Monday, October 29
Monday, October 15
In picture B, Spanky moved to another table in my work area to lounge. Here, that same window is behind him, creating a nice bright background, and he is lit by the light from that same window that is bouncing off the white wall he is now facing. When taking portraits of people or pets, reflected or bounced light provides a beautiful even lighting that can be very flattering. See a post about reflected light off of a house in the backyard here. You can see the door reflected in his eyes, where a skylight in the hallway has provided extra light and makes a great catch light in his eyes. As with people and birds, it is important to get a catch light in your cat or dog's eyes to really bring their portrait to life.
In photo C, Spanky was bored of posing, and moved to a location further away from the window and while the light here was not as bright as close to the window, it was spread out over the room for some nice even lighting (see how even the background is lit up). So here, I boosted my ISO a little higher to be able to capture more light. The very shallow depth of field throws his paws out of focus, but helps to show off his comfy sleeping position.
Lastly, in photo D, Darla is photographed in a diffused side-lit manner. The window partially covered by drapes is still allowing a lot of light to come into the room, and the slight side lighting gives the shot a little more definition and drama as opposed to the flattering and softer front or reflected lighting in Spanky's portraits. Darla was much more curious about the camera and moved in closer to me for a look. The wide open aperture gave me sharp focus on her eyes and everything else drops out of focus.
Wednesday, October 3
The annual holiday tradition of carving pumpkins to make jack-o-lanterns running the gamut from sweet to ghoulish is one that is filled with picture-taking opportunities. Get up above the action to capture all of the fun, and zoom in close to get great detail shots of the tools and mess involved in pumpkin-carving. See the shots below for examples. But after the mess is all cleaned up and the sun has gone down, set out your pumpkins and light them up for a great shot. Make sure your camera is stable. Using a tripod is highly recommended. Next, turn your ISO down low to 100 or 200. Your exposure will be long and you do not want to create unnecessary noise in your shot. Set you camera to manual exposure and open the aperture to about F/4. Fill your frame as desired and shoot, using a cable release or remote control to avoid any camera shake when you trip the shutter. If you do not have a release, you could set the camera to self-timer. Adjust your shutter speed to 30 seconds and take a shot. The photo will be either too light or too dark. Adjust the shutter speed to faster, like I did here to 15 seconds, if the photo was too bright. If it was too dark, add more time to the exposure. I had two other pumpkins on either side of this one, so the ambient candle light was picked up during the long exposure to make a nice fun jack-o-either portrait.
Saturday, September 15
Tilting of the camera is something we see a lot of today. It can work particularly well for portraits, especially when the subject is expressing emotion, like a couple of laughing teens. But this technique can also work for street scenes to convey a sense of movement and energy. Recently, on a trip to London, I took hundreds of photos of Big Ben. Wanting to capture the feeling of really being there, I stood in the middle of Westminster Bridge looking towards Big Ben and Parliament and waited for the iconic red bus to come into the scene. By slightly tilting the camera, I feel the shot does not feel static, but instead energetic, bringing me back to the moment of standing almost in the road and the traffic rushing by. Tilting the camera is not right for every shot, and sometimes you just have to experiment with a straight on shot (see last shot in the post to compare) and one that has a tilt to it, to discover which shot you like best. Try tilting the camera both left and right to see which is the better angle for the shot. I used this technique quite a bit on the trip, and when looking at them scattered throughout my digital photo book I am creating on Blurb.com, I feel it helped to capture the whirlwind that was my three-day London vacation.
|A straight on view. Compare to the main photo at the top of the post.|
Sunday, August 12
Sunday, July 29
|Focal Length: 170mm Exposure: ISO 400, F/5, 1/1600th sec. shutter speed|
Tuesday, June 19
As all of the school year activities wind down, and some fun summer times begin, take a step back from it all and zoom in on the moments with your telephoto zoom lens. Not only will you get some more natural expressions, but your subjects will really stand out from the background with your tele lens setting. At the end of the last soccer game of the season, I remained at the side lines while the coaches gave encouragement and praise to their players and zoomed in. I caught a very natural expression on both coach and player. Additionally, while outdoors this summer, pay attention to where the sun is. Try to shoot later in the day when the sun is not so harsh. And look where the sun is hitting your subjects. Here, the sun is lower in the sky and behind the team, which adds a nice rim light to their hair and shoulders. In this lighting situation, set your camera to spot meter, as I did here, to be sure the camera gives the proper exposure for your subjects, and does not "put on sunglasses" because of the bright light behind and make your subjects darker than desired. Look for the metering button on your camera and turn it to spot. When you look through your viewfinder, you will see a the smallest of circles in the center of the frame (see below). Be sure this circle is on your subject, press and hold your shutter release button half way to lock in both focus and exposure, adjust your composition if necessary, and then take the shot by pressing the button the rest of the way.
Sunday, May 6
Sunday, April 29
1) I would get just a little bit higher instead of shooting at eye-level
2) I would have one more level of subjects instead of two predominately same-height rows, allowing me to make the group more narrow to accommodate my desire for a full-length vertical shot
3) I would move the boy in the white shirt to either kneel in front, or to a position behind grandma in blue
4) I would make more organized rows of turned shoulders, instead of all facing forward
5) I love the open shade, but I would changed our position slightly to eliminate the harsh lines of shadow in the foreground and background top right
6) While I purposefully picked F/8 as my aperture to be sure I had enough depth of field for both rows to be in sharp focus, I think stopping down to F/6.3 or 5.6 would have blurred my background more
I do love the lighting, though. Open shade is so flattering (see previous post for more) and in most instances, can be easily found when you take a look around your location. As you see, they are all standing just inside the shade, not in the harsh sun. If they were further back into the doorway, I might not have gotten the sparkle in each of their eyes from the open shade situation. The sun bounces around and lights my subjects evenly as if you held a big sift reflector in front of them, thereby eliminating harsh shadows under chins and brows and giving you highlights in the eyes.
So while I will look for a similar location next time I shoot a group like this, I will a) get higher, b) watch how the subjects are arranged more closely, and c) look more closely at what's in the edges of the frame and zoom in, change position or change composition to eliminate anything distracting from the frame.
Wednesday, April 18
here and here).