One of the most common search criteria on Google that coincides with photography is that of lighting. It’s no surprise as photography really is all about the light, and when making and taking photos (yes, there’s a difference), one of the key things that people can grasp quite easily is the success of a photo is often very dependent on the lighting. Continue reading “Hardware Review: Rogue Flash Benders”
August Winner – September Begins!
Ahhh, month-end. Contest announcement days! As most know, this is the time when the previous month’s winner is typically announced and the next month theme is opened up for entries. Today is no exception… Continue reading “August Winner – September Begins!”
Five Ways to Deal with Harsh/Low Lighting
A common question I get here is how to deal with harsh or low light situations. This is a great question, and for event photographers, it’s simply part of the job to recognize various lighting conditions and address them accordingly. Today, I’d like to share Five Ways to Deal with Harsh/Low Lighting:
1. Cranking the ISO and hoping to fix in post
With advancements in technology, noise handling both in camera and in post production has resulted in some astonishing results that in previous years would have been literally unrecoverable. While we should always endeavor to make our images shine as best we can in camera – advancements in tools of the trade simply give us more options and we would be foolish not to use them.
Here’s a good example of a shot that was done at a high in-camera ISO setting, that was recoverable to a good quality image. It may not necessarily be of “stock photography” caliber (you really need every pixel to be perfect for stock photography), but for event photography, I would consider this acceptable quality.
2. Implementing additional light sources (Flash, video lights, etc.)
3. Using a tripod/monopod in conjunction with longer exposures to increase odds of sharp captures
4. Use a gray card to get good white balance/off-set the ambient lighting conditions.
Having your subject hold a color balance card (or even just a gray card) in the scene for one shot is a great way to counter-act the effect of difficult lighting, including everything from halogen lights, to fluorescent, tungsten-florescent mixes, and the garish hue from sodium vapor lights common in locales like stadiums and street light settings.
5. Use supports from the surroundings to brace your camera
Using a tree, a wall, or even the ground to help stabilize your camera can reduce the shutter speed considerably to help when shooting in low light situations.
As much as we may try to hand hold our cameras, blur is unavoidable due to our heartbeats, finger tremors, breathing, and a host of biological factors, the best we can do is help to minimize that blur by using supporting mechanisms and techniques to get as stable a shot as we can. Even when we can hand-hold, matching that color from the scene is much easier to do when you start from a known vantage point, whether it be your own flash, or a controlled ambient scene. So much to think about and so little time…where do you want to go from here?
Hint: Sound off in the comments – would love to hear others thoughts, tips, and tricks for dealing with low and/or harsh lighting! Special thanks to Kerry Garrison of Kerry Garrison Photography for sharing a sample image from his own portfolio when I couldn’t track my own down in the library (bad me for not keywording fully!)…
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Copyright Isn't Just for Photographers….
The web makes for an interesting place, and often I get emails from folks asking for suggestions and recommendations on how to best protect their images from being used without their permission (and let’s not mince words here – nobody wants to have their work stolen). Often my response is a bit of this and that, suggesting to make images “web-safe” (i.e. low resolution so they can’t really be re-printed), and to limit the images you publish. (The more you put out there, the more you have to monitor.) Continue reading “Copyright Isn't Just for Photographers….”
It's not the body, it's the glass! (New Canon gear…)
Okay, while everyone is salivating (or slamming) on the new 60D Canon just announced, let’s not forget that it’s not really about the body upgrades – it’s the glass we want to invest in. And, true to form, there are also a significant number of additions and upgrades to the Canon lens line-up that bear some discussion, so here we go:
Canon EF 8-15mm f/4L Fisheye USM lens – Touted as the worlds widest fisheye zoom, it’s an impressive feat, but not many shooters really need such a lens. At $1400 price point, the price point will likely be too high for many to justify. Cool factor – high, Use factor – low.
Canon EF 70-300mm f/4-5.6L IS USM lens – I believe this is the first L lens in this zoom range, and for that reason, the optical quality will likely see a market improvement. At a price point of $1500, the reach will appeal to many, but the price compared to the 70-200L f2.8 IS will deter more. You may lose a little reach, but you gain a stop of light. Not a lot of reach loss for IS gain!
Canon EF 300mm f/2.8L IS II USM lens – The 6th in the continuing series indicates that this is the go-to lens for the serious shooters…i.e. the pros of the sports circuit. The appeal? Drop in overall weight will reduce arm fatigue. The burden? $7 large! (Call your boss to see if accounting will approve it and best of luck!)
Canon EF 400mm f/2.8L IS II USM lensThe best of the best – a fixed focal length prime and the bees knees of the profession, SI shooters, NFL, MBL, NHL, etc – if you are looking here for advice on whether to drop the $11,000 on this lens, I want to know why! Buyers of this grade of optics are the companies with budgets larger than my annual salary my many multipliers!
Canon Extender EF 1.4x III & Canon Extender EF 2x III At $500 a piece it’s really just improved optics. For each it also represents light loss – one stop versus two. if optics are important and light isn’t, the 2X is your choice. Add reach and minimize light loss – the 1.4X. A more cost effective approach – neither at this price!
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The 60D Cometh! New Canon Gear!
It’s official – about ten minutes ago I got the word from the horses’ mouth directly (a.k.a. Canon), that the new 60D is hot off the presses! Rather than spout all the technical details, (which the rest of the blogosphere will do in short order), here’s the ones I like the most and why: Continue reading “The 60D Cometh! New Canon Gear!”
Hardware Review: Think Tank Airport International V2.0
We all have camera bags. Whether you use a Point-and-Shoot, an SLR, or any other type of camera, you are putting it somewhere eventually that could be defined as a bag. These bags are made in such a variety of shapes, sizes, colors, and straps, it’s really amazing sometimes how many options there are for the photographer today. But like it or not, if you have a camera – you are gonna need a bag! Continue reading “Hardware Review: Think Tank Airport International V2.0”
A visit from Andie Smith!
Friend of the blog, Andie Smith has generously donated her time again here to share some insider tricks and tips to get the most out of Lightroom 3 – she shows her work flow, what the effect of various presets are in LR, and how to effectively use them. Ladies and gentlemen, I give you…Andie Smith
It is no secret I love Adobe Lightroom… the rumors are true, I refuse to edit without it. As I’ve created my own presets I realized if they are created correctly you can “stack them”. What is stacking? It is similar to using more than one action in Photoshop. I assume you want samples.
RAW image:
1. image with Work It-Awesome Portraits and some local adjustments (cleaned up skin and Work It- Pretty Eyes.)
2. image with Work It-Awesome Portraits +Work It-Meadow. Medow is in the Tints and Tones and just adds some more blues and greens to the image.
3. The way the presets are created, you can use the Tints and Tones on color or Black and White images. Here is the same image with Work It- B&W Contrast Dark and then Work It- B&W Contrast Dark +Bobby
4. But wait there is more! (I hope you read that in your best “info-mmercial” voice) you can use a vintage preset. I used Work It-Vintage
5. Then add a tint and tone on top of the vintage preset. here is Work It-Vintage + Work it- Little Red School House
There isn’t an image that leaves Andie Smith Photography or Eight18 Photography that hasn’t had one of the Work It presets used on it. It is my work flow. No matter the presets you are using don’t forget to customize them to make them work for you… “some assembly is required” as the saying goes.
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Editor Note: Thanks again to Andie for stopping in and sharing her workflow. If you like the styles, you can purchase the entire preset package from her website for only $89 here: Andie Smith Photography
She has also generously donated a full copy of her presets to the Lightroom Workshop, so if you happen to be attending, you will get the set there too. Not attending, sign up and get the whole rest of the day for only $10 more! Hope to see you there!
3 Years down! What’s Next?
In the blogging community, a year is a significant milestone, as most bloggers don’t make it to this point. Interests wax and wane, jobs and passions change, and audiences swell and sag as the community of readers often will gravitate toward new topics and content. The idea behind retention of readership is to change with the times. Here at CB/LDP, that has not been a problem. From the beginning, this blog has always been about sharing my experiences in photography with the larger community. So, as new technologies develop, and I learn about them, the writing reflects changes and advances in my knowledge base. Continue reading “3 Years down! What’s Next?”
Digital Photography: Where do we go from here?
I’ve often wondered about the development of technology and the patterns that go with it. As technology has advanced in other areas such as computing, the World Wide Web, and mobile platforms, cameras have also seen similar changes in recent years. The difference between cameras and the rest of the industry though is that with cameras, it’s been a very recent development. Photography has been around a lot longer than the digital world, and the underlying principles and foundations that are the basis for the craft haven’t changed much. Shutter speed and aperture size are still the dominant forces that control exposure in images (along with ISO – which when combined gives us the exposure triangle): Continue reading “Digital Photography: Where do we go from here?”