Photography Mad

Shutter Speed: A Beginner's Guide

2011-09-28T00:00:00Z

I've always believed that in photography, you should avoid getting bogged down in the technical side of your hobby, and focus on developing your creative talent. However, there are certain technical elements that are essential to getting a good photo - shutter speed is one of them.

Shutter speed is 1 of the 3 elements (along with aperture and ISO speed) that determine a photo's exposure. It also controls how sharp your photos are, and lets you introduce lots of interesting creative effects into your shots. Let's look at what it is, why it's important, and how you can use it.

Shutter speed is an essential tool in photography and well worth learning. Image by Mikel.

What is Shutter Speed?

Inside your camera, directly in front of the sensor, is a small flap called the shutter. When you take a photo, this opens and closes to let light reach the sensor, creating your image. Shutter speed describes how quickly or slowly the shutter opens and closes again.

A fast shutter speed means that the shutter is only open for a short period of time; a slow shutter speed means the shutter is open for longer.

How is Shutter Speed Measured?

Shutter speeds are measured in seconds, or fractions of a second. For example, a shutter speed of 1/100 means 1/100th of a second, or 0.01 seconds. This is also known as the "exposure time", because it's the amount of time the sensor is exposed to light.

Most cameras offer a wide range of shutter speeds, starting at just a few thousandths of a second and going up to several seconds. SLRs also have a "Bulb" mode where you can hold the shutter open for as long as you want.

Choosing the Best Shutter Speed

In automatic mode, your camera will try to guess the best shutter speed to capture your scene. Unfortunately it doesn't always get it right, and your photo can end up poorly exposed or blurred.

A better option is to switch to manual mode and take control of shutter speed yourself. When doing so, you need to consider the following:

Camera Shake

Camera shake occurs when hand-holding your camera. No matter how steady you think you are, you can never stand perfectly still, and this slight movement shows up in your photos as a blurriness or lack of sharpness.

Camera shake occurs when hand-holding your camera, and causes blurring of stationary objects. Image by Dean Ayres.

You can avoid camera shake by using a faster shutter speed. It's more noticeable when using lenses with a long focal length, so the longer the lens, the more you'll need to increase your shutter speed to avoid camera shake.

As a rule of thumb, you should use a minimum shutter speed of 1/focal length. So for a 200mm lens, use a shutter speed of at least 1/200th. When calculating this, use your lens's effective focal length, which is found by multiplying the focal length by your camera's crop factor.

Motion Blur

Motion blurring happens when you're photographing a moving subject, let's say a runner. If you use a slow shutter speed, the runner will move across the frame while the shutter is open, causing them to appear as a blurry streak in the final image.

Use a fast shutter speed to eliminate motion blur, or use it creatively to convey movement and speed. Image by Ondra Soukup.

You can avoid motion blur by using a faster shutter speed. Doing so means that the subject will move less while the shutter is open, reducing the blurring effect. With a fast enough shutter speed, this blurring becomes unnoticeable, and the action appears "frozen".

But before you go cranking your shutter speed as high as you can, you should consider whether you actually want to eliminate motion blur. It's an excellent way to convey speed or movement in a scene. You can also pan your camera to keep the subject sharp and blur the background.

Exposure

You also need to make sure that your scene is properly exposed. A slower shutter speed lets in more light, while a faster shutter speed lets in less. You need to choose a shutter speed that lets in just the right amount of light, to give a photo which isn't too bright (overexposed) or dark (underexposed), and which has a good level of detail in the most important areas.

Choosing the right shutter speed is important in achieving perfect exposure, with good detail in the highlights and shadows. Image by Jeff Smallwood.

Remember that exposure isn't just about shutter speed - it also depends on your aperture and ISO speed. A good technique is to choose a shutter speed which gives the desired amount of blurring (if any), and then adjust your aperture and ISO to give a good overall exposure.

Creative Effects

By using very short or very long shutter speeds, you can introduce some interesting creative effects into your shots.

Long exposure photography is where you open the shutter for much longer than normal - anything from a few seconds to several minutes. This is perfect for creating blurred crowd shots, giving moving water a fog-like appearance, and capturing trails of light from things like cars and stars.

A very slow shutter speed can be used for interesting abstract effects such as making water appear misty and smooth. Image by Jim.

Alternatively, by using a very fast shutter speed you can capture some stunning "frozen" motion, such as birds in flight, sportsmen in action, or water splashing. These types of shots often require lots of trial and error, but they're truly fascinating when they work.

Use a very fast shutter speed to freeze motion. Image by Diego Diaz.

There's no end to the interesting effects you can create by varying your shutter speed. Don't be afraid to experiment or use settings that you'd normally avoid - you never know when you'll find a way to bring a new perspective to a common subject.

The best way to learn about shutter speed is to flick your camera into manual or shutter priority mode and play around. Pay attention to the effect on exposure and blurring, and see how you can use that knowledge to bring a new level of creativity to your photos.

5 Keys to Finding the Perfect Portrait Location

2011-09-23T00:00:00Z

One of the most important aspects of portrait photography is picking a suitable location. Your choice will drive all other decisions about the shoot, including what lighting and props to take, which clothes the subject should wear, and the most suitable poses to use.

Shooting in a studio with a plain background is a popular choice, but it can be expensive, and these types of shots have been done a million times. You can usually get much more interesting, engaging pictures by using your imagination and choosing a more unusual portrait location.

Choose a Meaningful Place

It's easy to choose a portrait location based on convenience. For example, if you live near a leafy park, it's tempting to use that as your default shooting location. But while this may look attractive, it's not always the best option.

Select a meaningful location which reflects your subject's personality. Image by Dustin Diaz.

Remember that every subject is a unique individual, with their own personality. This is what makes them so interesting, and it's something you should try to capture in every portrait you take. Choosing a suitable location is an important part of this.

Take the time to get to know your subject. Find out about their hobbies and favourite places and incorporate them into your photography. If they're an avid horse rider, shoot them at their stables; if they love to surf, go to their local beach.

By using a location that means something to your subject, you'll get much more personal, meaningful photos. As an added bonus, they're likely to feel more relaxed, helping you capture more natural-looking shots.

Use Natural Lighting

Most professional portrait photographers swear by natural lighting, and some refuse to shoot in anything else. If possible, choose a brightly lit location which offers plenty of diffused, natural light.

Choose a location with plenty of soft, natural lighting. Image by Dan Foy.

When shooting outdoors it's important to avoid the direct midday sun as this produces very harsh shadows. Look for some light shade such as an overhanging tree or covered seating area, where the sunlight is softer and more flattering. Alternatively, shoot in the morning or early evening when the sun isn't as strong.

If you're shooting indoors, try to position your subject near a large window so that you can make the most of any available natural light. Depending on your budget and the equipment you have available you can compliment this with some artificial lighting if necessary.

Set Up Near Shelter

If you choose an outdoor portrait location, there's always a chance that the weather will spoil the party. Sometimes you'll just have to take a chance and hope it stays dry, but try to have a backup in case the weather turns bad.

Anticipating bad weather means you can stop it ruining your shoot, or even incorporate it into your photos. Image by Sam Javanrouh.

Look for a location which has some sort of shelter nearby, such as a bridge, bandstand, or cafe. These can be life-savers during a quick shower, helping you keep yourself, your equipment, and your subject dry - particularly important if they're paying!

If the weather gets really bad you may even be able to move your whole photoshoot under cover. With open-sided shelter you can often recompose to keep a natural background behind your subject, and as long as the lighting is good enough nobody will ever tell you weren't fully outdoors.

Choose Somewhere Quiet

Crowded places, like cities or busy public parks, are among the worst locations for a portrait shoot. You'll be constantly waiting for people to move out of frame and dealing with questions from passers-by, plus your subject will probably feel very self-conscious and struggle to relax.

Shoot in a quiet place to avoid disturbances and help your subject relax. Image by Paulo Alegria.

Finding a quiet, secluded location is not as difficult as it might seem. If you must shoot in a city, get off the beaten track - by moving just a few hundred yards away you can usually find a spot where you and your subject can set up undisturbed.

Better still, avoid cities altogether and head for remote beaches, grassy fields, and woodland. These all provide great backdrops to a portrait photo, and are often completely deserted, giving you free-reign to move around and experiment with different poses and angles.

Don't Let the Location Distract

A suitable location is crucial in portrait photography, but always remember that it's not the main subject, so don't let it overpower your scene. From time to time during your shoot, check the photos you've taken - if your eye is drawn more to the scenery than the subject, you're putting too much emphasis on the wrong thing.

Your location should never take attention away from your subject. Image by Steve Evans.

A simple and effective technique is to open your lens's aperture up nice and wide. This puts the background out of focus, preventing it from being too distracting, creating a sense of depth in the scene, and drawing the viewer's eye to the main subject.

Choosing an effective portrait location takes time and thought, but it's something that you should always aim to get right. By doing so you'll be able to tell a story with your pictures, and capture the essence of your subject's personality, resulting in much more engaging, personal photos.

Using Coloured Filters in Black and White Photography

2011-09-20T00:00:00Z

A common problem in black and white photography is that certain colours look very similar when converted into greyscale. For example, some shades of red, green, and blue look completely different in colour, but almost identical in black and white.

This can cause objects in a black and white image to blend into one another, leaving you with a photo which is flat and lifeless, and lacking in contrast and definition.

Coloured lens filters offer a solution to this problem because they affect the way colours are "converted" to black and white. This allows you to control the way they appear in the final image, ensuring that objects are well separated and clearly defined.

Black and White Filter Basics

There are 5 filter colours that are commonly used in black and white photography - red, orange, yellow, green, and blue. Each lets through its own colour of light and blocks other colours to varying degrees. For example, a red filter will let red light through, but block most green and blue.

The result is that colours matching the filter colour appear brighter in the final image, while other colours appear darker. In black and white photography this means that objects appear as lighter or darker shades of grey.

This image shows how different filters affect the way colours are converted to black and white:

Different coloured filters (top line) affect your scene's greys in different ways.

Using Black and White Filters

Because of their different effects, each colour filter tends to be used in a different way.

Red Filters

Red filters produce a very strong effect and greatly increase contrast. They're often considered too "harsh" for most types of photography, but can be used to produce striking creative effects.

A red filter gives extreme, dramatic contrast. Image by Nicholas.

In landscape photography, a red filter will turn a blue sky almost black and make clouds really stand out, giving the scene a dramatic feel. They're also excellent for increasing visibility in haze and fog.

When shooting plants they help increase definition between flowers and foliage. This is particularly useful when shooting red flowers, as they have a similar tone to the surrounding leaves.

Red filters produce such an extreme effect that they can make your photo look like it's been shot through an infrared filter. This makes them a popular, cheaper alternative to true infrared photography.

Orange Filters

Orange filters sit between red and yellow filters, giving a nice balance of each one's properties. This makes them a popular general purpose filter.

An orange filter gives warm, smooth skin tones. Image by David Jubert.

In portrait photography, an orange filter reduces the appearance of freckles and blemishes, giving the skin a healthy, smooth look.

When photographing buildings and cityscapes, they give bricks a pleasing tone, and increase contrast between different materials to add depth and texture to the image.

Similarly to red filters, they can be used to reduce the appearance of fog and haze, and to darken skies and emphasise clouds.

Yellow Filters

Yellow filters produce the most subtle effect of the 5 coloured filters. In some cases the difference is barely noticeable, but it can help to lift a photo just enough. They're a popular choice for beginners as they can be used in virtually any type of photography.

A yellow filter gives slightly darkened blues, increasing sky contrast. Image by Alex Gorstan.

When snapping landscapes a yellow filter darkens the sky slightly, helping to balance its exposure against the darker ground. They also bring out clouds nicely, resulting in more interesting skies.

In portrait photography, they produce warm, natural, pleasing flesh tones, like an orange filter but less intense.

Yellow filters are good for separating shades of green, and can be used whe photographing plants to increase the contrast of foliage.

Green Filters

Green filters are less popular than the others but are useful in some circumstances.

A green filter lightens greens, separating foliage and flowers. Image by aussiegal.

A green filter is mainly used for photographing plants as it helps separate the green foliage from the brightly-coloured flowers and buds.

They can also be used in landscape photography to boost the appearance of grass and trees, but they also lighten the sky so you need to be careful not to lose detail there.

Blue Filters

Blue filters are rarely used for black and white photography. They darken most colours and reduce contrast across an image.

A blue filter darkens most colours and is used to reduce contrast. Image by Tony Armstrong.

When used correctly, this reduced contrast can be useful for giving a shot a calm, soothing atmosphere. A blue filter also increases the appearance of haze and mist, making it handy for enhancing the mood of an early-morning scene.

If you're serious about black and white photography then a selection of coloured filters is a great addition to your kit. They'll give you much more control over the way your photos appear, helping you to create mood, balance contrast, and emphasise the most important parts of a scene.

Rule of Thirds

2011-09-16T00:00:00Z

The rule of thirds is one of the most useful composition techniques in photography. It's an important concept to learn as it can be used in all types of photography to produce images which are more engaging and better balanced.

Of course, rules should never be applied blindly, particularly in art, so you should think of it more as a handy "rule of thumb" rather than one that's set in stone. However, it will produce a pleasing photo more often than not, and is an excellent starting point for any composition.

What is the Rule of Thirds?

The rule of thirds involves mentally dividing up your image using 2 horizontal lines and 2 vertical lines, as shown below. You then position the important elements in your scene along those lines, or at the points where they meet.

A rule of thirds grid. Important elements (the shed, and the border between the ground and the trees) are positioned along the lines and at the intersections. Image by Martin Gommel.

The idea is that an off-centre composition is more pleasing to the eye and looks more natural than one where the subject is placed right in the middle of the frame. It also encourages you to make creative use of negative space, the empty areas around your subject.

How to Use the Rule of Thirds

When framing a photo, imagine the scene divided up as above. Think about what elements of the photo are most important, and try to position them at or near the lines and intersections of the grid. They don't have to be perfectly lined up as long as they're close.

The horizon and main subject in this photo have been positioned near lines or intersections for maximum impact. Image by K Praslowicz.

You may need to move around to get the best composition. This forces you to think more carefully about the shot, and is a good habit to get into whether you're using the rule of thirds or not.

To help you out, some cameras have a setting which overlays a rule of thirds grid onto your photo. This removes all guesswork and helps you get your positioning even more accurate.

Examples

The rule of thirds is very versatile and can be used on any subject. Below are some example of it being used effectively in different types of shots.

Image by Andreas Wonisch.

In landscape shots, it's common to position the horizon along the centre of the frame, but this can give the photo a "split in two" feel. Instead, place it along one of the horizontal lines.

Try to include another interesting object, such as the tree in the photo above, and position it according to the rule of thirds. This provides an "anchor", a natural focal point for the scene.

Image by Megan Leetz.

It's a good idea to position people off to one side of the frame. This provides some "breathing space", shows the subject's environment, and stops the photo from looking like a mugshot.

We are naturally drawn to people's eyes. Place them at one of the intersections on the rule of thirds grid to give the shot a clear focal point.

Image by Prem Anandh.

Here the main subject has been placed at one of the intersections, and also along one a vertical line. The twig roughly follows the top horizontal line. The empty space at the bottom left provides balance and prevents the picture from feeling overcrowded.

Image by Dennis Jarvis.

Vertical subjects such as this lighthouse can split a photo in two, in much the same way as a horizon can do horizontally. To avoid this, position them off-centre in your composition.

Image by muskva.

When photographing moving subjects, position them as normal, but also pay attention to the direction they're moving. As a general rule you should leave more space in front of them than behind, to show where they're going.

Using Editing Software

You can easily apply the rule of thirds to existing photos by cropping them. This allows you to reposition the important subjects in your image, moving them into more pleasing positions.

Re-cropping to use the rule of thirds can improve composition. Image by Jenn Forman Orth.

To help you, software like Photoshop and Lightroom have built-in "crop guide overlays" which include a rule of thirds option. This places a rule of thirds grid on top of your image as you crop it, allowing you to get your positioning spot on.

Breaking the Rule

As with all rules (at least in photography), the rule of thirds doesn't apply in every situation, and sometimes breaking it can result in a much more eye-catching, interesting photo. Experiment and test out different compositions even if they go against any "rules" you've learned.

However, learn to use the rule of thirds effectively before you try to break it - that way you can be sure you're doing so in order to get a better composition, rather than just for the sake of it.

Understanding and Using "Negative Space" in Photography

2011-09-11T00:00:00Z

Negative space, sometimes referred to as white space, is a concept that's been used in art, design, architecture, and sculpture for hundreds of years. It's equally useful in photography, and can be used to turn an average photo into an outstanding one.

Unfortunately it's something that's understood by relatively few people, but with a little bit of practice it can help you look at your photos in a new way, transforming your compositions and producing truly breathtaking results.

What is Negative Space?

Put simply, negative space is the area which surrounds the main subject in your photo (the main subject is known as the "positive space"). This definition is rather abstract, so take the following example; the power lines in this image form the positive space while the sky is the negative space.

The sky in this photo forms the negative space around the main subject. Image by Lee.

Negative space defines and emphasises the main subject of a photo, drawing your eye to it. It provides "breathing room", giving your eyes somewhere to rest and preventing your image from appearing too cluttered with "stuff". All of this adds up to a more engaging composition.

Negative space provides breathing room and draws your eye to the main subject. Image by Ruben Alexander.

When used properly, negative space provides a natural balance against the positive space in a scene. Getting this balance right is tricky and rather subjective, but it's something you'll get better at with time and practice.

How to Use Negative Space in Your Photography

Our brains are full of preconceived ideas about the way objects look, in terms of their size, shape, colour, texture, and so on. Unfortunately these preconceptions distort the way we view a scene, and this can lead to photos which look good in our mind but not so good in reality.

The key to overcoming these problems is to ignore the objects in the scene altogether and instead concentrate on the gaps between and around them. This forces you to pay more attention to your composition, and helps you see shapes and sizes more accurately.

Focus on the spaces between objects to balance them more effectively. Image by Joost J Bakker.

When framing your photo, adjust your composition until the positive and negative spaces in the shot feel well balanced against one another. Be generous with the amount of empty space you leave, and don't feel you have to cram something interesting into every square inch of the frame.

Something I love to do from time to time is go through my old pictures in Photoshop or Lightroom, experimenting with different crops to see how they affect the overall feel of the shot. This is a great way to learn how to use negative space, and it's amazing how a small change in composition can make a big difference to the effectiveness of a photo.

Experiment with different compositions to see how they affect the feel of the photo. Image by Extra Medium.

Mastering the use of negative space takes time. We're so used to focusing on the main subject in a scene that it can seem strange to treat it almost as an afterthought. However, doing so will make you consider each element in your scene more carefully, leading to much stronger compositions.

The Secrets of Stunning Waterfall Photography

2011-09-08T00:00:00Z

Waterfalls are among my favourite nature photography subjects. Their elegance, movement, and ever-changing character make them beautiful to capture, but they do present a number of practical and technical challenges which can make them difficult to shoot.

The following waterfall photography tips will help you snap stunning images, and master the technical and creative sides of photographing this fascinating subject.

Capture Their Motion

One of the most interesting things about waterfalls is the way they move. From the meandering flow of water across rocks to the splash and spray of a crashing torrent, they're always full of energy and excitement.

Motion is a key aspect of waterfalls, so be sure to include it in your photos. Image by Paul Bica.

The key to capturing this movement is choosing the best camera settings before you start shooting. So flick your camera into Shutter Priority or Manual mode and set it up as follows.

Shutter Speed

Every waterfall is different, and there's no single "correct" shutter speed to use, but if you want to capture movement in the water you'll need to use a slow shutter speed - generally somewhere from 0.3 seconds up to several seconds.

A good rule of thumb is to start with a speed of 1 second and take a test shot. Review it on your camera's LCD screen and adjust until you get the correct level of blurring. Don't worry if the scene is overexposed; we'll adjust other settings to compensate for that.

Tripod

With such a low shutter speed you won't be able to hand-hold your camera. A sturdy tripod is an essential accessory here.

ISO

Set your ISO as low as it will go (typically around ISO 100 or so). This reduces your camera's sensitivity, allowing you to use slower shutter speeds without overexposing the scene. It also has the added benefit of reducing the amount of digital noise in your photos.

Aperture

Using your lens's narrowest aperture will again let you use a longer exposure time. It will also give you the maximum depth of field, keeping as much of your scene in focus as possible.

Filters

If you still can't get your camera to go slow enough you'll need to use some filters to reduce the amount of light that's being let in. Professional nature photographers swear by neutral density (ND) filters, which reduce the light without affecting the colours in the scene.

An excellent alternative is a polarising filter. This does the same job as an ND filter but has the added benefits of reducing reflections (for example from water, wet rocks, and leaves) and increasing colour saturation for a more vivid image.

Shoot at the Right Time of Day

Bright sunlight can easily ruin a waterfall photograph. The intense light casts strong shadows across the scene, making it difficult to get your expsosure right. It also causes hundreds of reflections in the water and wet scenery, which will show up as tiny white dots in your shot.

Avoid bright sunlight to keep your exposure even. Image by Nicholas.

To avoid these problems, shoot around sunrise or sunset (the so-called "golden hour"), when the sun's light is less intense and more diffuse. These times of day make it easier to get a more even exposure, and the reduced light means you can use a slow shutter speed more readily. Overcast days produce excellent lighting conditions for the same reasons.

Find an Interesting Composition

With all of these technical aspects to consider, it's easy to forget the creative side. Waterfalls are just like any other photographic subject, and you need to take the time to choose a striking, engaging composition.

Look for an Unusual Viewpoint

When faced with a waterfall, most people will stand right on the bank of the river, a short way downstream, and point their camera directly at the waterfall. More often than not this will result in the same uninspiring photo that we've all seen a thousand times before.

Look around for an unusual angle. Image by Jeff Smallwood.

Spend some time exploring the surroundings to find a more interesting composition. Try photographing from high above, through trees or bushes, from behind the waterfall, or from just above the stream for a more unusual and creative viewpoint.

Include Scenery or People

For all their beauty, it has to be said that a lot of waterfalls look very similar to one another, and sometimes you get the feeling that if you've seen one, you've seen them all. A great way to overcome this is to include other elements that add interest to the scene.

Include scenery and foreground objects to add interest and context. Image by Becky.

Foreground rocks, bridges, and interesting plants all help to give your photo context. This gives the viewer a better sense of the place you were in, and allows them to "explore" the scene visually, creating a more engaging shot.

Including people is one of the surest ways to add interest to a photo. Waterfalls are no exception, and a well-placed person will create a focal point that might otherwise be lacking. People are also a great way to give your photo a sense of scale.

Shoot in Landscape

Because waterfalls tend to be tall and thin, most people hold their camera in portrait orientation without even thinking. Again, this often produces a shot which is just like all the others. Holding your camera in landscape orientation may seem unnatural, but it will force you to take in more of the surroundings and be more creative with the way you frame the scene.

Shoot in landscape for a more unusual view. Image by Arnar Valdimarsson.

Waterfall photography can be a tricky subject to master. Getting the perfect shot requires patience, a methodical approach, and a certain amount of experimentation, but the impact of a well-taken waterfall photo more than justifies the time and effort you've put in.

Creating a Vignette Effect in Photoshop

2011-09-05T00:00:00Z

Vignetting is a darkening of a photo towards the corners of the frame. Photographers used to go out of their way to avoid it, but recently it's become a popular creative effect, and one which people are keen to replicate in image processing software like Photoshop.

Photoshop allows you to add a basic vignette effect through its Lens Correction filter, but the method I'm going to teach you is more versatile and gives you more control over the strength and position of the effect.

1. Open Your Image

Start by loading your image into Photoshop. I'll be using the following picture - feel free to download it and follow along.

This is the photo I'll be adjusting. Image by Nate Bolt.

2. Create an Oval Selection

Select the elliptical marquee tool and use it to draw an oval selection over the centre of your image, starting near the top left corner and finishing near the bottom right.

Draw an oval selection over the middle of your photo.

3. Feather the Selection

In order to create a gradual darkening effect rather than a sharp line you'll need to feather your selection. Go to Select > Modify > Feather and choose a large value - I've used 75 pixels because I'm working with a small image but for larger images you may need to go as high as 250 pixels.

Feather your selection.

4. Invert the Selection

At the moment we have the centre of the image selected, but we actually need to select everything outside this oval. Do this by going to Select > Inverse.

Invert your selection.

5. Add a Curves Adjustment Layer

With your selection still active, add a Curves adjustment layer (Layer > New Adjustment Layer > Curves). The image won't appear any different just yet, but if you look in the Layers panel you should see the new adjustment layer above the background layer. Importantly, the adjustment layer should include an associated mask in the shape of your selection.

The new Curves layer is masked in the shape of our selection.

6. Adjust the Curves to Control the Vignette Effect

Finally, you can make changes to the Curves layer to adjust the vignetting effect. Click on the curve to add an adjustment point near the middle, then drag it downwards to darken the corners of the photo, or upwards to lighten them.

Make changes to the Curves layer to control the vignette effect.

Keep adjusting until you're happy with the effect, then save your image. Remember that because the adjustment is being made on a separate later you can easily tweak or remove it later without affecting the quality of the original picture.

The final image, with vignetting effect applied.

That's all there is to it! Vignetting can really add interest to a photo, although it's generally best to keep the effect fairly subtle rather than overdoing it. Don't be afraid to experiment with different selection shapes, sizes, and positions to create just the effect you want.

How to Photograph the Moon

2011-07-29T00:00:00Z

The Moon can be a tricky subject to photograph. It's much brighter than you'd think, making it a challenge to find the right exposure, and it's also a lot smaller than it appears, meaning it's easy to be left with photos of a disappointing dot of light rather than the impressive disc you expected.

A common misconception is that lunar photography is expensive. While it's true that you can spend thousands on long focal length lenses, it's also possible to get some fantastic results with the equipment you already own.

The following tips will teach you how to photograph the Moon like a professional, helping you to get great results from your astrophotography regardless of your budget or experience.

Know Your Moon Phases

As the Moon orbits around the Earth, sunlight hits it from different angles, causing a variety of appearances or "phases".

Knowing the phases of the Moon comes in handy when photographing it.

Each phase gives the Moon a different look and feel. A full moon is the brightest, but it looks quite "flat" because the light is hitting it face-on. Gibbous and quarter moons tend to be the most interesting, as the side-lighting produces shadows which bring out the craters and mountains on the Moon's surface. A crescent moon is the darkest, but can be used to punctuate an otherwise uninspiring night sky.

Shoot at the Right Time of Day

The best time to photograph the Moon is at twilight (just before sunrise or just after sunset), with the moon close to the horizon. At this time of day there's residual light in the sky, which helps pick out details in the surroundings and add interesting colours to the sky and clouds. This results in a more atmospheric photo.

Photograph the Moon at twilight for added atmosphere. Image by jah.

You'll find the level of light changing rapidly, so arrive early to give yourself plenty of time to set up and get ready. Different moon phases show up better against different brightnesses of sky, so keep shooting throughout twilight to give yourself the best chance of getting a killer picture.

Try shooting at night to get a really crisp, clear Moon against a pitch black sky. This is particularly effective when using a long lens to crop in tightly. The moon can also be seen during the day, although it's not as prominent so is best used to complement some other foreground interest rather than being the main subject itself.

It's a good idea to do a little bit of advanced planning, using a moonrise and moonset calculator to find a day where you'll get the right moon phase at the right time of day.

Fill the Frame

If you can afford a long telephoto lens, you can get some fantastic, detailed images of the Moon by cropping in on it as tightly as possible. You'll need to use the longest lens you have available - 300mm is considered the bare minimum, with 800mm or longer preferred.

You'll need a long lens to capture the details of the Moon's surface. Image by Nick.

Most digital SLRs have a cropped sensor rather than a full-frame one. This means that your lenses will have a greater effective focal length, allowing you to get away with using a shorter lens. Read my article on crop factor to learn more.

To keep costs down, you can extend the focal length of an existing lens by using 1 or more teleconverters. For example, you could attach two 2x teleconverters to a 200mm lens to give it an effective focal length of 800mm. This will reduce the image quality slightly, but is preferable to enlarging a photo taken with the standard lens.

Include Foreground Interest

If you don't have the budget to buy a long focal length lens then all is not lost. You can get some great photos of the Moon using pretty much any lens, even ones with a wide angle - you just have to adjust your composition accordingly.

Use foreground objects to add context to your moon photo. Image by Wendell.

Rather than placing the Moon as the main subject of the photo, include some other objects in the foreground, positioning the Moon in the background to add interest to the scene. Photographing the Moon through blades of grass or rising above silhouetted mountains adds atmosphere and context to the shot, so a shorter focal length needn't be a handicap.

The drawback to this technique is that it's often impossible to have both the moon and the scenery well exposed. If in doubt, underexpose - it's better to have a darker foreground than an overexposed Moon. Alternatively, you can take 2 shots - one exposed for the Moon and one for the surroundings - and then combine them later in Photoshop.

Reduce Vibrations for Sharpness

Camera shake can be a real problem in moon photography, particularly when using very long lenses. The slightest movement can cause noticeable blurring, ruining your shot. It's important to minimise vibrations as follows:

Use a tripod - A sturdy, stable tripod is essential. On its own, this will reduce most camera shake, and protect against external sources of vibration such as the wind.

Trigger the shutter remotely - Use a cable or remote release to eliminate the shake caused by pressing the shutter button. If you don't own one of these, activate your camera's self-timer for the same effect.

Use mirror lock-up - Even the movement of your camera's internal mirror can blur your photo. Mirror lock-up mode (MLU) works by moving the mirror out of the way before you take the shot. If your camera has this setting, turn it on for extra sharpness.

Find the Right Camera Settings

Choosing the correct moon photography settings is critical, and can be one of the hardest things to get right. Because of the variety of shooting conditions, there are no one-size-fits-all camera settings that work in all situations, but there is a process you can follow each time.

Choose settings manually - Your camera's autoexposure won't cope with a bright Moon against a dark sky, so switch to full manual mode. Start with an aperture of f/11, your camera's lowest ISO speed (say ISO 100), and a shutter speed of 1/250 of a second. Use your camera's autofocus to focus on the moon, then switch to manual focus mode to lock the focusing distance.

Test and improve - Take a test shot and review it on your camera's LCD screen, zooming right in to check the detail and exposure. Adjust settings accordingly and repeat the process. When using very long lenses, try to keep your shutter speed below 1/2 a second to reduce blur. With wider angles you can get away with longer exposures.

Use exposure bracketing - As an extra backup it's a good idea to bracket your exposures. This means that even if your camera settings aren't spot on, you'll hopefully have at least 1 reasonable photo that can be salvaged in your editing software.

"Cheat" with Photoshop

You can use digital editing software to tweak your photos until they look just the way you want them. For example, you can combine multiple images so that the Moon and the surroundings are both perfectly exposed, or even reposition or resize the Moon to get that perfect composition.

Using software to manipulate your photos is controversial but can result in some great images. Here, the photographer has combined 2 separate exposures. Image by James Jordan.

This is a subject that divides photographers, with purists insisting that photos should have minimal or no digital manipulation. However, even the professionals have been known to "fake" their shots in this way, and there's no denying it can result in some breathtaking images. I'll leave it up to you which side of the fence you're on!

Moon photography is challenging but very rewarding when you finally get that perfect shot. It's a process that can be learned and improved on, and once you've got the hang of it you'll be able to use it in a number of creative ways, snapping some stunning photos in the process.

How to Hold a Monopod

2011-07-28T00:00:00Z

Stability is very important in photography. It's essential for avoiding blurred photos, especially when shooting in low light. Traditionally, photographers have used tripods to provide a solid, stable base for their cameras.

However, while tripods do an excellent job, they're not suitable for all situations. If you need the ability to move around quickly, such as when photographing sports or wildlife, or if you're shooting in a crowded area, a tripod can be impractical and cumbersome.

Monopods are a better alternative in cases like this. They provide a similar level of stability as a tripod, but are quicker and more practical to use. Here's how to use a monopod to set up a strong support in no time.

Monopods are perfect when you need to be able to move quickly, like in sports photography. Image by Khaleel Haidar.

Attaching Your Camera

There are two ways to attach your camera to a monopod. The first is to screw the monopod's screw thread directly into the camera body. This is fine if you're using a fairly small, light lens.

If you're shooting using a long, heavy telephoto lens, it's better to use a tripod mount ring. This fixes the monopod to the lens rather than the camera body, giving better balance and stopping the monopod from rotating in your hands as you try to position it.

There are various different types of monopod head available, and ball heads offer the most flexibility. They allow you to shoot in portrait or landscape orientation, and angle your camera to adjust for any sloping of the monopod.

Holding the Monopod

Use your left hand to grip the top of the monopod shaft, just below the point where it attaches to your camera. Place your right hand on your camera as normal, so that you've got easy access to the shutter button and settings controls.

When taking a picture, use your left hand to push down gently along the monopod's pole. This helps to anchor it in the ground, improving stability and reducing camera shake.

Tuck your elbows into your body. This will reduce the amount of side-to-side movement, giving you an overall sturdier shooting position.

Positioning the Pole

There are a few different ways to position the monopod's pole. Which one you choose depends on personal preference, so I suggest trying them all out to see which feels more comfortable. These methods are described for right-handed people; if you're left handed simply reverse the directions.

The Human Tripod

Stand with your feel at a comfortable, stable width (usually about 2 feet), facing your subject. Extend the monopod so that your camera is a few inches above head height, and then position the end of the pole about 3 feet in front of your body, half way between your left and right feet.

Lean the monopod towards your body until your camera's viewfinder is at eye level. Combined, the monopod and your 2 legs will form a tripod, effective for preventing movement in all directions.

This position works well on soft ground such as grass, but you might find the end of the shaft slipping on harder ground such as concrete. If that's the case, one of the following 2 alternatives will provide more stability.

The Archer

Face your subject and move your left foot forward a foot or 2. Turn your right foot outwards slightly until you're in a comfortable but solid posture.

Place the end of the monopod into the instep of your right foot, so that the shaft touches your shoe, preventing the end moving around. Gently push your camera forwards until the monopod pole rests firmly against the inside of your left thigh. You may have to lean back slightly or move your feet closer together to get the shaft closer to vertical.

This technique works especially well on hard, slippery ground, where keeping the end of the monopod still can sometimes be a problem.

Through the Legs

Again, face your subject with your feet about 2 feet apart. Slide the base of the monopod between your legs and position the end about 3-6 inches behind your left heel.

When shooting, push the monopod to the left so that it rests firmly on your inner left thigh.

This technique works well on soft and hard ground, but it can feel a little uncomfortable and make balancing your body harder.

Other Monopod Uses

As well as using a monopod to provide a stable base for avoiding blurring, they have a number of other uses:

Extending your reach - You can often get a unique angle or clear a crowd by holding your camera up above head height, supported on the end of your monopod. Use the self-timer or a cable/remote release to trigger it.

Instant tripod - Rather than supporting your monopod by hand, try leaning it against something solid like a fence or bench.This provides an even more sturdy support, and can be just as good as using a tripod.

Supporting heavy equipment - Some camera and lens combinations weigh several kilograms, and hand-holding all that equipment can be very tiring. Using a monopod to support this weight is popular among sports photographers, who often have to spend hours in one place with very long, heavy lenses.

Monopods are extremely versatile, and make a good addition to any photographer's gear. They aren't suitable for all types of photography, but they make a great alternative to a tripod in situations where you need extra flexibility and manoeuvrability.

Crop Factor Explained

2011-07-27T00:00:00Z

Crop factor is a term that describes the difference between your camera's sensor size and a traditional 35mm film frame. It's mainly used as a way of comparing lens focal lengths when fitted to different cameras, which is more important than it sounds.

Although crop factor seems complicated, it's not as hard as you might think, and it's an important and useful concept to grasp. Once you understand it, you'll be able to make more informed choices when selecting which lens to use, or when buying equipment.

The Problem

When you fit a lens to a camera, it projects a circular image towards the back of the camera. For a particular lens, this image is the same regardless of what camera it's mounted on. When the image hits the film or sensor, a rectangular portion is recorded.

In the days before digital photography, all SLR cameras used 35mm film. This meant that they all captured the same portion of the projected image, resulting in the same photo for a given lens.

Digital cameras have complicated things somewhat. Film has been replaced by sensors which are usually smaller than 35mm film. Because they're physically smaller, they capture a smaller area of the projected image, resulting in a photo which covers a narrower angle of view.

A cropped sensor captures less of the projected image. The narrower angle of view gives the impression of using a longer focal length. Image by Barry.

This narrower viewing angle makes the photo appear more "zoomed in", which poses a problem - if the same lens can produce different images on different cameras, how can you compare lenses in a meaningful way, or predict what field of view they'll cover on different cameras? Crop factor was invented to solve this problem.

What is Crop Factor?

Crop factor describes the size difference between a 35mm film frame and your camera's sensor. For example, if your camera has a crop factor of 2, it means that a 35mm film frame is twice as large as your camera's sensor.

Modern digital cameras are fitted with sensors of varying size. The best digital SLRs have sensors which are the same size as 35mm film, so they have a crop factor of 1 (this is known as "full-frame"). At the other end of the scale, digital compact cameras have very small sensors, and high crop factors of 5 of 6. The higher the crop factor, the more noticeable the "zooming in" effect for a given focal length.

You can calculate your camera's crop factor by dividing the diagonal length of a 35mm frame by the diagonal length of your camera's sensor. The numbers can get a bit convoluted, but thankfully camera manufacturers list the crop factor in the user manual to save you time and effort.

Effective Focal Length

This is all very interesting (or maybe it isn't!), but how does it affect you when you're out taking photos, or shopping for a new camera or lens? Well, it allows you to make comparisons between different lenses and cameras that would otherwise be difficult to make.

If you multiply a lens's focal length by the camera's crop factor, you get the "equivalent focal length", which is the focal length needed to produce the same angle of view on a 35mm camera. This is why you might also hear crop factor referred to as the "focal length multiplier" (or "FLM").

For example, a 50mm lens on a 1.5 crop factor camera has an effective focal length of 75mm, because 50 x 1.5 = 75. If you fitted a 75mm lens to a 35mm camera, you'd get a photo with the same field of view.

This removes some of the guesswork involved in choosing a lens. You might want a lens that replicates the effect of a 200mm telephoto lens on a full-frame camera. By using your camera's crop factor, you can calculate the exact focal length you need to shop for.

The following table lists the effective focal lengths of some of the most common focal lengths when used with cameras with common crop factors.

Equivalent focal lengths for common lenses and crop factors.
	1.3x	1.5x	1.6x	2.0x
10mm	13mm	15mm	16mm	20mm
17mm	22mm	26mm	27mm	34mm
20mm	26mm	30mm	32mm	40mm
28mm	36mm	42mm	45mm	56mm
35mm	46mm	53mm	56mm	70mm
50mm	65mm	75mm	80mm	100mm
100mm	130mm	150mm	160mm	200mm
200mm	260mm	300mm	320mm	400mm
400mm	520mm	600mm	640mm	800mm
600mm	780mm	900mm	960mm	1200mm

Hopefully you now have a clearer idea of what crop factor means and how it allows you to directly compare lenses regardless of the camera body. It will help you make more informed decisions when buying, and assist you in choosing the right lens to shoot a scene, taking away some of the guesswork and confusion involved in selecting a lens.