Phototuts+

How to Process Photos Taken on Overcast Days

Simon Plant — Tue, 21 May 2013 15:00:12 +0000

You’ll often hear that overcast days are great for photography because the light is soft and shadows are nicely filled. However, it’s more appropriate to say that cloudy days give you the best starting point for images. Straight out of the camera, these images can lack contrast, saturation and look pretty terrible. In today’s tutorial, we want to show you how to take advantage of that wonderful soft light otherwise dreary days can provide.

In this tutorial, you’ll learn five techniques for working with photos made under overcast light:

Emphasizing Bold Colors with Contrast
Adding Drama with Boosted Black and Selective Contrast
Split Toning in Black and White
Color Manipulation with LAB Curves
Searching Out Interesting Light in Dull Conditions

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Thoughts or questions? Leave a comment below!

9 Essential Tips to Shoot Classic Theater

Jose Antunes — Mon, 20 May 2013 13:00:47 +0000

Photographing theater is a challenge. You’ll face low light, prohibitions against flash, moving actors and unevenly lit stages. Here are some tips for you to get the best photos under such challenging conditions.

1. Use Manual Mode to Deal with Tricky Exposures

Low light on the stage and excessive contrast sometimes makes it difficult to get a good exposure for stage plays.

There are two important things to remember when shooting on a stage. The first only applies to stages with very dark or black backgrounds. Many stage situations, be it amateur or professional will use this setup. In these cases, your camera’s automatic functions will be fooled. Switch your camera to manual, and use your camera’s spot meter function to get a solid reading off one of the actors’ faces. If you don’t have a spot meter function, you’ll need to guess the exposure through trial and error.

The other thing to remember is that the lighting will differ depend on where people are standing on stage. The obvious situation is one in which a spot light is being used. Anyone not in it will be in a darker area. The less obvious problem is when a stage seems to all be lit up at the same time. In these cases, the lighting may look even, but most of the time, the edges of the stage will be much darker than the middle. Sometimes this difference can be as much as a full stop. In these cases, I still use manual to quickly switch back and forth once the correct exposures have been established.

2. Use a 70-200mm Lens for Its Reach

The best lens to use depends on the distance you’re from the stage. Usually a 70-200mm is a good choice, but a wide angle might be needed for some photographs

A good lens for theater photography depends on how far from the stage you are. Anything from a wide angle to a 50mm can be used if you are near the stage, but in most cases this isn’t an option. I consider a zoom will be the more logic option. I’ve used zoom lenses like a 28-135mm and a 100-400mm, but I would consider a 70-200mm to be the best choice. And it does not have to be a f/2.8, one of the new 70-200mm f/4 will be enough.

I understand many will crave the f/2.8 for its light gathering capabilities, but with modern DSLR cameras, you can use a higher ISO and live happily with an aperture of f/4. Having a constant aperture lens is very important however. If you’re maximum aperture changes when you zoom in and out, then using manual exposure becomes very tricky.

3. Use RAW and Picture Styles to Help with Mixed White Balance

Let the camera choose the best white balance for each situation and prepare to edit each single image afterwards

For white balance, leave it on automatic, as stage lighting is a mixed bag. This is a time to consider shooting RAW, so you can adjust white balance at the editing stage. You need to expect to compromise, as there is no way to get all different lights to look right. In many cases, each different image will need correcting, as there is no batch magic function.

Red lights are especially troublesome. In cases when these are used, I change the Picture Style on my camera from Standard, which is the typical default, to Neutral. If you’re comfortable making a customized picture style, all you need to do is lower the contrast and saturation to your liking.

4. Know the Play

If you know how the action flows it is easier to get the shots that best show the peak of the action during a stage play

The best way to photograph a performance is to understand what it’s all about. If you want to give it a try, approach a local group or theater ask for permission to see the rehearsals, plan to share some images with the crew. Ask everyone as much as you can, the director, the lighting crew, the actors.

Most importantly, if the play or performance is a classic, that’s means you should be able to find a copy of it. Read the play! If it’s in a different language, at least find some good summaries of it. When you’re doing this, pay close attention to the attitude and motivations of each character. This will inform what moments are most vital to the story.

With a zoom lens as the 70-200mm f/4 you can use the depth of field creatively to center attention on a specific actor

5. Vary Your Composition by Creating Tight Shots

Although masks from Greek theater play an important part in the play, the facial expressions can give you an idea of the feelings conveyed by the actors.

Facial expressions did not matter much in Greek theater, as actors were far from the audience, due to the dimensions of some large open-air theatres. Masks were used with intensely exaggerated facial features and expressions to convey the message.

In modern day representations, faces are equally important to convey feelings, so you should always follow the action and try to get the best images of facial expressions. In fact, much of the theater, even from the Medieval period, is based on the expressions and grimaces of the actors.

Always watch for those unique moments of tension that help to showcase the beauty of theater!

6. Know When to Capture Wide Shots

During a visit to one of the most beautiful epigraphical museums in Europe, the public is led along the exhibition rooms. It’s a journey through the past guided by characters.

Some theater plays go beyond the conventional stage and move within an area. When the environment is important be sure to capture it. In the previous image, the pater familias welcomes the guests and invites them to join the matronae of his domus in a ritual visit to the tombs of the ancestors and the altars of the gods.

To photograph a production like this you have to understand how actors will move within the rooms and be prepared to change plans at any moment. This also means, though, that you can shoot from different positions, even from behind some of the actors for some unique perspectives.

Keep an eye out of performances like these as they are really fun to shoot. Including the environment in your images is important when document street performances or any time the theater itself has an important history. These encompassing images are always in high demand and often forgotten about when you’re concentrating on the action of a play.

7. Understanding Theater

If after reading this tutorial, you feel that this is something that interests you, take the time to explore more about the craft. Blocking, for instance, would be a good place to start. Simply put, blocking is how characters move around the stage. Having some basic knowledge of this will help you anticipate what will happen next.

Stage lighting is another thing that can aid you in your shooting. The color and the direction of the light is meant to convey meaning, and it usually works very well. Remember, stage lighting is older than photography lighting. Knowing how to capture the light is important both while shooting, perhaps using a wide lens to emphasize the isolation of the spotlight, and in post-production, perhaps when deciding whether to correct for or embrace a color cast.

All that being said, shooting theater is the best way to get better at shooting theater. The more you shoot the easier it will be to understand how light works and how action flows onstage. Try it!

8. Be Aware of the Etiquette

Avoid shooting at the most quiet moments, as even the noise of the shutter can distract the actors. As a photographer you should be invisible. Use a camera bag that lets you change lenses quickly and without noise.

Take lots of pictures because many of them will not turn out as you intended. Lots of things go wrong like getting out of focus shots because of your shallow depth of field, actors waving hands in front of their faces when you least expect it, light changing abruptly. These are reasons why being able to follow rehearsals to understand how everything works is important.

9. Remember They’re Performing for You

Photographing theater is a magic experience that you should try. Look for a local group and ask for permission to capture them.

Photographing theater should be easy. Remember that! The actors are trying to exact what you want. They are trying to show emotion in their faces. They are trying to position themselves onstage in interesting ways. They’re doing exactly what we want all our subjects to do. So don’t get so caught up the details that you forget what it is you’re capturing.

Unfortunately, those details are what make theatrical performances hard to shoot. So when you start, work hard to make those details second nature. Master them and get them out of the way of the real shooting. It can be frustrating, but if you love what you shoot and understand it, then the task will be easier.

Tuts+ Premium Cash Back Offer: 3 Days to Go

Joel Bankhead — Fri, 17 May 2013 13:30:00 +0000

This offer ends soon! Act now and don’t miss out on cash back when trying a monthly Tuts+ Premium subscription.

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Photo Critique #189

Cameron Knight — Fri, 17 May 2013 13:00:03 +0000

Friday Photo Critique is our weekly community project, where we publish a photograph submitted by one of our wonderful readers, then ask you all to offer constructive feedback on the image. It’s a great way to learn more about photography, express your viewpoint, and have your own image critiqued!

Quick Ground Rules

Play nice! We’ve deliberately chosen photographs that aren’t perfect, so please be constructive with any criticism.
Feel free to offer any type of advice – composition, lighting, post-processing etc.
You can also link to photographs that you feel offer a great example of this type of image shot exceptionally well.

Without further ado, here is this week’s candidate for Friday Photo Critique!

The Photograph

Photo Details & Inspiration

Canon 7D
90mm
1/1600
f/2.8
ISO 100

I wanted to capture the speed and intensity of the dogs during the dogsled race called Finnmarkslopet.

Photographer: Tommy Hansen

Please let us know what you think in the comments – how would you have approached the scene or taken the photo differently? A massive thank you to everyone who commented last week.

The most constructive and helpful comments will be featured on the site. Interested in submitting your own photo? You can do so here!

Lightroom 5 Features: Using the Radial Filter

Martin Perhiniak — Thu, 16 May 2013 15:00:26 +0000

Adobe Photoshop Lightroom 5 Beta has a brand new tool called the radial filter. It gives a whole new way of applying local adjustments to photos non-destructively. It can adding emphasis and reveal specific parts of images. In this video, we will show you the how to work with this new tool.

Watch the Video

Thoughts or questions? Leave a comment below!

Lightroom 5 Features: Using Smart Previews

Martin Perhiniak — Wed, 15 May 2013 14:00:04 +0000

Adobe Photoshop Lightroom 5 Beta offers a very exciting new way to work with your catalogs. In the past, you had to rely on your original photo files to be able to make changes in the Develop module, but now you can use smart previews. This feature keeps a highly reduced file size version of your photos next to the catalog, so you can keep working on your photos even if you don’t have the photos with you.

Watch the Video

Thoughts or questions? Leave a comment below!

Lightroom 5 Features: Using the Improved Spot Removal Tool

Martin Perhiniak — Tue, 14 May 2013 15:00:06 +0000

Adobe Photoshop Lightroom 5 Beta has many interesting new features and improvements for the retouching tools. You can now use the spot removal tool as a brush, you can visualize spots caused by sensor or lens dust and many more. Check out the video to learn more about how to use this completely non-destructive tool.

Watch the Video

Thoughts or questions? Leave a comment below!

Lightroom 5 Features: Using the Upright Tool

Martin Perhiniak — Mon, 13 May 2013 13:00:58 +0000

Adobe recently released the Lightroom 5 Beta for download. There are several new features that have the potential to vastly improve the Lightroom editing experience. Today, we’re taking a look at the “upright” tool, which can be used to correct horizons and other perspective issues.

Watch the Video

Thoughts or questions? Leave a comment below!

Photo Critique #188

Cameron Knight — Fri, 10 May 2013 13:00:46 +0000

Quick Ground Rules

Play nice! We’ve deliberately chosen photographs that aren’t perfect, so please be constructive with any criticism.
Feel free to offer any type of advice – composition, lighting, post-processing etc.
You can also link to photographs that you feel offer a great example of this type of image shot exceptionally well.

Without further ado, here is this week’s candidate for Friday Photo Critique!

The Photograph

Photo Details & Inspiration

I wanted to capture the old, semi-ruin of the old lifeboat station. Then looking out over the sea, the link between the RNLI and the sea. This photo means a lot to me. I used to go to Moelfre, Wales every year when I was younger.

Photographer: Alex Dorman

Please let us know what you think in the comments – how would you have approached the scene or taken the photo differently? A massive thank you to everyone who commented last week.

The most constructive and helpful comments will be featured on the site. Interested in submitting your own photo? You can do so here!

How to Photograph Jewelry

Jose Antunes — Thu, 09 May 2013 15:00:10 +0000

You might not be invited to shoot jewelry for Christie’s catalogs, but taking pictures of your own jewelry can be a of fun, and a lesson about the way light works. Today, we’ll walk you through the entire process.

The more time you take to set up a shoot the easier it will be, afterwards, to do a series of shots and have consistent light.

1. Equipment

Photographing jewelry is not necessarily an easier task because we have digital cameras. It is true they help, giving you an immediate idea of the results, but they don’t resolve the basic need for an understanding of light. You have to know how you can make it work with you to get the best images possible.

That being said, to photograph jewelry you do not need a lot of equipment. In fact, a sheet of white paper and some window light and reflectors will do, at a basic level. Even a compact camera with a macro or close up function will do the job, as long as it also lets you control the exposure.

This seemingly complex photograph was made using a wall mirror as the base for the bracelet and ring.

You’ll also need some jewelry to photograph. When you’re starting out, you won’t be doing contract work for Cartier, so look to your own family or even your own jewelry box and photograph things that have some meaning to you.

Creating Your Set and Gathering Props

You do not need a complex setup to make good images. Just play with small reflectors and a window light to start with.

There are an endless amount of locations and scenes that would result in good jewelry photography. For this tutorial, I used a tabletop studio with different colored backgrounds. These are relatively inexpensive, but if you’re not will to invest yet, you could use a bed sheet or some butcher paper and still achieve good results.

You’ll often want something other than the piece of jewelry in photo to add depth or tell a story. If you become hooked on this type of photography, make it a habit to collect materials you can use as props and or background. Ceramic tiles, stones and weird piece of wood will give you multiple options for more elaborate work. At the same time, resist the temptation to clutter up your image with a bunch of junk.

Choosing a Camera

The results with natural light can be like this example. Focusing with precision and defining what should be in and out of focus is essential.

Modern compact cameras often have excellent macro capabilities due to the small sensor they house. Therefore they are great tools for jewelry photography if you can manually adjust your exposure settings. This task is easier on a DSLR, but most for most jewelry, you’ll need a macro lens. A macro lens is a great investment, but they don’t come cheap.

Choosing a Macro Lens

With a macro lens you get so close to the subject that, sometimes, creating a “hide” for the lens is a good idea. A white piece of paper with a hole cut in the middle will suffice. And work as a reflector of light.

I use two macro lenses, 60mm and 100mm, with an APS-C body. Having two lenses lets you choose to work closer or further away from the subject. The 60mm can be problematic for some of the sets with very small object because I have to get too close to the object to fill the frame. The 100mm is more versatile in that sense. When choosing a macro lens, think about what you’re going to use it for and how close you actually want to be to your subject.

Use a Tripod and a Remote Shutter Release

A tripod helps to keep the exact same framing and define depth of field changes.

A tripod is nice to have for this work. Sometimes I will work with the camera in my hand, especially if I am using flash. Still, a tripod will help you to keep a subject framed the same way, which will allow you to precisely adjust your focus.

A remote shutter trigger is essential, so you do not have to press the shutter on the camera. As some exposures can be on the longer side, touching the camera would cause vibration that would show on the image.

Flashes, Diffusers and Reflectors

Once you set the light right, it does not matter what you change in the background, the exposure remains the same

A lot of my table top photography is done with natural light and reflectors. See my article, 8 Reflectors You Already Have in Your Home, for some info on making your own reflectors. You can also use flash, that lets you shoot at any hour you want. One flash will be enough, two will be great, three is probably too much.

A flash and a single reflector (from commercial brands to a white piece of paper, foam, or cardboard) will offer you multiple options. Your flash must “off camera” for professional results. You can use cables or radio triggers to place you flash off to the side of the scene.

2. Creating Soft, Even Light

Try with different backgrounds, for different moods and results

The best photography location is closer than you think. Find a window at home that offers good light you can control, set a table there and your studio is almost in working order. A white foam board can be your working base, then add a few homemade reflectors, maybe some small mirrors.

Just remember that light has color, and that light changes. If you’ve a red wall in the background its tone will probably influence everything around. Also, do not mix lighting. If you’re using window light, turn off all the other lights in the room. You can use flash, tungsten lights, fluorescent, but do not use them together.

Contrasting colors help to create strong images that attract attention.

The goal for most jewelry photography is to create soft even light with very little shadow. Working on a black background makes this a little easier. When you’re first starting out, use the reflector to make it seem like light is hitting the subject from all directions.

The Right Conditions

A LED light and a reflector can also be used for jewelry photography

The keys to good jewelry photography are sharpness, lighting, exposure, so it pays to study each situation and define what you intend to do. Sharpness will be drastically affected by your depth of field, so I usually start my exposure solution by concentrating on my aperture. When shooting macro photos, your depth of field will be very shallow due to the small distance between the object and your camera. Because of this, it’s not uncommon to use apertures above f/11.

The best way to control your lighting and exposure is to use your flashes in manual mode. Flashes offer consistent light that can be positioned exactly. By using manual mode, I can control the exact output, even if I change backgrounds or colors in my setup. Experiment with the position of your flash and reflectors, and you’ll find a good combination.

Try, Try, Try!

Using a plain dark background or a mirror create different images of the same ring./figcaption>

Patience and practice are the most important parts of shooting jewelry. You need to be aware of your focus, but most importantly, your light. Soft, even light tends to produce the best look. Remember to keep batteries charging, both for camera and flashes, listen to some good music, and have a nice cup of coffee on hand while you review your images to see how the session is going. Make small changes, and you’ll find yourself making good images.