Dor Valentin NISTEA. Photographer.

Thursday, October 10, 2013

How to Photograph Dramatic Clouds at Sunset

The difference between a nice sunset and a dramatic sunset is all about the clouds.

Of course, the difference between a dramatic sunset and no sunset is all about the clouds too!

A clear sky at sunset might turn a shade of pale blue or pink, which is beautiful and calming, but with just the right amount of clouds the sky becomes alive with fire and drama as the day’s last rays reflect off the clouds making them red, orange, purple and pink.

Desolation Sound Marine Park, British Columbia, by Anne McKinnell

Not all clouds are created equal though. They come in many shapes, sizes, densities, and altitudes, and they all refract or absorb the light in different ways that can drastically change the quality of your photographs.

Types of Clouds

Clouds that hang low in the sky and form a band on the horizon or appear like a thick blanket covering the sky will block the sun’s high-flying rays and make the sunset pretty anti-climactic, if you can see it at all.

Sometimes large and lumpy clouds that are brighter on the top and dark on the bottom can create a lot of contrast, making for a very moody atmosphere. Rain, snow, and hail clouds fall under this category, as the weight of the excess moisture weighs them down.

The most radiant displays of colour emerge when the clouds are very high in the sky. They are usually smaller, whiter, and thinner than the low-lying clouds, and they are able to catch the sunlight from beneath, allowing us to view those fiery colours from the ground.

These are more likely to occur when the weather is hot and dry, which is why desert landscapes are famous for their magnificent sunsets. When you want to create a dazzling sunset photo, these are the clouds you want to look out for.

Mesquite Sand Dunes, Death Valley National Park, California, by Anne McKinnell

Predicting the Weather

Sunsets don’t last very long, so it takes a little planning and a lot of luck to have nature set up the perfect sky for you. You never know when the ideal conditions are going to present themselves, but if you tune your senses to the weather and its patterns, you will start to get an idea of when you can expect to see the right amount of clouds in a sunset sky.

Watch the sky over the course of the day to see what kinds of clouds are forming and how fast they’re drifting overhead. Check your local weather forecast to find out when the sun will go down, and try to judge if they’ll be sticking around based on the time of day and the speed of their movement. Keep informed about any storms coming in that will bring low-hanging clouds along with them.

If you have a great view from your back yard, all you have to do is keep your camera at hand so you can dart out when you see a great sky. On the other hand, if your aim is to travel to a more distant location to get your shot, you’ll have to be a little more precise in your calculations to avoid hauling all your gear up a mountain only to have the clouds dissipate. Your best bet is to choose a location that will be beautiful with or without clouds – that way, if nature doesn’t cooperate, you haven’t wasted the trip.

Rio Grande, Big Bend National Park, Texas, by Anne McKinnell

The Perfect Exposure

The most effective way of bringing out the natural saturation of coloured light is to underexpose very slightly – between a half-stop and a full stop. This darkens the rest of the image, making the colour pop in comparison. Use your exposure compensation to adjust this.

To make sure you get the best possible exposure, bracket your shots. This means taking several images at different exposures, so you can analyze them on your computer at home in order to determine which is the most successful. This can be done manually using your exposure compensation setting – take one image using the camera’s default settings, then take one that is underexposed by half a stop and one that is overexposed by half a stop. Some cameras will have an automatic bracketing option that you can utilize to change these settings for you.

Another option is to create a high-dynamic range (HDR) image by combining multiple exposures as I did in this photo of a Joshua Tree. I made one exposure for the sky, another for the mid-tones, and another for the shadows and combined them in post-processing.

Joshua Tree National Park, California, by Anne McKinnell

If you want to soften the appearance of moving clouds, use a long shutter speed to blur them slightly. If they are drifting slowly you’ll need a longer exposure to achieve this than if they’re gliding swiftly across the sky.

Foreground

When you’re going after sunset-specific shots, there’s a good chance that your foreground is going to be silhouetted against the sky. When this happens, it’s easy to forget about the foreground all together. This is a mistake. Remember that every part of your frame is important. The darkened foreground is simply negative space, and should be composed just like the rest of the image. Look for interesting shapes or objects to place in the frame to create a focal point that enhances the picture. If you want your foreground to be more visible, use fill flash (flash with the brightness turned down) to lighten the subject slightly without overexposing.

Post-Processing

When you bring your photos into an image editing program, you might have the urge to crank up the saturation and make the colours really bold. Resist the urge to go overboard on this feature; a 5% increase is all right, but much more than that can cause your image to take on a cartoonish look that could make it appear inauthentic. If your software allows you to, change the “vibrance” instead. This option is similar to saturation, but it focuses its effects on the pixels with lower colour intensity, preventing over saturation. Be ginger with your adjustments, and when in doubt dial them back a little bit to ensure the alterations are subtle and the final image looks natural.

Composition Exercise: Frame Within a Frame

I teach a kids photography class (ages 11-15), and this week we started talking about composition. I don’t require a specific type or level of camera, so I have students shooting with DSLRs, as well as students with simple point-&-shoot models. Because of the wide range of cameras, I make this class a little less about the technical and a little more about how they see the world around them. I strive to make sure they understand the elements of exposure, the principles of lighting, and all of the other aspects of the craft that come into play when they push the button and capture a moment in time. Regardless of make and model, though, the one thing they all share is a viewfinder– a frame in which to compose and arrange those moments in time. The way that each of these young photographers grasps the concepts and applies them to their own world view is incredibly enlightening and fun to watch.

So, in class this week I explained that composition guides the viewer through the frame and answers the question, “What are you trying to say?” Put another way– “This is why I stopped and took this photo.” Now that they are armed with another set of photographic fundamentals, I’m giving them a week or two to get comfortable with photographing the same subject different ways before giving them one of my favorite assignments of the semester– “A Frame Within a Frame.”

If the frame is your window on the world, composition is where you point it. The FWAF exercise basically pushes them to find boundaries within boundaries. On the one hand, that sounds pretty restrictive, and I suppose it can be. The flip-side, however, is that pushing them to compose within certain confines now will help unleash vast waves of creativity later. I tell them every chance I get that the rules of photography were made to be broken, but first they have to know what they are. Speaking of rules, the FWAF challenge has only one– no actual frames. That’s right– no posing your subject in the middle of a wheat field, along the railroad tracks, or any other overly cliche setting, while holding a big empty frame in front of them. I try, whenever possible, to shoot the assignments I give my students, and just about all of the images in this article were part of Frame Within a Frame exercises.

One of my favorite FWAF shots was one of those happy accidents where you don’t even realize what you’ve got until it’s off the camera and up on a bigger screen. I knew that mama lion had been pretty close, keeping a watchful eye over one of her growing cubs, but it wasn’t until I’d downloaded the images that I realized that I’d caught her attentive gaze perfectly framed between Junior’s two front legs.

See where I’m going with this? No literal frames were harmed in the creation of these photos. Anything that creates additional boundaries within the images effectively creates an additional frame, which then directs the viewer’s attention much more precisely where you want it to go.

This next image is a great example, not only of a frame within a frame, but of repetition as an interesting compositional element. A tighter crop of the artist at work would have been okay, I guess. We’d be able to make certain assumptions about what’s not in the photo– namely, the subject of her piece. By including it in my background, however, I not only created the additional frame, but also lead the viewer through the image from right to left, taking in the artist, her canvas, and her inspiration.

Once you get in the habit of looking for these extra frames you’ll start noticing them in all sorts of places. These boxers, for instance, are framed perfectly within the ropes of the ring. As a compositional tool, the added frame not only directs the viewer’s attention, but it also helps to minimize any distracting or non-essential elements from the photo.

Obviously, the frame within a frame is much more interpretive than literal. Doorways, windows, and mirrors– elements with clearly defined lines– can create great effects, but I enjoy seeing what my students do with the assignment when they are comfortable enough to ignore the obvious and go for something much more organic.

One of my favorite photography quotes comes from National Geographic photographer Jim Richardson, who says that “If you want to be a better photographer, stand in front of more interesting stuff.” One of the things that fascinates me about composition and exercises like this is how we push ourselves to not only stand in front of more interesting stuff, but to also photograph more interesting stuff in a more interesting way.

how to control multiple flashes wirelessly with a canon 7d

Among the features listed on our recent review of the new powerhouse Canon EOS 7D is wireless flash control. Sought after by many photographers, this version 1.0 feature has some useful capabilities thanks to the addition of a popup flash to Canons X D line. Controlling flash ratios, as well as exposure, from the camera can make shoots with multiple flashes far easier. Flashes can further be controlled as individual groups or treated as one large flash.

The system works by using the camera’s pop-up flash as the master, while other Canon EX-Series flashes are set as slaves. In the demonstration below, all remote flashes are set to channel 1 (three channels are possible to prevent misfiring when working around other photographers) and then each flash is assigned group A, B or C. For this simple demonstration, A will be to the left of the model (in this case, the fabulous Groovy Girls car borrowed from my daughter), B will be to the right and C will be behind the car, lighting the background. Let’s take a look at how the controls work.

First, pop up the built in flash by pressing the button located on the front of the camera housing. Here’s the first shot of the Groovy Girls enjoying a ride in their Groovy Car, lit by only the pop-up flash (All images Canon7D, Canon 28-300mm L lens, 1/200sec, f/16, ISO 100). Click on images for a larger version.

Because the lens is a bit longer than standard there is a slight shadow at the bottom of the image.

Next, press the Menu button and then navigate to the first grouping, scrolling down until you reach “Flash Control”. Press the Set button (center of the rear control wheel)

On the next screen, select Built-in flash func. setting

Now, scroll down to Wireless func. and enable it if it is not already. Select just the center option (while not covered in this article, the other modes allow for inclusion of the pop-up flash’s light either as a ratio or as part of the overall metering)

The menu will return to the previous screen, where additional options will be unlocked. Only functions that may be used with your current setting will be selectable from this point on. Select firing group and Choose the (A:B) option. This selection allows the flashes in group A to be set as a ration to group B, or the other way around.

Notice two items below the Firing Group is A:B fire ratio. Here is what the image looks like when that ratio is set to 1:1 with two flashes spaced equal distances from the subject and slightly in front (with included diffusers and flash bounces utilized).

There’s a little more dimension added to the photo.

Here’s the same scene with a 4:1 A:B ratio (use the rear control wheel to make your ratio selection)

And again, the same scene adjusted to 1:8 A:B ratio

All this is done from the camera with no need to fiddle with the flashes themselves.

Now let’s include a third flash behind the car to light up the background and reduce some shadows (NOTE: this photo is shot inside a light tent so a rear flash on the curved backdrop will cause some added reflection from the top). Go back to the Firing group option and first, selecting (A+B+C), here’s what we get.

In this mode, the camera will attempt to balance the entire scene while using all the flashes. This leaves scenes with a bit too much light on the backdrop. This can be adjusted by reducing the exposure setting for group C, but a better idea is to not include C in the over all ratio. Switching to (A+B C) mode in the Firing group setting means C will not be included in the calculation for A and B lighting the main subject. It is generally understood in this situation that group C will be used to erase shadow from backdrops, although there can be many creative uses for it.

Now let’s adjust the lighting so it’s coming from in front of the car, from flash A.

Lastly, let’s bring down the group C light by 2 stops to lessen the glare, This is done by scrolling down to the Grp C exp. comp.

And the tweaking can go on and on and on. By no means a finished photo, the image could still use some adjustment. My goal with this article was to show how easy it is to adjust remote flashes from the Canon 7D camera body. At the same time it must also be said that going back into the menu selection each time to adjust the ratios can be annoying. Canon could do with adding a shortcut directly to the adjustments.

For a first attempt at this wireless flash control feature, I’d say Canon has done a decent job. They have made it useful for a photographer to use the creativity multiple flashes can bring to a shoot. On top of that, multiple flashes may be used within a group. Add in some color gels to the flashes and your own inventiveness starts to become your only limit.

- See more at: http://digital-photography-school.com/how-to-control-multiple-flashes-wirelessly-with-a-canon-7d#sthash.5HUq8H14.dpuf

Friday, October 4, 2013

Maternity Photography

In this tutorial Natalie Norton shares 7 great tips for great Maternity Photography.

When I first began doing maternity work I made a pledge. A commitment I swore I’d stand by through thick and thin. I promised myself I’d never take “the maternity picture.” You know the one. Daddy’s arms around mommy’s belly with hands affectionately forming… gag… excuse me… a heart. There’s NOTHING wrong with this photo. AT ALL. Calm your rage oh you who just did this exact shot this afternoon.

It’s just that I didn’t want to do the typical maternity image that every mother who’s every had her belly photographed has in one of her 9 baby albums (9 for the first child that is… 1 for the second…a few images in an envelope somewhere for the third… and oh, that poor fourth child, he has to borrow pictures from his brother when he’s highlighted on the bulletin board in Kindergarten). I marched right into that first session ready to stand by my commitment to creativity! I’d no sooner pulled out my camera than mom, all giddy with excitement, said “Woo! Can we do that shot with Daddy’s arms around me and our hands forming a heart over my belly button?!?” I stood by that pledge of mine for a full… well, 2.4 seconds. Of course I did the shot. But guess what? I did a lot of other stuff that she’d never have dreamed of. Guess which image DID NOT get purchased. Belly button heart.

7 Maternity Photography Tips

Here’s 7 tips toward creative maternity photography:

1. The Great Outdoors:

So many maternity sessions are done in studio. I understand the reasons behind this. I’ve been pregnant. 3 times over. I’m not the petite and pretty pregnant. I’m the gal you find wedged between the double doors at The Sizzler. Studio shoots are great because there’s privacy. I can’t argue with that. Particularly if you’re going to do anything in less than a fully clothed state (that’s my PC way of saying naked). But there’s something about being outside. Taking that natural beauty of a woman who’s ready to bring new life into the world and placing her in the majesty of the great outdoors is simply breathtaking.

2. At Home:

When you shoot a mommy-to-be in her own home she’s comfortable to let go in a way that she may not be otherwise. This is a fantastic reason to hold maternity sessions at home. This is not however why I do it. As a photographer I feel like it’s my responsibility to help my subjects feel comfortable and capable of giving me their best, no matter where we’re shooting. I pride myself on my ability to do this. To me, it’s a HUGE part of my success as a photographer (Uh oh. I feel a post in this regard coming on… check back soon). I shoot maternity sessions at home primarily because it’s wonderful for a couple to have a capture that truly shows what their life was like at the time their baby came to be a part of their family. I’m a second generation photographer so I’ve got some really lovely shots of my sweet momma awaiting my arrival. My favorite however is a simple picture of her standing by my bassinet with her hand on her tummy. I CHERISH it.

3. Simplify:

No matter where you shoot, studio, home, outside, 7Eleven, you’ve got to simplify your surroundings. The beauty of a mother anticipating the arrival of her child should be captured in a way that allows the miracle to speak for itself. Pregnancy doesn’t require anything “else” to be present in a photograph to help tell it’s story. Everything in the frame that may not belong will simply serve to distract from the story that’s already being told, naturally. Pay attention to background.

4. Help Her Feel Beautiful

Women don’t generally feel very sexy when they’re pregnant. Understandably so, and trust me I connect with this feeling as much as the next gal. But just because an expectant mother doesn’t feel sexy, that doesn’t mean she’s not totally knock out. Bring that out in her. Pull that beauty out of her. A good way to do this is by talking as you shoot. It’s perfectly appropriate to say things like: “That’s beautiful!” “Yes, perfect!” “Oh that’s just LOVELY.” “Pregnancy looks good on you girl!” Whatever works! If you’re a male photographer you’ll need to be careful about what you say in this crazy world of sexual harassment, but you’re even more capable of pulling the beauty out of her than a female photographer. It’s one thing when your girlfriend tells you you’re beautiful, but when your girlfriend’s brother tells you that you’re looking good, you actually believe it. Obviously be careful and be genuine. The success of this tip will depend on your personality, but you can help her help herself. If she feels pretty she’ll look a whole heck of a lot better. It’s that simple.

5. Highlight Relationship:

Hopefully new babies are coming into a loving home. I always try to include photographs that highlight the tender relationship between mom and dad, because bringing a child into the world with someone is arguably love in it’s purest form.

6. Don’t Forget the Siblings… or the dog for that matter:

Remember that often a baby is coming into an established family unit (not to say that Mom and Dad alone aren’t an “established family unit” but for the sake of my point, go with me on this one). If the siblings are available, make sure to include them in at least a few frames. I have to mention the dog, because I’ve got a sister-in-law who’s dog, Wanda (seriously that’s her name) is her pride and joy. When she and her hubby have kids, you can trust that Wanda will be right there in at least a handful of her maternity photos. She’s as much a part of the family as the next guy.

7. Give ‘em Something Different:

Don’t just shoot what’s always been shot. This is a good general rule of photography. I really try to be “consistently inconsistent” (I recently heard another photographer, Nate Kaiser of theimageisfound.com, use this term and I had to pirate it). Let me explain, you’ve got to approach each shoot as it’s own. I’m very committed as a photographer to tailoring each shoot for the subject I’m photographing. Like I said before, this is a good general rule that applies particularly to maternity photography. Even though millions and millions of mothers have given birth to millions and millions of babies for millions and millions of years, a momma-to-be needs to feel like her pregnancy is miraculous, special and sacred, that the things she’s experiencing are unique only to her. Because they are.

Happy Shooting!!

Natalie Norton is a writer and a lifestyle wedding and portrait photographer who shoots across the globe. She is based off of the North Shore of Oahu and out of Gilbert, Arizona. Enjoy more of her photography and writing at www.natalienortonblog.com. You can also connect with Natalie via Twitter or on Facebook.