Beginner’s Guide to Awesome
The Eye’s the Limit Photography www.theeyesthelimit.com
Exposure
Exposure is the unit of measurement for the total amount of light permitted to reach the electronic sensor during the process of taking a photograph. The two main controls your digital camera uses to control exposure are the shutter speed and aperture.
The Big Three Shutter Speed
Aperture
ISO
• Shutter speed is the amount of time the Shutter is open. • It is measured in seconds or fractions of a second. • Shutter speed of 1/60 or faster is recommended for handheld camera use. When using a shutter speed under 1/60 you should use a tripod • When considering what shutter speed to use you must consider the level of movement in the image. Still life and landscape imagery can have slower shutter speeds however working with children or moving subjects a shutter speed of 1/1000 or higher is recommended to freeze action • Slower shutter speeds allow ambient light into the frame which can be beneficial to your story when using flash/ strobes
• Aperture is the size the lens closes down controlling amount of light and depth of field. • Depth of field is the distance in the image that is in focus. The ratio of focus is 1/3 in front of the subject your focal point is on and 2/3’s behind. • Aperture is measured in f-stops ( f 1.2-f 32 depending on your lens) • The wider the aperture the smaller your plane of focus. • The larger your f-number the larger your plane of focus (f-32) • When photographing people the rule for f-number is that it should be equal to or greater than the number of subjects in the image • Using DOF can enhance the focus on your subject and eliminate distractions allowing for a better story
• ISO measures the sesitivity of the image sensor • The lower the ISO number the finer the noise/grain in the image • Noise is the grouping of pixels as defined by how the light hits the sensor. Higher ISOs use larger groupings of pixels leaving larger clumps of pixels (grain) • ISO settings generally start at 50 and go up. The lower the number the more available pixels the finer the grain. • Grain tend to be predominate in low light images and is generally my last method of gaining more stops to properly expose an image • Grain can add to an effect of an image by creating a truer to film look however it can also take away from an image if you require it to be enlarged.
TK:TK Shutter Speed: When to speed it up? As a photographer it is your job to asses and plan your image with intent ensuring your settings are accurate to properly expose your image. When photographing an indoor portrait you may need a slower shutter speed because there is not enough available light. At a sporting event you need a fast shutter speed to freeze the action. There are also times when you want to show movement in your images by slowing your shutter speed to better tell your story or create a more dramatic impact. Always ask yourself what your intent is when setting your S.S.
Low
Light
Alternatively, there are times where I have no choice but to raise my ISO and keep my shutter speed set higher to freeze the action in a lower light situation. I will remove noise in post processing afterwards
When available light is diminished, and you are at your lowest aperture, your option is to raise the ISO or lower the shutter speed to properly expose your image. Because grain can drastically effect the resulting image, I will lower my shutter speed before I change my ISO past 800. Slower shutter speeds allow for more ambient light to hit the sensor when using flash
ISO 400, 1/2000 shutter speed, f 4 In the image above the shutter speed is very fast to freeze the movement of the waterfall. You can see the spray droplets clearly and get a great idea of the action The image below has a very slow shutter speed and gives you a whole different perspective of the same scene. This is accomplished by setting a slower shutter speed with your camera on a tripod. Try this with clouds or night skies alternatively.
ISO 400, 1/8 shutter speed, f 32
Aperture: To Blur or not to Blur Aperture, in my opinion, is one of the most significant aspects of creating a professional looking image outside of lighting however, using the right aperture setting can make or break an image. Too wide (lower numbers) and you risk parts of your subject being out of focus, too narrow (higher numbers) and you may confuse the viewer with too much distraction in your background. In portraits that are close ups, it’s recommended to keep your aperture at f5.6 or higher so you do not lose detail in the face. With large groups the rule of thumb is your f stop should be equal to or greater than the number of subjects in an image, however groups of 10 or more can remain around f/10. This rule also depends on the distance a subject is from your lens. The further way a subject the more your focal plane will cover. Practice using lower aperture (f-numbers) to get a sense of the focal plane that each focal distance will allow for.
ISO 1000, 1/800 ss Aperture f/2.8 The above image is shot using a low aperture allowing the subject to be lifted from what is a very busy and colourful background so the viewers eyes focus on the butterflies first. With the image below the aperture of the lens is narrower creating more detail in the background and more visual distraction from the subject.
ISO 1000, 1/200 ss Aperture f/8
ISO: Embrace the Grain
White Balance: Keep it clean
Grain/Noise in an image can be very detrimental when dealing with clients who want to use images for large printing however there are moments when having grain in an image can add to the overall mood of the image like in a moody low light portrait. Sometimes you need to weigh your options because you would rather grain than blur/camera shake. Technology has come a far way in that camera sensors are allowing for extremely high ISO so that grain or noise doesn’t become as distracting at the settings that it used to. There are also editing tools that will remove noise by smoothing out the images pixels. Image noise appears in the dark part of an image. To avoid noise keep your ISO at the lowest possible setting and ensure subjects are well lit. I don’t recommend setting your camera on automatic for ISO as with all automatic settings it can select the wrong one at the most detrimental time. Instead leave it on an ISO number (usually 200-400) and adjust when needed
The importance of setting the right white balance in camera goes beyond saving you time at your computer editing. The wrong white balance can add more noise to your image and a colour casts that can be impossible to remove fully. Although many photographers will attest that AWB (auto white balance) can be very accurate most will highly recommend creating a custom white balance. Custom white balance can be set by using a grey card or photographing something white and setting your custom white balance in camera however you need to do this with every change of scene or lighting. Because getting your subjects to hold a grey card before each shot can seem inconvenient and waste precious time (especially when dealing with an impatient toddler), I often use an alternative method. Placing your camera on view mode you can select white balance and adjust the K (Kelvin) settings until you get the desired white balance. I can’t express how important it is to produce images with the proper white balance. An image that is too orange/red or blue/ green will stand out as being amateur so taking special care to ensure your white balance is set properly will create a more polished image and set you apart.
WB: 5400 k (daylight balanced) results too cool
WB: 6100 k manually adjusted warmer skin tones closer matching scene
Modes vs Manual The best advice I was given when I first started out was go Manual. There is not faster way to understand how your camera meters and exposes in general than using your camera on M mode. Also by developing your understanding of “the big three” while using manual mode you can then better use the auto modes as you see fit. Many professional photographers will use their manual modes when photographing clients however its with full understanding of how their camera works and why they are using each setting. As you progress as a photographer you will develop the ability to know what settings you will need by simply looking at a room however by not learning your camera in manual mode you stall this ability and could appear uneducated in a professional setting.
Having Said That... Here’s my run down on when to use what mode and why : I don’t ever use the custom settings such as night scene, action, macro and portrait but they seem pretty straight forward. Check your manual if you are unclear what they do. A or AV (Aperture Priority)- This mode is my go to because I like images with shallow depth of field and generally I am creating images in scenes that are bright enough so that my shutter speed will accurately freeze the action (outside daylight) F 2.8-F 4 is the range I will keep it in. I also generally underexpose the image a stop or two because bright skies, reflections off water/ pavement etc tells my meter to underexpose. S or TV (Shutter Priority)-I may choose this mode when I need to stop action and It’s a darker day or I am inside. If I am inside I ensure my ISO is set to a point where I can gain the right shutter speed. P-This mode picks both shutter speed and aperture for you. I don’t use this mode because it doesn’t always pick the fastest shutter speed but will instead pick a smaller aperture size causing images to be blurry.
Metering: Getting the “Right” Exposure There are situations where you set your exposure based in your meter reading and your image will still turn out overexposed (too bright) or underexposed (too dark). The cause of this is because your meter has read a scene based on the amount of light it requires to expose it to middle grey but the majority of your scene is either very dark or very light. This issue most commonly occurs for if there is too much bright sky or a bright window in my frame, or the background has dark walls or is dark from shadows. Besides being cognizant of having too much dark or light in a frame and adjusting accordingly, you can overcome this by using spot metering instead of evaluative or centre weighted metering in most cases, however our camera is set up to read lighter skin tones so if your clients are dark skinned be aware that the spot meter may read their skin and ask you to over expose the image as well. In most situations your cameras default metering mode will work well however for those times that you notice your scene to be too dark or two bright overall you may have to manually adjust your exposure by a stop. Overall when I adjust my exposure whither using manual mode or one of the cameras other modes I remember “Bright to the right” meaning if your meters arrow or guides are reading to the right of the centre/0 of your camera’s meter your image will be bright. Some photographers (including myself) commonly use the exposure to the right (ETTR) method of metering. ETTR allows for more detail in the shadows without blowing out highlights and one does have to practice taking care not to blow out highlights.
Lighting: Seeing the light One of the fastest ways you will see improvement in your photography is when you start to pay close attention to how your subject and backgrounds are being lit. How you light your image will effect how the viewer relates to your subject or the story in your image and to me is as important in regards to the impact of an image as expression. Our eyes naturally are attracted to the brightest part of an image. Therefore it’s imperative that not only do you look at how your subject is lit but if your background has bright points (hot spots) that will distract from your subject. There is no easy button when it comes to learning and using the best Side Lighting: This is my most common method of lighting my subjects both in studio an lighting so I encourage everyone to try outdoors. I place the subject at about 45 degs from the light source which could be the sun, an off camera photographing in all types of light and flash in studio or a window. This creates a nice balance of light and shadow on your subjects face however find what works best for them. there are times where I will use a reflector or wall/pavement/sand as a natural reflector to fill in shadows
CatchLights
Catchlights are a reflected highlight in your subjects eyes. They add life to a subjects and should appear in both eyes. Ideally they should be in the 10 or 2 o’clock position.
More on lighting Back Lighting
Often times photographers are put in situations where we need to take an image at the worst possible time of day in the bright daylight with no clouds to diffuse the sun. When this happens our subjects face can have harsh shadows and bright hotspots so to avoid blowing out highlights or under exposing shadows back lighting is used. Place your subjects back to the sun or light source and spot meter your subjects face to get the proper exposure. This method works best if your background is as dark as your subject as to not over expose your background. Using a fill flash is an alternative however unless you are using external flashes off camera you will likely result in your lighting looking flat.
Rim Lighting
Rim light is the halo of light that can occur when your subject has its back to the light source. It is helpful in separating the subject from the background. Rim lights are used (often called hair lights) in studio settings placed high directly behind or 45 deg to the subject similar to how the sun would be placed if back lighting subjects outside.
Even More on Lighting Direct Lighting
Most new photographers shy away from direct lighting because it takes a bit to get the hang of knowing when the best times to use it are. It also takes good knowledge of exposure to execute correctly. Direct lighting is when your subject is placed in an open spot in the sunlight. I don’t recommend doing this at any point mid day. It’s best used when the sun is low and clients are placed at a 45 deg angle to the sun. Make sure your background is evenly lit as well or your shadows will be too dark. I use this method when I want to expose for the subject and the sky. If you’re lucky enough to get a partial sunny day using this method when the clouds are diffusing the direct sunlight results in amazing images.
Open Shade Lighting
Open shade lighting may be the best first thing you learn about natural lighting and many photographers solely use this method when photographing clients. The idea is you find a nice shady area for your background, ensure your white balance is correct and away you go. You don’t have to worry about the pesky sunlight that could blow your highlights, cause your clients to squint or sweat their makeup off. Using open shade creates a softer light on clients however it can also look flat or even create shadows that are unwanted so using a reflector or natural reflectors in open shade will help add more definition to your subject or smooth out shadows.
Just A Little More on Lighting Diffused sunlight/Cloudy days
Admittedly when I first started working professionally I would feel a huge sense of relief if it was an overcast day. Days where the sun is diffused by clouds you don’t need to pay as much attention to the possibility of blowing out highlights or having unevenly lit backgrounds due to the softness of light and lack of shadows on these days. However you still have to be aware of placing your subject in the direction of the sun to avoid “dead eyes” or unwanted shadows under clients eyes. Even on overcast days I try to place subjects at 45 deg to where the sun would be or use a natural reflector as your strongest light source if you are near a bright wall etc.
Flash
Another confession: I have not used a camera with a built in flash (outside of my cell phone) for years. I cringe when I see them pop up knowing the wash of light that comes out of them is likely over exposing highlights, creating glares and reflections that will take away from the subject or the makers initial intent. Using flashes and strobes I believe is a day long course in itself but here is the skinny on how to make your images better with on camera flash. Using your flashes exposure compensation you can adjust the output of flash in a + or - setting. I used to keep my flash output in the negative as I found more often than not the meter would read the image and overexpose with the flash. Decreasing the output lends to a more natural fill especially when photographing people. You can also use a white piece of paper or create your own mini soft box to put over your flash which will soften the look. There are little gadgets you can purchase online or in stores that do this as well. One of my favourite ways to use on camera flash however, is to bounce it off the ceiling or nearby walls. This is accomplished by using a reflective surface like tin foil or even your hand (although there can be a slight colour cast) and place it in front of the flash angled or towards what you are using to bounce the flash off of. This takes some practice however the resulting image will have a softer more professional look for mere pennies. With all that said, once you get the hang of your camera’s settings your first purchase should be an off camera flash and a receiver/ trigger. Taking your flash off the camera creates images with a professional polish that are dramatic and they are the best way to expose beautiful sunsets and light your subject accordingly. Here are some of my favourite photographers who use off camera flash: Jay Terry: http://jaytphoto.ca Craig Lamere: http://www.mozstudios.com Warren Noyce: http://www.warnephotography.com
Focus: With intent
The Right time of day
Automatic
Magic Hour
If there’s one camera setting I condone using auto for it’s focusing. I rarely manually focus my lens however there are times like if too much light is coming into my lens (sun flare) or The scene is too dark that my lens can’t seem to catch the right focus and I will go manual. Outside of that I am automatic however, like all auto camera settings it can be unreliable so I selectively choose my focal points in frame. Before I press the shutter I asses the scene and decide where I am going to place the subject in the frame. I will then move my focal point to where my subject is. For close ups I ensure the focal point is on the eye closest to me and set my aperture to ensure the full face will be in focus. Keep in mind that your lenses focal plane is 1/3 in front of the subject and 2/3 behind when setting put large groups or subjects that are at different positions in the frame and always focus on the person closest to the camera ensuring your aperture is small enough to increase your DOF so that all subjects are in focus.
For both film and photography the preference is to photograph outdoors during the magic hour/golden hour which is the hour after sunrise or the hour before sunset. It’s when shadows are longest and light is softest. It’s safer to pose clients in full because the light is softer and can allow for some haze or sun-flare when back lighting your clients this can add to or take away from a portrait so ensure you sun flare is with intent or use a lens hood to eliminate haze.
Noon SUn=No Fun
I don’t ever book clients for outdoor images between the hours of 11 and 2pm ever! It’s very simply because shadows are small and create dark circles under eyes. Even if you back light a subject the halo around them can be large an blown out. Retreat to shade if you have to take portraits during noon hour for your best results.
Hot Spots
Like I talk about in the lighting portion. I and lots of other photographers us open shade as backgrounds for your subjects not matter what time of day. If you want to keep your clients in the sun light be aware of the position they are standing and the quality of light hitting their faces. If there are bright points on their faces ensure that it’s flattering their features. If it isn’t, move your subjects so the light softens on their faces. Often noses an foreheads are culprits of hots spots. Hot spots can also distract a viewer if they are in your background. Sunlight poking through trees, water reflections, windows and pretty much anything white or reflective can over expose leaving white points that will distract the viewers eye from your subject. Always plan your backgrounds with as much intention as your subject placement!
Photo Editing: From Good to Better Shooting In Raw
If you are not familiar with what raw format is it’s the complete lossless data from your cameras sensor. Raw files have the highest dynamic range (shadows and highlights) but appear washed out and are not suitable for printing. Because of the large dynamic range a raw file can be over or under exposed by multiple stops and with the right editing software be brought back to a proper exposure. Shooting in raw does requires special software to read the files however such as Lightroom, PhotoMechanic or Photoshop.
Dynamic Range of a Raw file
Getting it right in camera
I spent many hours in my first few years as a photographer fixing my mistakes in Photoshop and Lightroom. This allowed me to build my editing skills, so I am admittedly thankful for those mistakes, however the reality is that many new photographers take the easy way out in regards to editing by purchasing presets and actions that create a “look” but mask the fact that the image was poorly processed in the first place. Much like my advice about “going manual” with your settings, I do feel like learning the mechanics of Photoshop and Lightroom first before you purchase actions or presets will only propel your imagery and skills further quicker. However, no matter what putting lipstick on images (not literally) will only mask your issues, mastering proper lighting, seeing backgrounds, posing and composition and getting it right in camera will save hours of time behind a computer adding to your gross income.
My process at a glance
Editing is another aspect of photography I could give a full day course (or longer) on, and I feel I still have a lot to learn. There seems to be may ways to do the same thing in Photoshop so often when you think you know the best way someone will come along and show you a better way. I personally start by importing my RAW files into Lightroom where I will adjust exposure, white balance, highlights and shadows and add contrast to the image. There are other ways to convert and edit your files including PS camera raw and PhotoMechanic, however I like the ease of use and additional options of Lightroom. After I do my basic edits I export my favourites into a folder where I can then open them in Photoshop and do additional corrections like fixing blemishes, teeth whitening, removing unwanted objects if required and even swap heads and generally polish the image as I see fit.
Photoshop can Bring your imagination to life
Expression: Client Interaction Be a People Person
Being charismatic and outgoing isn’t everyone’s strong suit however even the most shy and soft spoken people can make great photographers. You just have to be able to tap into your subject and find out what makes them tick. Find out what gets them excited, happy, or alternatively moody or emotional. Being a great talker does help as you investigate and find relatable topics that keep the energy of a session up however most people truly just want to be listened to so be someone who can ask the right questions to gain the right expression. Don’t ever be afraid to ask for exactly what you want from your subject! Your job is to make them look their best, however, always do so as tactfully as possible.
Posing tips:
• Always try to create separation from the limbs and the body. Turn subjects-Face on images are not as flattering as creating an S with the body. Learn your S curve and C curve and don’t be shy to ask your clients to pose, tilt heads, lean towards the camera etc to create the most flatter portrait. Standing with legs crossed for woman creates a more flattering shape. • Never let the nose break the check meaning • Have subject pose with the their chin out and down. It may feel awkward to them but helps to elongate the face and neck. • Pay close attention to their hands. Clenched fists are not ideal so I always say “pretty your hands up” and clients seem to know what that means to some degree. You also want to be aware of hand placement. They should never stick out past the eye line for a portrait.
Experiment: keep the creative spark Panning: Set your shutter speed to 1/30 or so and track your subject holding your camera very solid to avoid camera shake. Taking multiple exposers (High speed) as they pass by. It’s important that you move at the same speed as your subject
Rule of thirds Look at image as a grid with 9 sections. By placing your subject in line with this grid it’s said to add visual interest and energy Horizon Lines Horizon lines should be placed in line with either the top or bottom line of the grid
Sun flare & Haze Letting some light into your lens can create this dreamy haze effect and sun flares. It’s best done when the sun is low and to the back of your subject. It’s important to get your exposure right in camera and pre-focus your lens.
Lens distortion Choosing the right lens is imperative when creating a portrait, however sometimes a little lens distortion can add personality to your image. Set your lens on the widest angle and get up close to your subject
Negative Space Leaving room in your frame to help your subject stand out. It’s widely use in all formats of art Framing your subject Use objects within your frame to tell your story and draw your eye to your subject
Do what you love and you won’t work a day in your life! I love the above idea however reality is that although I do what I love there are plenty of days I am working! In order to combat “burn out” or the feeling that I have lost myself in commercial work or baby rolls I try my best to add a little spark of creativity in most of my family portrait work however what I love best is creating digital art and documenting my wee men for their a life book. Although I know they will cherish the images I create I do them for me! I encourage you all to find something you do for you and always having something that’s just for you.
Resource Short Glossary Ambient Light: The available natural light completely surrounding a subject. Light already existing in an indoor or outdoor setting that is not caused by any illumination supplied by the photographer i.e. not by artificial light source. Back lighting: Light coming from behind the subject, toward the camera lens, so that the subject stands out vividly against the background. Sometimes produces a silhouette effect. Always use something (a hand, a lens shade to avoid the light falls onto the lens - to avoid lens flares). Bokeh: is the aesthetic quality of the blur produced in the out-of-focus parts of an image produced by a lens. Bounce Lighting: Flash or tungsten light bounced off a reflector (such as the ceiling or walls) or attachment that fits on the flash (like the LumiQuest’s Pocket Bouncer) to give the effect of natural or available light. Culling: Reduce in number Dynamic Range: the range of a sensor is defined by the largest possible signal divided by the smallest possible signal it can generate. Focal Length: The distance between the sensor and the optical centre of the lens when the lens is focused on infinity. The focal length of the lens on most adjustable cameras is marked in millimetres on the lens mount. Focal-Plane-the distance in frame that defines the subject sharply. The Golden Hour/Magic Hour-the period shortly after sunrise or before sunset during which daylight is redder and softer compared to when the Sun is higher in the sky. Pre-focus: Technique of setting focus of lens to a point at which photographer expects movement or action to take place See more terms at : http://www.dpreview.com/glossary
Awesome resources creativelive.com, phlearn.com, strobist.blogspot.ca digital-photography-school.com, digitalcameraworld.com 500px.com, cambridgeincolour.com