Fotós cikkek: 2010. 09. 26.

2010. szeptember 27., hétfő

Create Beautiful Indoor Portraits Without Flash

eredeti: Ed Verosky, Digital Photography School, Create Beautiful Indoor Portraits Without Flash: "

Ed Verosky is a professional photographer and author based in New York. In this article, Verosky explains how to create portraits using natural and ambient light only. To learn more about achieving great lighting in any situation, check out Verosky’s popular eBook, “100% Reliable Flash Photography.“

For me, using flash can be the most efficient way to create a high-quality portrait. There’s nothing like it for an editorial shoot when you need that combination of full lighting control, minimal shooting time, and predictable results. Sure, you have to know what you’re doing to make it come together like that. But that ability comes with knowledge and experience. Mastering flash, means mastering your light in any situation. Sometimes, however, there is beautiful light to be found, just waiting there for you to use it. Natural and constant ambient light can be your best friends if you have a little time and flexibility with the environment and your subject.

Constant light, as opposed to flash/strobe lighting, will allow you to see and adjust its effect on your subject and the environment in real-time. This is a great way to learn about lighting placement and this knowledge and experience will certainly carry over into your flash portraiture. As I like to say, "light is light," meaning the principles of lighting a subject and their environment are essentially the same whether the light source is a quick "flash" or a constant illumination. The main difference is that the flash is capable of producing a more intense light but with too short of a duration for the photographer to see the effects of its position on the subject in real-time. With constant lighting, you can casually move the lights and your subject around and know instantly how the changes will affect the portrait you’re making. With a few test shots to check exposure, you’re good to go.

Lighting Setups

Natural Light. Window light as just about the most beautiful light you can find when the conditions are right. It can serve as a huge softbox and be manipulated with any combination of window dressings such as blinds and curtains. Simply place your subject nearby the window and let the light create much of the portrait’s drama. I like to position the subject so that there is plenty of shadow to one side, providing many options for classic portraiture looks.

Window light narrowed with curtains. ISO 800, 50mm, f/2.8, 1/80 sec.

Household Lights. You can also make great use of simple household lamps. I like to remove the shades off the room lights and utilize them as bare bulb light sources. To start off, just position the main light in front and to one side of your subject, preferably several inches higher than her head. This will give you a classic lighting pattern to work with. A second light may be placed farther back from the subject and serve as a back light or kicker which will add dimension.

Setup consisting of two household lamps, minus the lamp shades. Kicker is behind Kelly and main lamp is almost directly in front of her, just to camera right. ISO 800, 50mm, f/2.8, 1/60 sec.

Camera Settings

My general advice for any indoor shooting is to think "fast and wide." Your initial camera settings should be a balance of the highest ISO possible that will still provide acceptable noise levels for your purposes, the widest aperture your lens will allow, and the fastest workable shutter speed. Of course, each of these controls are interrelated and integral to overall exposure, so you’ll have to make some adjustments, and concessions, for the environment you’re working in and the effect you’re trying to achieve in your shots.

Fortunately, most DSLRs are now capable of low noise even when using high ISO speeds, so most room lighting and even low natural light won’t be a problem for you. But even if your camera happens to produce lots of noise at higher ISOs, that isn’t necessarily a big concern. Either leave the noise as is, or bring some of it down in post-processing using your choice of available noise reduction techniques. Many photographers are actually artificially adding noise BACK into their images in order to reproduce the look of film, or otherwise reduce the super-clean, slick, digital look coming out of the camera. Simple advice: Don’t worry about the noise unless it gets in the way of the image you’re trying to create.

Another thing that will really help with achieving beautiful portraits in lower lighting situations is a fast lens. By "fast" we’re referring to a lens with a wide aperture of at least f/2.8. The wider the aperture, the more light the lens allows to pass through in a given unit of time. This will give you more freedom with your ISO settings (as they won’t have to be so high to compensate for less light coming in through the lens), and faster shutter speeds (as they won’t have to be so low to compensate for less light coming in through the lens). Lenses with wider apertures also have the capability of shallow depth-of-field, which can greatly add to the interest and mystique of your portraiture.

Shutter speed is an important consideration not just because of its effect on overall exposure, but also because of potential blur with lower speeds. As with ISO however, the effect of supposedly less-than-optimal shutter speeds is what you make it. You might find an occasional blurry image makes a rather artistic statement. Every portrait doesn’t have to be sharp as a tack.

Another household light bulb setup, featuring Chris. Bare household light bulb off to camera left illuminating her on one side and the background at the same time. Main light is coming in from camera right. ISO 800, 85mm, f/1.8, 1/60 sec.

So, with those factors in mind, you might want to try the following exposure combination as a starting point and adjust according to your needs:

Camera Mode: Aperture Priority

Aperture: f/2.8 (or the widest possible for your lens)

ISO: 800

Shutter Speed (target): 1/100 sec. or higher.

In Aperture Priority mode, your camera will automatically set the shutter speed for you while you control everything else. You’ll have to pay attention to your shutter speed to make sure it isn’t falling so low as to create unwanted blurring. Again, these are just starting points. With a stationary pose and a steady hand, I’ve managed hand-held shutter speeds as low as 1/15 sec. to produce good results. You might also want to try your camera’s Manual mode to maintain full control of your settings. If your lighting conditions are going to be fairly static, I’d recommend it.

Also, you will most likely benefit from shooting in your camera’s RAW (NEF) format so critical adjustments, like white balance, exposure, and contrast can be made easily and with minimal loss of information in post-processing. Although white balance settings aren’t actually imposed on the RAW file, you can set WB as you wish during shooting in order to get an idea of what the final image might look like. Plus, a chosen WB setting will tell your RAW conversion/processing software what color temperature and tint settings to best start off with for each image.

Window light illuminates Satu. ISO 800, 50mm, f/4, 1/200 sec.

Post-Processing

Aside from the creative post-processing possible with your ambient light images, there are some things you might want to address in initial post:

White Balance: Not all light sources produce the same color temperatures. Despite what they look like to our eyes, the camera will record various types of household lighting (florescent, tungsten, daylight balanced) and natural light (sunset, cloudy, shade) as producing different color casts. So, if you are shooting a portrait using a bright tungsten light as your subject’s main light, but you have a strong window light coming through in the background, you might have an undesirable color mix to deal with.

Fortunately, you can correct these types of color mismatches in post-processing by making a general white balance setting choice in your software, and selectively altering the offending colors in specific parts of the image. If this isn’t something you’d like to worry about, then don’t. The colors might be acceptable just the way they are. If not, you always have artistic color altering effects and even black and white conversion options. So, it’s all good.

Noise Issues: I personally like a little noise in my images most of the time. But if you had to use very high ISO settings to get your shots, and have the need to bring some of the noise down, there are a number of good built-in, stand-alone, and plug-in software options to handle this. I will occasionally use the noise reduction tools in Lightroom or my Noise Ninja plug-in in Photoshop, for example.

Natural and ambient light photography indoors can be a great way to learn the finer points of lighting your portraits. The actual experience for you and your subject is also worlds apart from the strobe and studio effect of working with flash. Unlike outdoor shooting, indoor work without flash can introduce problems having to do with lower lighting situations. Using some to of the advice above, you should be able to handle the challenges of low-light portraiture and come away with great-looking images.

If you would like to learn how to get amazing light in any situation, check out Ed Verosky’s eBook, “100% Reliable Flash Photography.”

It’s a great resource that has helped thousands of photographers improve their use of flash and ambient light for portraiture.

Post from: Digital Photography School

Some Thoughts on Selecting and Feathering in Photoshop

Eredeti: Bob Johnson, Photo Tips @ Earthbound Light

There are generally several different ways to do common function in Photoshop. And just because you learn one way to do something doesn't necessarily mean it's the best way in every situation either. With this in mind, I'd like to take some time to discuss the pros and cons of the main ways to make and feather selections in Photoshop.

We obviously have to start this discussion with how to select an area in an image to want to work on. After all, if nothing is selected or if your entire image is, there's nothing to feather, and nothing to talk about this week. Generally speaking selection techniques fall into two main categories: regular selections, and masks. The Lasso and Magic Wand are examples of regular selection tools. When you trace around an object with the Lasso or click on it with the Magic Wand, you select it. If your hand isn't entirely steady or the contrast between subject and background is low, your selection may not be as accurate as you wish it were, but you can see what you end up with because the selection boundary will be indicated by a line of "marching ants" dots overlaying your image.

The basic way to feather a selection made with the Lasso or other regular selection tool is found on the Select menu. Going to Select >>Modify >> Feather opens a dialog box asking you for the "Feather Radius." This is quick and easy, but softens all edges by the same amount. It's also rather difficult to tell just what your modified selection now actually looks like. All you see is the line of "marching ants" encompassing the area containing pixels at least fifty percent selected. If you then apply a filter or make an adjustment using the resulting selection, you may be in for a rude surprise when areas you expected to change don't fully while areas you assumed were outside the selection and thus safe end up getting modified.

Masks haven't always been in Photoshop, although they have been there for quite a few releases now. Their introduction heralded a revolution in the art of making selections. Users could now visually tell just how selected or not any given point in their image was. A mask really is just a different way of representing a selection. It lives in your document just like any other layer, except that rather than being full RGB color it's just shades of black and white: one channel rather than three. Any point in a mask layer that is completely white is completely selected. Any point that is pure black isn't selected at all. Shades of gray between those two extremes are selected correspondingly. Thus, an area that is fifty percent gray is fifty percent selected and so on.

Every new adjustment layer automatically gets its own layer mask. If you make a selection with the Lasso or other regular selection tool and create your new adjustment layer with the selection active, Photoshop will automatically turn that selection into the corresponding layer mask. You can also add them to image layers themselves by clicking on the small white circle (new layer mask) icon at the bottom of the layers panel with the target layer already selected. Layer groups can also have masks added in a similar fashion. Regardless of how you create your layer mask, you can modify it by painting on it with black, white or shades of gray. Make sure the mask itself is selected before you paint though or else you may end up painting directly on your image. If you do mess up your image by accident, just use the History panel to undo it. So long as you are actually painting on the mask, your changes aren't directly altering your image pixels, so you can tweak your mask endlessly with no loss until you get it right. And all the while the effect your mask has can be seen in the main image window. As I say, this was truly a revolution in making selections.

Masks also represent a revolution in how selections get feathered. I've already mentioned that you can freely paint on the mask layer to control the degree to which any point is selected or not based on how close to white or black it. But you can also use many other tools to affect the mask as well. The most obvious way to feather a mask is use one of the blur tools. But you don't have to blur the entire mask equally. Since a mask is just another kind of layer, you can use the trusty Lasso or any other regular selection tool on your mask itself to limit the area affected, just as you would an image layer. No, you can't make a mask on top of a mask, but you can use regular selection tools and masks together freely.

Back in Photoshop CS4 the revolution in feathering took a second big step forward with the introduction of the Masks Panel. In the past, even though masks allowed you to change the appearance of your image without altering actual image pixels, changes to masks were not themselves non-destructive. That is, changes to feather a mask (for example) actually changed pixels in the mask layer. Sure, you could paint over the mask to effectively undo any change you didn't like, but not all changes were easy to undo. If you paint on a mask with white, you can switch colors and paint back over that area with black, but if you apply a Gaussian blur to a mask, it really isn't possible to re-sharpen it later. You would have to drastically paint over your existing mask, or even delete that mask and create a new one. As of CS4, the Masks Panel lets you apply a blur to a mask that is non-destructive. Slide the Feather slider one way and the mask appears blurred. Slide it back the other way and its back to being sharp again. Now how cool is that?

So, should you always create a mask and feather everything with the slider in the Masks Panel. Well, probably not. Some changes you will never want to undo making them (in some cases) safe to do with regular selection tools. Selections you do make with masks sometimes lend themselves more to freehand painting with low-opacity brush so you can progressively paint in just the right amount of masking in each area. Even of these though it can be helpful to apply a bit of Masks Panel feathering to when you are done to avoid any brush stokes causing visible edges in the final image. I guess my point is that there are a range of both selection and feathering techniques available. Too often I see Photoshop users develop the habit of doing particular things the same way each time, without stopping to consider whether that way is the best for a given situation.

As I said at the outset, Photoshop has many ways to do most things. Just because you know one way doesn't mean you have no need to learn new ways when Adobe introduces them. Nor does it mean that when a new way of doing something comes along you should immediately abandon all old ways of doing that as being obsolete or necessarily inferior. If a quick selection is all you need, go for it. But if you really need more control take advantage of everything Adobe has put in the product. That's what it's there for.

Turning Pro: Part 4 – Money making ideas

eredeti: Nathalie Johnson, Digital Photography School, Turning Pro: Part 4 – Money making ideas

Image by Romain Guy

There are several factors to consider when deciding how to price your work:

A) How much is your time worth by the hour?

B) How difficult is it to achieve?

C) Will it lead to future commissions?

D) What does your customer want and how much will it cost you to achieve?

E) What is the market rate for what you have been asked to do and how will your service compare?

A good way of knowing where to begin is to weigh the uniqueness of your talent and photographic abilities against how high the demand is for it. You don’t have to have a set price structure – and you can differ what you charge on a case by case basis (as long as you haven’t advertised otherwise).

Getting your prices right can take months of honing – gently testing what you can and can’t charge with each and every inquiry. Whatever you do – don’t be pressurised into cutting your costs drastically to make a sale or get a commission. Be sure that you are 100% comfortable with the fee you have quoted. If you are getting paid less than you think you should for a job then this will only affect your images and work ethic in a negative way. Generally speaking if you are good enough – people will pay what you ask.

To help you get started, here are our ten top ways to make money as a professional photographer:

Sell your prints through your website: Many website packages allow users to add in a ‘shop’ facility which you can easily link to a Paypal account. Therefore all a customer needs to do is choose an image they like and pay for it, and all you need to do is send them the requested file or post a print and receipt.
Sell your services as a photographer: There are hundreds of options here – whether its photographing newborns, weddings, businesses, bar mitzvahs – there is plenty of avenues to choose from.
Sell your images to a stock site: With a sensational amount of choice, all genres of photographer will enjoy the benefit of selling images to stock site as everytime someone selects your image you get paid. Read the terms and consitions carefully as each site varies its payment and rights policy.
Sell your images to online and magazine publications: Purchase a freelance writers handbook to discover contacts to a wealth of publications. Alternatively use an online search engine to generate results. Email the editorial or design staff introducing yourself and your business and attach a few thumbnails of your best work. Then follow up with a phone call after a week or so to see whether they would like to hire your services as a photographer.
Competitions: You may not think it but people can actually make a solid living from winning competitions. There are many high-ranking photography competitions out there that reward winners with huge cash prizes and top-end kit – what is more this may mean you can pursue individual or personal projects to fulfil the briefs. One of the most resourceful websites to find active competitions is: www.photographycompetitions.net .
Become a photography tutor: If you are very talented photographer and have a good way with people, why not set up your own line of workshops? Depending on where you live in the world you may need to get a license for this line of work. Tailor-make courses to suit: various levels of user, preference of genre, gender or age. Furthermore you can run one-on-one courses or teach in larger groups, likewise you could do short courses that run for a couple of hours to one day – or provide training over longer periods of time such as a week.
Create an exhibition: What better way to show off your art and attract attention then holding an exhibition. You don’t need a prestigious art gallery to achieve this – it could even be held within a local library or cafe! Use this opportunity to sell framed photographs to the visiting public and don’t forget to alert the press! We will be running a how to exhibit guide very soon – so watch this space!
Self-publish a photography book: This is a great way of showing off your own work and you can sell the product to friends, families, local stores and even online. Visit websites like Blurb www.blurb.com and LuLu www.lulu.com for more ideas and ideas – and watch this space as we will soon be running an article concerning self publishing soon.
Create a range of products such as greeting cards and calendars and sell these online or approach specialist card/calendar companies to sell these for you.
Attend events – whether it is a yacht race or gymkhana – and sell the images after or at the event to those photographed. Taking photographs of people and the things they are passionate about is big business. Just be sure to get permission from the event organisers and approach people, especially children, with careful thought and consideration.

Once the commission start to roll in you’ll need to channel time management and hone your organisational skills to meet the customer’s demands by their deadline. Once this has been achieved send an invoice and never ever forget to do your taxes. All the best of luck!

Oldalak