust the exposure for each photo will take. Setting the shutter speed, aperture and ISO value right will synergize to gain exposure we want.

In practice in the field, we can produce multiple images with the same exposure generated when wearing a pair of variation shutter and aperture values ​​are varied. For example a photograph taken with a shutter speed of 1/125 sec and aperture f / 5.6 and we want to produce another photo exposure to the same but different settings. So we can do is:

Lowering the shutter speed becomes 1/60 seconds (one stop slower) and shrink the aperture to f / 8 (one stop smaller).
Raise the shutter speed becomes 1/250 sec (one stop faster) and enlarge the aperture to f / 4 (one stop larger).

It appears that the first option we see by slowing down the shutter speed one stop means we make so much brighter picture, then to get the right exposure, we have to turn down the lens aperture to compensate.

While the second option is the opposite. By increasing the shutter speed means that we make the picture became darker and to get the right exposure, should be offset by increasing the aperture.

So when we expose the sensor for a longer time, then on the other side we have to turn down the lens aperture to reduce the incoming light so that it can obtain the same exposure value. In short, if you are a plus, the other must be reduced, so that the end result remains the same akaan. This is called the principle of reciprocity in the theory of photography. (EM)

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Tips - Create Dreamy Portrait Photos With a Tilt-Shift Lens

Photographer Heidi Browne shares her tilt-shift technique for creating surreal portraits

When we think of a "portrait lens," it's usually something like an 85mm F/1.4 or the 135mm F/2. But the fact is, you can shoot portraits with any lens, and opening up your options to include tilt-shift can make for some truly unique photographic opportunities. Heidi Browne of Forged in the North Photography has honed that skill and offers some helpful tips for getting started with tilting and shifting.

What is a tilt-shift lens?

Tilt-shift lenses allow you to manipulate the optics relative to the film or digital sensor. You can read our introduction to tilt-shift lenses here for a basic primer.

Most commonly for portraits we us the tilt movement, which skews the plane of focus. So, rather than having a flat wall of focus parallel to your sensor, you can now have two subjects in focus, even if they're at different distances from the lens.

You can specify how wide the band of focus in the photo is by how much you tilt. A big tilt will appear to have a narrower band of focus running across the frame and a small tilt will give you the opposite. It provides a unique and dream like quality to the image by the way it captures focus and treats light.

When to choose a tilt-shift over a standard lens

As a photographer, lens selection is a big decision. Each lens has different properties and nuances, especially when you add the variables involved with tilt-shift.

A great application for a tilt-shift lens is a group shot where the subjects are closer and further away from the lens but all of their faces are at relatively the same height in the frame. It can be useful as well when trying to capture your subject while they are walking toward you or away from you. On a standard lens, a subject moving toward or away will fall out of focus immediately. With a tilt-shift lens, you can extend that plane of focus behind and in front of your subject so they stay in focus while changing distances from your lens.

One of my favorite reasons for selecting a tilt-shift lens vs. a standard lens is that you can create bokeh in wide, landscape type shots that you wouldn't get otherwise.

Tilt-shift lenses can be expensive, so definitely consider renting one to work with before making the leap into purchasing one.

Choosing the right tilt-shift lens for the job

For the most part, the conventional lens-choosing wisdom still applies. If you have a larger scene, like a landscape or a cityscape, you'll want to choose a wider lens. It helps to capture the environment surrounding your subjects. If you want a tighter portrait then a longer lens will be a better choice.

Lately, I've been experimenting with using a wider focal length and getting very close the subject. The image feels intimate with lots of separation between the subject and background. It makes for a more unique portrait.


Learn your lens
Getting to know the characteristics of your lenses is important, especially since tilt-shift glass can behave so differently than a normal options. For instance, our Rokinon 24mm TS has a beautiful, cinematic blue flare when the sun enters the side of the lens. The Canon 45mm TS will produce a rainbow flare in certain lighting conditions. The more you know the way your lens manipulates light the better you will be at selecting the right lens at the right time.

For example, when I am shooting backlit subjects with the Canon 45mm TS, the images are low-contrast and buttery. So when I want a dreamy, washed-out look, that's the lens I go for.

Pick a location that maximizes the effect
 

Usually you want to shoot with a background that has a lot of texture. For instance, tree canopies produce really beautiful bokeh when you tilt the lens. Shooting with a lot of negative space as the background, like a blue sky or fully overcast sky, won't utilize the qualities of the tilt because you won't see the focus plane being manipulated.

Focusing

Once you have your lens selected, figure out how wide of a plane of focus you would like. I tend to tilt my 45mm lens up about half way to its maximum tilted position. When you tilt up, you will not be able to focus toward the top edge of the frame. And when you tilt down, you will not be able to focus toward the bottom edge. Knowing your focus limitations with your specific tilt-shift lens just takes practice.

I shoot on Canon 5D III bodies and use the AF indicator light in the viewfinder to know that my focus plane is exactly where I want it to be. Shooting in live view mode can also be helpful since you can zoom in and check focus more precisely than just looking through the viewfinder.

It is also not a bad idea to do some focus bracketing. When you think your subject is in focus, try grabbing a couple additional shots with the focus a little lower and a little higher from where you think it should be. You'd be surprised as to how often you accidentally miss focus, and you'll thank yourself later for doing it.

Normally you shoot with your focal plane horizontal in the frame (the lens is tilted up or down). However, you can opt to shoot with the focal plane being vertical (by swinging left or right). It provides a very different look where the image to the left and right of the subject is out of focus.

Metering

I use the camera's meter for the first shot to get it as close as possible and then review the histogram on that image. Because of the tilting and the way the lenses deal with direct light it's a bit of a trial and error. It can help to work in manual and don't be surprised if you get some truly wacky readings that can be off by two or three full stops.

Processing

When I shoot with certain tilt-shift lenses into the sun, I find that the image is too washed out because of the flare, so I treat those images with a bit more contrast than others. Otherwise, my processing for tilt-shift photos are the same for any other shots.

Things to Avoid

When shooting a group of subjects where you really want to nail the focus, avoid making the focus plane too narrow, always err on the side of a wider plane.

Another thing to be mindful of, is the lens flare washing out the image too much. Like with any new gear, make sure you have a grasp on it before bringing it into any kind of commissioned job scenario.

Don't overdo it

Like any specialty lens, you don't want to saturate a series of photos with tilt-shift. It just depends on the overall look you're going for. Some clients love the softer, more ethereal look of the tilt-shift, while others may want a sharper finished product. I always shoot with two bodies. One always has a tilt-shift on it and the other one always has a standard prime. This way when I am shooting a particular scene, it's simple to shoot it on both and decide later what worked best.


Tricks and bonuses

A trick a lot of photographers like to use the tilt-shift for is to simulate a miniature scene of a city or landscape from above. This is because it gives the appearance of a shallow depth of field like something that you shoot close up, vs. a city skyline that would not have a shallow depth of field on a standard lens. If you can get up really high during a wedding ceremony or even during a portrait session, it can be a very powerful effect.

Check out Heidi's official website here: Forged in the North Photography

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Tips - 10 Ways to Take Stunning Portraits

How do you take Portraits that have the ‘Wow’ factor?

Today and tomorrow I want to talk about taking Portraits that are a little out of the box. You see it’s all very well and good to have a portrait that follows all the rules – but it hit me as I was surfing on Flickr today that often the most striking portraits are those that break all the rules.

I want to look at some ways to break out of the mold and take striking portraits by breaking (or at least bending) the rules and adding a little randomness into your portrait photography. I’ll share ten of these tips today and a further ten tomorrow (update: you can see the 2nd part here).
1. Alter Your Perspective

Most portraits are taken with the camera at (or around) the eye level of the subject. While this is good common sense – completely changing the angle that you shoot from can give your portrait a real WOW factor.

10 Ways to Take Stunning PortraitsPhoto by striatic

Get up high and shoot down on your subject or get as close to the ground as you can and shoot up. Either way you’ll be seeing your subject from an angle that is bound to create interest.

10 Ways to Take Stunning PortraitsPhoto by TeeRish
 

2. Play with Eye Contact

It is amazing how much the direction of your subject’s eyes can impact an image. Most portraits have the subject looking down the lens – something that can create a real sense of connection between a subject and those viewing the image. But there are a couple of other things to try:

A. Looking off camera – have your subject focus their attention on something unseen and outside the field of view of your camera. This can create a feeling of candidness and also create a little intrigue and interest as the viewer of the shot wonders what they are looking at. This intrigue is particularly drawn about when the subject is showing some kind of emotion (ie ‘what’s making them laugh?’ or ‘what is making them look surprised?’). Just be aware that when you have a subject looking out of frame that you can also draw the eye of the viewer of the shot to the edge of the image also – taking them away from the point of interest in your shot – the subject.

10 Ways to Take Stunning PortraitsPhoto by monicutza80

B. Looking within the frame – alternatively you could have your subject looking at something (or someone) within the frame. A child looking at a ball, a woman looking at her new baby, a man looking hungrily at a big plate of pasta…. When you give your subject something to look at that is inside the frame you create a second point of interest and a relationship between it and your primary subject. It also helps create ‘story’ within the image.

10 Ways to Take Stunning PortraitsPhoto by paulbence

3. Break the Rules of Composition

There are a lot of ‘rules’ out there when it comes to composition and I’ve always had a love hate relationship with them. My theory is that while they are useful to know and employ that they are also useful to know so you can purposely break them – as this can lead to eye catching results.

The Rule of Thirds is one that can be effective to break – placing your subject either dead centre can sometimes create a powerful image – or even creative placement with your subject right on the edge of a shot can sometimes create interesting images.

10 Ways to Take Stunning PortraitsPhoto by reportergimmiâ„¢

Another ‘rule’ that we often talk about in portrait photography is to give your subject room to look into. This can work really well – but again, sometimes rules are made to be broken.

10 Ways to Take Stunning PortraitsPhoto by Bukutgirl

4. Experiment with Lighting
Another element of randomness that you can introduce to your portraits is the way that you light them. There are almost unlimited possibilities when it comes to using light in portraits.

Side-lighting can create mood, backlighting and silhouetting your subject to hide their features can be powerful.

Using techniques like slow synch flash can create an impressive wow factor.
Portrait-Slow-Sync-Flash Photo by diskomethod

5. Move Your Subject Out of their Comfort Zone

I was chatting with a photographer recently who told me about a corporate portrait shoot that he had done with a business man at his home. They’d taken a lot of head and shoulder shots, shots at his desk, shots in front of framed degrees and other ‘corporate’ type images. They had all turned out fairly standard – but there was nothing that really stood out from the crowd.

The photographer and the subject agreed that there were plenty of useable shots but they wanted to create something ‘special’ and out of the box. The photographer suggested they try some ‘jumping’ shots. The subject was a little hesitant at first but stepped out into the uncomfortable zone and dressed in his suit and tie started jumping!

The shots were amazing, surprising and quite funny. The shoot culminated with the subject jumping in his pool for one last image!

While this might all sound a little ‘silly’ the shots ended up being featured in a magazine spread about the subject. It was the series of out of the box images that convinced the magazine he was someone that they’d want to feature.

portrait-comfort-zone.jpgImage by TeeRish

6. Shoot Candidly

Sometimes posed shots can look somewhat…. posed. Some people don’t look good in a posed environment and so switching to a candid type approach can work.

Photograph your subject at work, with family or doing something that they love. This will put them more at ease and you can end up getting some special shots with them reacting naturally to the situation that they are in. You might even want to grab a longer zoom lens to take you out of their immediate zone and get really paparazzi with them.

I find that this can particularly work when photographing children.

portrait-candid.jpgPhoto by phitar

7. Introduce a Prop

Add a prop of some kind into your shots and you create another point of interest that can enhance your shot.

Yes you might run the risk of taking too much focus away from your main subject but you could also really add a sense of story and place to the image that takes it in a new direction and gives the person you’re photographing an extra layer of depth that they wouldn’t have had without the prop.

portrait-prop.jpgPhoto by Mrs. Maze

8. Focus Upon One Body Part – Get Close Up

Get a lens with a long focal length attached to your camera – or get right in close so that you can just photograph a part of your subject. Photographing a person’s hands, eyes, mouth or even just their lower body… can leave a lot to the imagination of the viewer of an image.

Sometimes it’s what is left out of an image that says more than what is included.

portrait-close up.jpgPhoto by Bukutgirl

9. Obscure Part of your Subject

A variation on the idea of zooming in on one part of the body is to obscure parts of your portrait subject’s face or body. You can do this with clothing, objects, their hands or just by framing part of them out of the image.

Doing this means that you leave a little to the imagination of the image’s viewer but also focus their attention on parts of your subject that you want them to be focused upon.

portrait-obscure.jpgPhoto by BigBlonde

10. Take a Series of Shots

Switch your camera into ‘burst’ or ‘continuous shooting’ mode and fire off more than one shot at a time.

In doing this you create a series of images that could be presented together instead of just one static image.

This technique can work very well when you’re photographing children – or really any active subject that is changing their position or pose in quick succession.

portrait-continuous shooting.jpgImage by diyosa

10 More ways to Take Great Portraits – Continued Tomorrow

Tomorrow I will complete this mini-series of posts on portrait photography with 10 more techniques like the ones above. Make sure you’re subscribed to Digital Photography School to ensure you get the second half!

Update: You can read the 2nd half of this series at 10 More Tips for Stunning Portrait Photography. Also check out What the Mona Lisa Can Teach You About Taking Great Portraits for a portraits tutorial with a difference.

Also – don’t forget the portrait section of our forum – an ideal place to discuss portrait photography and show off some of your work.

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Tips - Portrait Photography Tips

Are you interested in improving your portrait photography? Here’s a a few of the most popular Portrait Photography Tips from our archives.

22 Portrait Photography Tips

1.     10 Tips to Take Stunning Portraits
2.     10 More Tips for Stunning Portrait Photography
3.     Give Your Subject Space to Look Into
4.     4 Quick Tips for Portraits
5.     Photographing Children – Composition
6.     How to Photograph People When Traveling
7.     10 Tips for Photographing Babies
8.     Asking Permission to Photograph People
9.     How to Take Environmental Portraits
10.     What the Mona Lisa Can Teach You about Portrait Photography
11.     Posing – Which Way Should Your Subject Lean?
12.     A Fresh Look at Depth of Field
13.     Posing Tips – Shoulders
14.     Posing – Waistlines, Thighs and Bustlines
15.     Where is Your Subject Looking and Why Does it Matter?
16.     How to Pose Hands in Portraits
17.     The Perfect Portrait Guide – How to Photograph People – Book Review
18.     What Clothes to Wear in Portraits
19.     How to bypass the Portrait Mode on Your Digital Camera and Get Great Portrait
20.     4 Tips for Natural Looking Portraits
21.     An Introduction to Catchlights
22.     11 Tips for Better Candid Photography

These Portrait Photography Tips just scratch the Surface of our archives. Subscribe to our newsletter to be notified when we publish more.

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Tips: 20 Photography Tips Every Travel Photographer Must Know

1. Get up Early
The best light to capture most kinds of subjects is in the golden hours- one hour after sunrise and one hour before sunset (depend off course on where you are on the globe). So get up early to get that amazing photo opportunities, while all the other tourists are still asleep.
 

2. Do your research

Don’t leave it to chance and learn as much as you can about the place you are about to travel. The more you know, the more “intelligent” your images will be.

3. Learn your Craft

Don’t waste your expensive traveling time on learning how to operate that new camera, lens or flash. Do your homework at home.
 

4. Choice the Right Lodging

Staying on the center of town, or having a room with wonderful views can create a lot of great photo opportunities.

5. Say Hello

Learn how to say “Hello” in the local Language, and greet the locals when taking their photo

6. Get Inspired

Watch the portfolio of other photographers in order to get new ideas and get inspiration. You can read the interview I did with Steve McCurry, the photographer of the “Afghan girl”, to get few great tips for a true master.Also, If you perceive yourself as an artist, you must acknowledge the work of other artists. Do not underestimate inspiration: visit art galleries, attend some photography lectures, listen to classical music, read good books.

7. Feel the Place

Photography is not only about visual inspiration. Try the local food, smell local markets and hear local music, this will help you to better understand the story of the place.
 

8. Find a Fixer

Talk to locals and seek their advice on great photo opportunities in their own country.

9. Travel Light

Don’t take your entire house with you. When I travel I take with me only two lenses: One zoom and one prime lens. This is extremely important tip if you plan to do some hiking or trekking.
 

10. Get off the Beaten Path

Yes I know that in Cuba they smoke cigars and that in Thailand they have monks. Tell your viewers something fresh and new. Share your own point of view of the place. You will be able to do so, only after following tip number 2 and 6.

11. Don’t try to get it all in once

Don’t try to see everything on your limited time. It is much smarter to get a better understanding about each place you visit on your journey. Slow things down, and your images will get better.
 

12. Travel Slow

If time allows you, always choice to travel by train or bus over flying. As it will allow you to have better Interactions with the locals.

13. Leave the Camera Behind Sometimes

Don’t spend your entire trip looking through the lens. Enjoy your time just traveling and enjoying the ride.
 

14. Keep it Natural
One of the most important and influential photographers of all time, Henri Cartier Bresson- Never ever used flash in his photography. A practice he saw as “impolite…like going to a concert with a pistol in your hand.” Try to learn how to use and enjoy the benefits of natural light before you buy that expensive flash or reflector.

15. Get Higher

Every good travel photo series must have at list is one bird’s eye view of the place (Being referred sometimes as the “establish shot”). Find yourself a vintage point overlooking the entire city or town.

16. Stop with the Excuses

“Well, if I had an expensive camera and lenses like you have” or “If someone would pay me to travel”, or “but, you have so much time on each destination”.

All of those, are excuses I often hear from my travel photography students. Excuses they tell themselves to answer the question of “Why can’t I get Strong images?” So, A. My first newspaper published cover image, was taken using a pocket camera.

Yes, equipment is important and it certainly makes life easier. But don’t forget the camera is just an instrument. A “pipe” which captures your vision and thoughts. Do not cry over the equipment you don’t own. spend the time and money to learn photography, reading books about it and travel as much as you can.

And B. For my first 8 journeys, no one paid me anything. I worked very-very hard at my day job for a whole year, and then I spend my money on traveling. I slept in some shitty places got bus rides from hell. This lifestyle requires commitment. And today, even as I get paid for traveling somtimes. The lengths are usually one to two weeks per assignment. Two weeks to come back with an amazing results. Not excuses like “but it was raining and I was sick” are accepted.

So, stop the excuses, and get back to work.

17. Find Yourself a Master

: the best way to learn (anything) is by watching a master working on his craft. Try to find a photographer which you can accompany as his assistant. It is true that most travel photographers like to travel alone. But it doesn’t have to be a travel photographer. Most of my knowledge about using light, I learned from a great fashion photographer, which I served him as an assistant for a while.
 

18. “Exotic” can be found Anywhere

No matter where you live in the world: New York, the Middle East or a small village in France. Try to see the beauty of the place you live in. if you will find the beauty of that place and bring within your images, people will follow.


19. Don’t stop Traveling

A good travel photographer must keep is portfolio alive. Keep on traveling, and as the last tip mentioned: you don’t have to travel to far and exotic places to do so. As it is very easy to travel to India and get “good” travel photography. Try to bring the beauty of your own local town. Travel to the nearest market or attend the next festival as a way to keep your craft improving.
 

20. Be Human
Treat your subject as well as you can. Don’t shoot people from a far distance, don’t shot people who don’t want to get snapped. If you promise to send their photos, please do so. This will ensure that the photographer that will come after you will be received with a smile. And don’t forget, sometimes it is best to just leave the camera behind and enjoy the ride.

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Tips : Photo against photo

Many photographers would like to compare the image quality of a camera or lens with another themselves, on the basis of practice shots. If you're part of this group, then visit Photo against Photo, which is fully focused on the comparison of cameras and lenses. It's a great supplement to the Comparometer from Image Resource and the Dpreview studio scene, where you can compare studio shots with each other. There are already nearly 4000 test shots on Photo against Photo, which you can compare directly at 100%. All the shots from Photo against Photo can also be downloaded. Photo against Photo, compare practice shots!

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Wedding Photography – 21 Tips for Amateur Wedding Photographers

“Help me – I’m photographing my first Wedding!… Help me with some Wedding Photography Tips Please!”

It’s a question that’s been asked a few times in our forums over the last few months so while I’m not a Pro Wedding Photographer I thought it was time to share a few tips on the topic of Wedding Photography.

I’ll leave the technical tips of photographing a wedding to the pros – but as someone who has been asked to photograph numerous friends and family weddings – here are a few suggestions.


Wedding Photography Tips

1. Create a ‘Shot List’
One of the most helpful tips I’ve been given about Wedding Photography is to get the couple to think ahead about the shots that they’d like you to capture on the day and compile a list so that you can check them off. This is particularly helpful in the family shots. There’s nothing worse than getting the photos back and realizing you didn’t photograph the happy couple with grandma!

2. Wedding Photography Family Photo Coordinator

I find the family photo part of the day can be quite stressful. People are going everywhere, you’re unaware of the different family dynamics at play and people are in a ‘festive spirit’ (and have often been drinking a few spirits) to the point where it can be quite chaotic. Get the couple to nominate a family member (or one for each side of the family) who can be the ‘director’ of the shoot. They can round everyone up, help get them in the shot and keep things moving so that the couple can get back to the party.
Wedding Photography Tips
3. Scout the Location

Visit the locations of the different places that you’ll be shooting before the big day. While I’m sure most Pros don’t do this – I find it really helpful to know where we’re going, have an idea of a few positions for shots and to know how the light might come into play. On one or two weddings I even visited locations with the couples and took a few test shots (these made nice ‘engagement photos’).
4. In Wedding Photography Preparation is Key

So much can go wrong on the day – so you need to be well prepared. Have a backup plan (in case of bad weather), have batteries charged, memory cards blank, think about routes and time to get to places and get an itinerary of the full day so you know what’s happening next. If you can, attend the rehearsal of the ceremony where you’ll gather a lot of great information about possible positions to shoot from, the lighting, the order of the ceremony etc
5. Set expectations with the Couple

Show them your work/style. Find out what they are wanting to achieve, how many shots they want, what key things they want to be recorded, how the shots will be used (print etc). If you’re charging them for the event, make sure you have the agreement of price in place up front.
6. Turn off the sound on your Camera

Beeps during speeches, the kiss and vows don’t add to the event. Switch off sound before hand and keep it off.
Wedding Photography
7. Shoot the small details

Photograph rings, backs of dresses, shoes, flowers, table settings, menus etc – these help give the end album an extra dimension. Flick through a wedding magazine in a news stand for a little inspiration.
8. Use Two Cameras

Beg, borrow, hire or steal an extra camera for the day – set it up with a different lens. I try to shoot with one wide angle lens (great for candid shots and in tight spaces (particularly before the ceremony in the preparation stage of the day) and one longer lens (it can be handy to have something as large as 200mm if you can get your hands on one – I use a 70-200mm).
9. Consider a Second Wedding Photographer

Having a second backup photographer can be a great strategy. It means less moving around during ceremony and speeches, allows for one to capture the formal shots and the other to get candid shots. It also takes a little pressure off you being ‘the one’ to have to get every shot!

10. Be Bold but Not Obtrusive


Timidity won’t get you ‘the shot’ – sometimes you need to be bold to capture a moment. However timing is everything and thinking ahead to get in the right position for key moments are important so as not to disrupt the event. In a ceremony I try to move around at least 4-5 times but try to time this to coincide with songs, sermons or longer readings. During the formal shots be bold, know what you want and ask for it from the couple and their party. You’re driving the show at this point of the day and need to keep things moving.

11. Learn how to Use Diffused Light

The ability to bounce a flash or to diffuse it is key. You’ll find that in many churches that light is very low. If you’re allowed to use a flash (and some churches don’t allow it) think about whether bouncing the flash will work (remember if you bounce off a colored surface it will add a colored cast to the picture) or whether you might want to buy a flash diffuser to soften the light. If you can’t use a flash you’ll need to either use a fast lens at wide apertures and/or bump up the ISO. A lens with image stabilization might also help. Learn more about Using Flash Diffusers and Reflectors.

12. Shoot in RAW

I know that many readers feel that they don’t have the time for shooting in RAW (due to extra processing) but a wedding is one time that it can be particularly useful as it gives so much more flexibility to manipulate shots after taking them. Weddings can present photographers with tricky lighting which result in the need to manipulate exposure and white balance after the fact – RAW will help with this considerably.

13. Display Your Shots at the Reception

One of the great things about digital photography is the immediacy of it as a medium. One of the fun things I’ve seen more and more photographers doing recently is taking a computer to the reception, uploading shots taken earlier in the day and letting them rotate as a slideshow during the evening. This adds a fun element to the night.

14. Consider Your Backgrounds

One of the challenges of weddings is that there are often people going everywhere – including the backgrounds of your shots. Particularly with the formal shots scope out the area where they’ll be taken ahead of time looking for good backgrounds. Ideally you’ll be wanting uncluttered areas and shaded spots out of direct sunlight where there’s unlikely to be a wandering great aunt wander into the back of the shot. Read more on getting backgrounds right.

15. Don’t Discard Your ‘Mistakes’

The temptation with digital is to check images as you go and to delete those that don’t work immediately. The problem with this is that you might just be getting rid of some of the more interesting and useable images. Keep in mind that images can be cropped or manipulated later to give you some more arty/abstract looking shots that can add real interest to the end album.

16. Change Your Perspective

Get a little creative with your shots. While the majority of the images in the end album will probably be fairly ‘normal’ or formal poses – make sure you mix things up a little by taking shots from down low, up high, at wide angles etc.

17. Wedding Group Shots

One thing that I’ve done at every wedding that I’ve photographed is attempt to photograph everyone who is in attendance in the one shot. The way I’ve done this is to arrange for a place that I can get up high above everyone straight after the ceremony. This might mean getting tall ladder, using a balcony or even climbing on a roof. The beauty of getting up high is that you get everyone’s face in it and can fit a lot of people in the one shot. The key is to be able to get everyone to the place you want them to stand quickly and to be ready to get the shot without having everyone stand around for too long. I found the best way to get everyone to the spot is to get the bride and groom there and to have a couple of helpers to herd everyone in that direction. Read more on how to take Group Photos.

18. Fill Flash

When shooting outside after a ceremony or during the posed shots you’ll probably want to keep your flash attached to give a little fill in flash. I tend to dial it back a little (a stop or two) so that shots are not blown out – but particularly in backlit or midday shooting conditions where there can be a lot of shadow, fill in flash is a must. 

19. Continuous Shooting Mode

Having the ability to shoot a lot of images fast is very handy on a wedding day so switch your camera to continuous shooting mode and use it. Sometimes it’s the shot you take a second after the formal or posed shot when everyone is relaxing that really captures the moment!

20. Expect the Unexpected

One more piece of advice that someone gave me on my own wedding day. ‘Things will Go Wrong – But They Can be the Best Parts of the Day’. In every wedding that I’ve participated in something tends to go wrong with the day. The best man can’t find the ring, the rain pours down just as the ceremony ends, the groom forgets to do up his fly, the flower girl decides to sit down in the middle of the aisle or the bride can’t remember her vows….

These moments can feel a little panicky at the time – but it’s these moments that can actually make a day and give the bride and groom memories. Attempt to capture them and you could end up with some fun images that sum up the day really well.

I still remember the first wedding I photographed where the bride and grooms car crashed into a Tram on the way to the park where we were going to take photos. The bride was in tears, the groom stressed out – but after we’d all calmed down people began to see some of the funny side of the moment and we even took a couple of shots before driving on to the park. They were among everyone’s favorites.

21. Have Fun

Weddings are about celebrating – they should be fun. The more fun you have as the photographer the more relaxed those you are photographing will be. Perhaps the best way to loosen people up is to smile as the photographer (warning: I always come home from photographing weddings with sore jaws and cheeks because of of my smiling strategy).

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