This tutorial has been transcribed from the SLR Lounge Lightroom 4 Workshop on DVD, a 14 hour Lightroom 4 A – Z guide with over 130 tutorials for mastering Lightroom from start to finish. The Digital download can be purchased from SLR Lounge while the physical copy is available through Amazon Prime.

Overview

In Part I of the Portrait Retouch on a Male Subject Series, we went over basic color correction on our image. I produced the image with a darker, more dramatic stylized look. However, grading and color stylization is all subjective. Retouch on the other hand is a bit less subjective. There are definite do’s and don’t when it comes to retouch. In this article, we will take our color graded portrait and use strictly Lightroom 4 to do some more advanced portrait retouching.

As we mentioned in the last article, Lightroom can be a very efficient tool when retouching portraits.  Lightroom does not have all of the tools and capabilities as  Photoshop. However, we find that for most of our retouching needs it is quite sufficient. We also save time by editing directly from Lightroom and not having to take each image into Photoshop. So in this Part II of our three-part series we will show you how to remove blemishes as well as apply a skin softening mask right within Lightroom.

Using the Spot Removal Tool to Remove Blemishes

We use the Spot Removal Tool to remove various small objects such as dust or unattractive details from our images. However, we can also use it effectively to remove blemishes. This subject does not have many blemishes, however, he does have quite of few freckles. Now of course we do not want to remove all of the freckles because these are distinguishing marks individual to him. We have a general rule when it comes to removing blemishes vs actual facial details. When it comes to removing blemishes, you can remove them all without a care. However we want to be very cautious when it comes to things like freckles, beauty marks, or other identifying facial traits. Removing such items will actually make the person cease to look like themselves. For this image, we will however remove a few freckles in order to present a bit of a cleaner look. Mainly we are looking to remove freckles that are distracting, and not identifying features.

We do this by selecting our Spot Removal Tool by hitting “Q” on the keyboard or by selecting it on the Adjustment Tool Bar above the Basic Panel. We will then zoom in to 100% on our image by simply clicking on it. To use the spot removal tool, adjust your brush size to the smallest possible brush that will completely cover what you are trying to remove. The second circle, which is the sampling area, will appear and Lightroom will try and guess an area of the image that matches what you are attempting to remove. If Lightroom does not correctly place the sampling area, select an area of the image that most resembles the area you are trying to clone or replace.

Use your judgement on what you would like to remove. Of course blemishes such as acne is something we will always remove. If a client or model has a strong facial trait that is being somewhat distracting, a tip would be to diminish but not to remove it. To diminish, simply bring down the opacity on the Spot Removal Tool so that it only has a softening effect. The Opacity slider controls transparency of the brush and is located in the drop down panel of the Spot Removal Tool.

Here is our image after cleaning up some of the freckles. Notice how left the few freckles right on his cheek and a couple above his eye brows because those are strong identifying freckles.

Using Adjustment Brushes to Soften Skin

Next we will will apply a subtle skin-softening mask. With portraits of men we always keep this effect pretty understated. This is because men do not usually want to look like they have baby soft skin, so we like to keep a little bit of ruggedness to their portraits. To create and apply our mask we will select the Adjustment Brush Tool by hitting “K” on the keyboard or selecting it from the Adjustment Tool Bar above the Basic Panel. You can reset the current brush settings by holding down “alt” on a PC and ”opt” on a Mac and clicking the word “Reset” on the upper left corner of the Adjustment Brush drop down panel.

Then we bring down our clarity and sharpening settings. Reducing the sharpening and clarity has a softening effect similar to Gaussian blur in Photoshop. Once again, we keep this effect very minimalistic for men. For now we will start with -15 for the Clarity and -15 for Sharpness. We can always come back and adjust these settings after applying the mask.

Now we will adjust our brush size to a large brush and paint all of the skin showing in the image. You can show your mask overlay by hitting “O” on your keyboard. This will show what you have painted on your image in red.

Once you have completely covered the area that you would like to soften, we will go back in and refine the mask. We can do this by holding “alt” on a PC and “opt” on a Mac while you have the brush over the image. By holding down “alt”, your brush will remove the mask you had applied. We are going to refine the edges, as well as remove the softening effect from his lips, eyes, and eye brows. Always make sure to completely remove the softening mask from these areas. If it is not fully removed there can be quite a strange effect to your portrait.

You will notice we are not being extremely careful when removing this mask. This is because the mask is so subtle that there is no need to spend the extra time making sure it is perfect. However, if your softening settings are very powerful, you do want to make sure you spend the time making a perfect mask. Once you have your mask where you would like, you can remove the overlay but hitting “O” again. Now we have a finished retouched portrait. Hit “\” to see your before/after versions.

The SLR Lounge Lightroom 4 DVD Guide

Stay tuned for Part 3 of the Advanced Portrait Retouch Series where we will go over how to enhance and brighten a subjects eyes, as well as enhance detail and contrast in hair and other parts of the image! If you enjoyed this tutorial then we know you will love the SLR Lounge Lightroom 4 Workshop on DVD featuring 130 tutorials and nearly 14 hours of training covering Lightroom 4 from A – Z, nearly half of which is devoted strictly to image processing techniques.

eDVD Digital Download available at SLR Lounge

Physical DVD available for purchase at Amazon Prime

Post originally from: Digital Photography Tips.

Check out our more Photography Tips at Photography Tips for Beginners, Portrait Photography Tips and Wedding Photography Tips.

Advanced Portrait Retouch on a Male Subject in Lightroom 4 – Part 2 of 3

1. Do your Research

Taking an international trip to an exotic location, especially if you are going solo, can be a large investment. Whether you choose to go solo or join a group you need to take proper time to do your research. There are many area’s that I have researched for well over a year prior to committing to the expedition. What is the best time to come, are there events or festivals at certain times of the year, is it the rainy/dry season, how does that effect the roads and the environment that you are shooting in, how far are the accommodations from the subject you are photographing? Take the proper time to ask all the important questions and learn all the details to maximize your photographic opportunities.

2. Find the Right Guide

YOUR GUID WILL MAKE OR BREAK YOUR TRIP This is critical so either team up with someone who has been there or do your research.

Search for guides on google, in travel and photography forums, and through sites like flicker. Try to get to know your guide by email first. Once in the country meet for tea or coffee and test their knowledge and experience. Have they worked with photographers before? How flexible are they and can they take you to where you want to go and get you there on time? Do you feel safe with this person, can you trust them with your life? Take time to negotiate a price with them, in most cultures this is part of the relationship building process.

3. Know your Outcome

Just going to enjoy taking photographs would be the most fun but if you are doing this professionally then you need to manage your expectations by knowing in advance what your expected outcome is. Are you taking stock travel shots, editorial, fine art, or all three? Create a shot list in advance so that you can check from time to time to make you are covering everything. Include the simple basics such as Vertical, horizontal, cover, wide angle…. this is to help you, not hinder you. When you get to an exotic location the excitement and the adrenalin is rush you don’t want to come and home and say – why didn’t I shoot more verticals, cover shots, opening shoots, food, etc.

4. Get Organised

Don’t spend all your time frantically searching for stuff and miss out on photo opps. Organize your photo bag so everything has a place/pocket and always put it back in the same place. However that does not always happen so decided on ONE convenient go to place in your photo bag, side duffle pouch, a separate bag, an area that can be with you everyday and when you are in too much of a hurry throw it in there but then put it back where it goes before heading off for sleep. Items that are not in your photo bag, categorize and put in separate bags. I have different color bags; one holds chargers, one holds audio, one holds cell and internet accessories… I think you get the picture…. I always know were everything is right when I need it.

5. Back Up

Have a back up workflow and stick to it. Download in the evening, lunch, twice a day, whatever works best for you, but do it consistently the same way/time everyday. Make a minimum of two copies and three if possible. Keep one copy on you and one copy in a separate bag or with your guide, just like off site storage. When flying keep one copy on you and one under the belly. If something were to happen and a bag is stolen then you would have another copy somewhere else. Bring back up batteries, camera body, card reader and the likes. *Bring a power bar with the electrical outlet of the country or buy one right when you arrive.

6. Slow Down

When you arrive in the big city, if possible, drive to your remote location and use the time to slow down, decompress from modern life, let go of your preconceived idea’s, and get into the rhythm of the culture and place. Plan to arrive at midday when the light is harsh, leave the camera in the car and just wonder about getting a sense of place. If you are photographing people take the time to meet them, have tea, show interest in them and their lifestyle.

7. Participate

You will create more compelling images when you experience what you are photographing. If you are going to an event or festival put down the camera, participate, experience the moment and then photograph the experience. If you are photographing indigenous cultures, sit and have a meal with them, immerse yourself into their lives and culture and your images will be more powerful because of the connection you have with your subject.

8. Work the Light

Use different light sources to create an extraordinary photograph of an extraordinary subject or place. Use reflectors to bounce golden light or diffusers to soften shadows. Use fill flash or even better take that flash off camera. Try underexposing the background and using off camera flash with jells to light your subject for a very dramatic image. Paint with light, even in a remote location. Photographers tend to want to pack light and leave these type accessory items behind, but these are exactly the items that can add drama to your images and make your travel images stand out from the crowd.

9. Look

Don’t forget to look behind you as that maybe where the best shot is. When photographing people I have deliberately set up shots against the light anticipating the behavior that may occur behind me and then turned around and grabbed a great natural moment. Lie on the ground and shoot up, climb a tree and shoot down, change your perspective and change the outcome.

10. Remember

Remember more than a photograph is the experience. A great photo does not have to be new, it has to be you; your vision and your experience.

Piper Mackay is a professional travel and wildlife photographer whose work is heavily based in Eastern Africa. She is currently leading both wildlife and cultural safaris in Kenya, Tanzania, Rwanda and Ethiopia. Her work is represented by Getty images and she is and instructor for the Travel and Editorial track at Calumet. View her work at www.pipermackayphotography.com.

Post originally from: Digital Photography Tips.

Check out our more Photography Tips at Photography Tips for Beginners, Portrait Photography Tips and Wedding Photography Tips.

10 Tips for Getting the Most out of Your Remote Expedition

He also created this short behind the scenes video that shows how it was done.

Check out the full series of Thomas’s shots on his Flickr account here including the setup for his shoot here.

Post originally from: Digital Photography Tips.

Check out our more Photography Tips at Photography Tips for Beginners, Portrait Photography Tips and Wedding Photography Tips.

Dust and Dance: Behind the Scenes of a Beautiful Image

As a landscape photographer I am constantly seeking that next X-factor shot – an image that leaps from the screen or page and demands the viewer’s attention – preferably attention of the favourable variety.

If you spend an hour or two on a photosharing site like Flickr viewing landscape images in un- curated groups you will note that a very small percentage of the total image population stands out from the crowd.

However, if you view a carefully curated collection of top-shelf landscape images you will probably start to notice some themes appearing. Certain visual cues and devices appear across multiple images – there will often be subtle commonalities between these attention hogging photos.

In many instances these images will possess the qualities of what I consider a dynamic landscape image.

What is a Dynamic Landscape Image?

Summer Storm, Queenstown New Zealand. An example of a dynamic landscape image. To maximise the number of dynamic elements in this image I locked this composition off in the field and shot multiple images. The best of about five wave-action frames were then blended together to form the final image.

There is no dictionary entry that defines a Dynamic Landscape Image* – heck, there’s not even a Wikipedia entry – so it is a somewhat personal interpretation.

To my mind, a dynamic landscape image is one that in some way conveys the energy and scale of the natural world. Dynamic images also often seek to breach the confines of their 2D medium by inferring a sense of depth – many truly dynamic image have an almost 3D quality about them.

*As far as I am aware, the term Dynamic Landscape was first popularised by the late Galen Rowell – one of the most influential American landscape photographers of his generation. Rowell used the term to demarcate his work from the somewhat literal colour landscape photography that dominated the early 1970′s. Although he was certainly not the only photographer employing these principles in his work, he appears to have been an excellent self-promoter and the term is somewhat synonymous with his name.

Dynamic Composition

Composition is the backbone of all great photos – dynamic or otherwise – but it is essential in the creation of a truly strong landscape image.

I feel that the goal of a successful composition is to draw the eye into image and hold it there for as long as possible – which is seemingly, a maximum 15 milliseconds these days*. The following image is an example of an image that I feel achieves this objective.

Sunrise Over The Moeraki Boulders, Otago New Zealand. Seascapes lend themselves to the creation of dynamic landscape images.

This image combines all of the elements that I feel comprise a Dynamic Landscape Image:

• Leading or converging lines
• Interesting perspective
• Visually interesting foreground elements
• Visually interesting mid-ground & background elements
• Vivid colour or incredible light
• Vision-locking tonal control
• Suggestion of movement

It is important to note that not all dynamic landscape images possess all of these factors. In fact, it is depressingly rare to have it all come together in one moment. It must also be stated that what follows is not a recipe for creating great images. Photography can only be practised as an art when personal interpretation is injected into the process – only use this information as a guideline for evolving your own images.

So let’s have a very quick look at each of these Dynamic Landscape factors.

Leading Lines & Converging Lines

One of the simplest ways to draw a viewer’s attention into an image is to use converging or leading lines. Converging lines have been used by painters for centuries to create the illusion of depth within a 2 dimensional medium.

This is why photos of wharves, roads, and rivers make such successful photographic subjects. Although many consider such subjects to be cliches, I strongly council my workshop students to shoot them heavily to build an awareness of the power of a line in an image.

Leading lines not only draw attention into the image, they can also help to hold the eye within the confines of the image.

Check out the crudely overlaid wharf image below combines the strong converging lines of the wharf with secondary supporting lines in the water, hills and clouds.

Look for these lines whenever you are shooting – they are almost everywhere.

The Wharf at Frankton, Queenstown New Zealand. Shoot 'cliched' subjects like wharves and roads until it hurts a little. The pain is just your visual muscles growing stronger. Shooting man-made lines will teach you to look for more subtle lines in nature.

Although the wharf is the primary leading line device in this image there are a number of leading lines present in the water, hills and clouds. The darker reflected lines in the water help hold the eye in the central region of the frame.

Interesting Perspective

As a photographer you are an artist not a forensic documentarian. You get paid the mega-bucks and live the champagne lifestyle to show your audience something a little different – that is your raison d’être.

Hence I rarely find myself shooting at my natural standing position. For some reason, compositions seem to get more dynamic the closer you are to the ground/mud/ snow/ice-encrusted cow turd – it’s just the way it is.

This is especially apparent when using an ultra-wide lens. Subject matter becomes incredibly diminutive and interesting leading lines really lose their visual power when viewed from 5 or 6 feet high – so try getting uncomfortably close and low.

Aim high also. Look for ways to gain elevation to find that privileged viewpoint – I find that this often works really well when shooting telephoto lengths for some reason. Try scrambling up banks, standing on cars and sitting on your wife’s/husband’s shoulders (sans tripod) in an effort to find an interesting perspective.

Paddock Bay, Lake Wanaka New Zealand. Getting uncomfortably low in this instance dramatically altered the perceived form of the rock on the lower right of the frame. B y moving about I was able to create the satisfying impression of the rock 'interlocking' with the reflection. Note the strong leading line formed here also.

Foreground Elements

I believe that a dynamic image almost always possesses a strong foreground element, or elements, that complement the greater scene.

Take a sunset/sunrise for example. Sure, spectacular light makes for great images, but personally photos that contain nothing but vast expanses of super-saucy red clouds do little to engage me as a viewer.

The best dynamic images typically have a strong point of interest in the lower half, or foreground. This is your visual entree into an image. If your foreground element happens to include leading lines you are quite possibly onto the much vaunted money-shot.

Lupin(e)s, Fiordland New Zealand. Yeah, this is cheating – foreground elements don't come much easier than this. That aside, keen observers will note the subtle converging lines formed out of the lupin pattern. This was accentuated by deliberately placing a bloom in each corner and leaving a little empty space at the bottom of the frame. Sunstars make an exceptional background element (segues niftily to my next point)

Visually interesting Background Elements

I often compose back to front. Firstly I will find the subject of my image, say a spectacular sunset playing out on mountains, and then I will run around like a deranged prison escapee in search of a foreground element to complement the background.

It is very much a balancing act – defining who or what element gets to play the lead role in your composition. Ideally the background is where the eye should gravitate to and the foreground should pick up a gong for best supporting actor.

Milford Sound, Fiordland New Zealand. The star of this image is the dramatic light playing out in the clouds over the eye- catching form of Mitre Peak – the foreground & mid ground elements are critical supporting parts of the whole composition but don't hog the lime-light.

Unusually, I didn’t scramble to find a foreground element for this image – I staggered. Four minutes earlier I had been happily sleeping in the back of my truck – my alarm went off and I saw this – panic ensued….

Vivid Colour or Incredible Light

By now it should be obvious that I have some un-checked colour-dependancy issues. I love colour*, especially natural light shows. However, I feel that vivid colour needs to be kept in balance and be a part of the overall composition. Too often I see images that rely solely upon dollops of super- saturated colour.

For a dynamic landscape image to work, balance must prevail. Hence I attempt to avoid filling the frame with too much colour (yes, there is such a thing – see below).

*I am even partial to the American version – colour.

Sunrise from Mt Taranaki / Egmont, New Zealand. In this image the main act was the rapidly dissipating beams of sunrise goodness and the rich colour in the clouds. Lens choice and composition mean that the sunrise colour is just one component of the image. I often like to keep dark forms in my images (anathema to the HDR readers amongst you) as a counterpoint to the extreme lightness of a sunset/sunrise. I find the dark hills here quite mysterious in contrast to the sunstar and clouds.

Too much colour. This was one of the most intense sunrises that I have ever witnessed. I should have just sat and enjoyed it – this is just too much colour for my tastes – it looks un-realistic. This shot has actually been partially de-saturated in an effort to tame the colour.

Vision-locking Tonal Control

I am tempted to trademark this term – it sounds like a mind-control experiment deployed by shady branches of the US intelligence community.

Basically all I am referring to is the phenomenon of vignetting.

The eye is drawn towards lightness within an image, particularly near the centre of frame. Furthermore, the eye is restrained by darkness at the edges of the frame.

When employed deftly, the viewer’s eye is gently drawn into the image by lightness and held there by the darker edges of the image.

Look at all of the images above and you will see this technique in use. Often this happens in- camera just by virtue of the composition and through use of ND grad filters. However, I will often darken the top edge of an image in post and even add a subtle vignette as the last thing I do. Weird Cloud formation & Road to Nowhere. Alexandra New Zealand. In order to achieve vision-lock here I painted in a brighter layer near the central portion of the image. A little vignetting was added to further enhance the effect.

Suggested Motion

Suggested motion, by way of blur or frozen motion is not always an achievable, or desirable, element to utilise within an image – but it can add another layer of dynamism to a composition.

Don’t just get locked into shooting long exposures either – frozen, or partially-frozen motion can convey movement just as well as a long exposure in some circumstances (see the first image, Summer Storm, for an example of this).

Moeraki Boulder, Otago New Zealand. Long Exposure motion blur creates a dynamic tension between the static boulder and the relentless sea. Note the other dynamic ingredients added to this image - interesting perspective, use of colour, vision-lock, foreground/background interest.

Can Dynamic Landscape Images be B&W?

Absolutely. There are many thousands of truly incredible B&W dynamic landscape images. No style renders texture and contrast better than B&W – at it’s best it is magnificent.

In order to compensate for their ‘lost’ colour Black & Whiters will often apply industrial grade quantities of Vision Locking Tonal Control (that’s why vignette sliders to go -100) and rely heavily upon strong graphical elements such as leading lines (you will find a lot of B&W photos of wharves and sewerage pipes heading out to sea).

I would show you an example of this, but I am mono-challenged. If you want to see B&W Dynamic landscapes at their best check out the work of Mitch Dobrowner & Hengki Koentjoro.

So Are All Good Landscape Images ‘Dynamic’?

Not at all. Stunning images can be made by avoiding almost all of the techniques that I have just espoused in this essay. Dynamic Landscape composition is just one style of landscape photography.

In fact, many of my favourite images by others are beautifully composed static, flat compositions. These ‘static’ images respectfully comply with the two dimensional constraints of the photographic medium and rely upon a separate set of visual devices in order to ‘succeed’.

If they will have me back here at DPS, these static landscapes will be the topic of my next blog post.

Todd & Sarah Sisson are full-time landscape photographers based in Central Otago New Zealand.

Their work can be found as fine art prints & canvas prints at www.sisson.co.nz Todd also offers private and group photographic tuition. They can be found on facebook, Google Plus and twitter.

Post originally from: Digital Photography Tips.

Check out our more Photography Tips at Photography Tips for Beginners, Portrait Photography Tips and Wedding Photography Tips.

Composing Dynamic Landscape Images

Easy Release

?If you want to own the rights to your photographs free and clear, which makes it legal for you to sell the photos commercially to magazines or as prints, you must have a model release for every photo that contains an identifiable person or persons. Easy Release is the app for that. The Easy Release app gives you the tools to collect digital signatures with each photograph that you take.??Easy Release is made for the iPhone, iPad and iPod Touch, and integrates with each device’s built-in camera. If you shoot on a separate camera, consider taking a single shot with your iPhone, iPad or iPod for identification purposes, collect the model signatures in the app, and then just shoot freely with your external camera, knowing you have proof of your subjects’ consent safely stored. The $9.99 price tag is worth the peace of mind.??

Pocket Light Meter

If you use an external camera with manual settings for picture-taking and want to get the perfect lighting conditions every time you take a shot, you’ll benefit from a light meter. A light meter reads the lighting conditions in a location, and displays the appropriate settings to help you get the perfect shot. You can buy a light meter to carry along with your camera, or you can download Pocket Light Meter to your iPhone, iPod or iPad for free. The app offers the same features as a traditional light meter, and has undergone an upgrade since its initial design, which gives it better performance in low light. For a serious photographer, it’s an absolute must.

Adobe Photoshop Express

Even if you’re an incredible photographer, you’re bound to end up with an occasional photo that doesn’t come out the way that you want it. That’s why many regular photographers are also regular users of Photoshop, one of the most popular image-editing programs. Adobe Photoshop Express is the mobile equivalent of the desktop edition of Photoshop. Express has fewer features than desktop Photoshop, but it does provide the tools you need to sharpen, brighten, and crop photos directly on your phone or mobile device. So you get great photos before they even leave your phone. Adobe Photoshop Express is available free for Apple devices, including the iPhone, iPad and iPod Touch, as well as for Android.

Impression

Uploading photos to the Internet, or sharing photos with other people, can be a risky business. The Internet has become a hotbed of creative thievery, and once your digital photos start traveling through cyberspace, there’s no telling where they might end up. That’s why many photographers choose to put watermarks on their photos. When done well, watermarks mark photos to a point that they are hard to steal, while still allowing the underlying image to be seen without too much difficulty.

Impression, available for the iPhone, iPad and iPod Touch provides a simple tool to watermark your photos directly on the device, so that you can upload them directly to the Internet without having to pass through a desktop computer. You can downloaded the app for $1.99

Photoaf Panorama

If you’ve always wanted to be able to capture those incredible panoramas that you’ve seen online or in stores, Photoaf Panorama is the app for you. The free Android app works by using the camera’s built-in sensors to determine the angle of each shot, allowing you to match the angles of each picture you take of a cityscape or landscape. Once the photos are taken, the app pulls the photos together into a single seamless image, giving you a 360-degree view of the place you’ve been. The panorama can then be viewed by scrolling across on the screen of the Android device. It’s an ideal app for travelers who encounter a lot of beautiful scenery.

When it comes down to it, most cameras built into cell phones, MP4 players or tablets don’t have the features to compete with quality digital cameras. With a few upgrades to your mobile device, though, you can enhance the quality of your onboard camera, bringing it closer to par with external digital cameras, or enhance your photography experience with your external camera by keeping useful tools, like model releases and a light meter, right at hand.

What’s your favorite photography app?

Lisa is a Salt Lake City native who loves a great sunset photo. When she isn’t hiking around the Wasatch mountains, she is blogging for SatelliteTV.com home of the best Dish TV specials.

Post originally from: Digital Photography Tips.

Check out our more Photography Tips at Photography Tips for Beginners, Portrait Photography Tips and Wedding Photography Tips.

5 Great Mobile Apps for Photographers

In my last article I looked at the fundamental reason why your camera’s meter sometimes gets exposure wrong. Camera meters measure reflected light, and will give an incorrect exposure reading if the subject is lighter or darker than average (you can read the article again for a full recap).

But there’s another reason why your camera’s meter may get the exposure wrong – and it’s to do with the metering modes that your camera has. Most cameras have several exposure modes (my Canon camera has four). Each exposure mode is designed with for a different purpose, and works a specific way. If you are struggling with exposure, it may be because you don’t fully understand the way the metering mode that you are using works.

Most digital SLRs have the following exposure modes:

Centre-Weighted Metering

This mode weights exposure towards the centre of the viewfinder, as per the diagram above.

Centre-weighted metering works well if your subject is in the centre of the frame. If not, you have to point the centre of the viewfinder at your subject, hold the shutter button half-way down to lock in the exposure, then reframe.

Centre-weighted metering has been around a long time – if you own an old film camera it may be the only metering mode that it has. It’s predictable and easy to use once you understand that the camera is metering from the centre of the viewfinder.

Spot Metering

The camera takes an exposure reading from a circle in the centre of your viewfinder. The diagram above shows the spot metering circle in the viewfinder of the EOS 5D Mark II.

Spot metering takes practise. Remember in the last lesson we learnt that cameras measure reflected light, and that the camera is expecting the tones within the area that it meters to average out to mid-grey? If you point the spot metering circle at a tone that is lighter or darker than mid-grey, the camera will give you an incorrect exposure reading.

One way to use the camera’s spot meter is to point it at something in the scene that is mid-grey in tone. Grass is a good example, and one approach to metering is to simply use the spot meter and take a reading off any grass or greenery in the scene.

Another technique is to use an 18% grey card (you can buy these from photo retailers). I’ve seen these used by portrait photographers. They ask the subject to hold the card up, take a reading from the card, then put it away, set the camera to manual mode and use those settings. They only need to re-meter if the light changes.

Another situation where spot metering comes in handy is when you have a bright subject against a dark background. This can happen during a theatre performance or a concert. You can take a reading from the subject and the camera will ignore the background.

Partial metering

Works just like spot metering but with a larger circle. Like spot metering, it works well for metering brightly lit subjects against dark backgrounds. You can use partial metering for taking a reading from a larger part of the subject than the spot meter.

Evaluative Metering

Note: Evaluative metering is Canon’s term and the one that I’ll use in this article. Nikon uses matrix metering and Pentax and Sony use multi-segment metering.

Centre-weighted, spot and partial metering all take an exposure reading from the centre of the frame. Given that most photographers prefer to place the main subject off-centre for compositional reasons, this means that taking an exposure reading with one of these modes is not always the easiest way to work.

Evaluative metering was developed by the camera manufacturers to make it easier to measure exposure with off-centre subjects. The camera divides the viewfinder up into zones and compares exposure readings from each zone to come up with a suggested exposure setting. The above diagram shows the way the viewfinder is divided up into 63 zones on some EOS cameras.

The camera weights the exposure reading towards the active autofocus point (or points) as they are likely to be covering the main subject. It takes into account the readings from nearby zones and analyses the contrast of the scene to come up with an exposure setting.

Each camera manufacturer uses a slightly different process in their evaluative metering modes. While the manufacturers don’t release precise details of how their cameras calculate exposure in evaluative metering mode, there will be a guide in the instruction manual. It’s well worth a read so you understand how it works on your camera.

My preferred way of working is to use evaluative metering, take a photo, look at the histogram and then adjust the exposure if necessary. For me, this is the simplest way of arriving at the optimum exposure. However, everybody works differently and once you understand how the other metering modes on your camera work you may find one of the others is best for you.

Exposure Compensation

Now that you understand more about your camera’s exposure modes, and why they may get the exposure wrong, you need to know what to do when the exposure is incorrect.

If you are using an automatic exposure mode, the easiest way is to use your camera’s exposure compensation function.

If you’re unsure how to set exposure compensation then check your camera’s manual – each camera is different. On mine, I just turn the Quick Control dial (circled above) on the back of the camera with my thumb. I like this way of working because I can dial in exposure compensation while looking through the viewfinder.

If the photo is underexposed, use exposure compensation to increase the exposure by a stop or two. Then check the histogram to see if the exposure is correct (if you’re unsure how to read the histogram, then read this excellent article).

If the photo is overexposed, you can use exposure compensation to reduce the exposure.

The amount of exposure compensation applied should be displayed in the viewfinder. Again, check your manual. On my Canon cameras the display looks something like the diagrams above. The top display shows zero exposure compensation, the middle display shows +1 stop exposure compensation and the bottom display -1 stop exposure compensation.

The next lesson is the last in the series. I’ll take a look at manual mode, show you how to use it and, more importantly, explain why you should use it.

Andrew S Gibson is a writer and photographer. He’s the Technical Editor of EOS magazine and writes for Craft & Vision. The techniques in this article are explored in more detail in his ebook Understanding Exposure: Perfect Exposure on your EOS camera.

Post originally from: Digital Photography Tips.

Check out our more Photography Tips at Photography Tips for Beginners, Portrait Photography Tips and Wedding Photography Tips.

Exploring Metering Modes

Part 2: People Skills and Generosity.

What do all successful professional photographers have in common? Great people skills and a generous spirit!

Of course, technical and business skills as well as a good dose of talent are also critical to your success, but when you get hired for a job, the client hires your skills and your personality. It’s a package deal! While this is especially true with wedding and portrait photography, it is also true in commercial work, which is mostly what I do.

I shoot interiors and food, and I can’t even tell you how many times clients have said to me: “Wow, it’s so much fun working with you!  Other photographers were good, but unapproachable and inflexible.” Your clients’ promotion is your best form of advertising, so take good care of them.

Sure, there are difficult customers and challenging situations making us sometimes want to quit. Well, guess what, my friends, that’s the case in every field.  As hard as it might be, stay with that client until they are 100% satisfied with your service, even if you need to offer a partial reshoot at no extra cost.

Your job is to deliver images that have the “wow” factor, no matter the subject or the situation.  Patience, graciousness, and professionalism are the necessary “soft” skills you’ll need to help you grow, succeed and build a good reputation. And if your work is amazing, but you’re the difficult one to work with, consider having an agent to represent you for the people-side of the job.

Great people skills are important when working with clients as well as in building a good network within the photography community. This business is all about sharing and networking. For example, I don’t shoot weddings, but when I get a request to do one, I refer that client to another photographer.

So many photographers are afraid to network because they are either shy or don’t want to share their ‘secrets’.  Networking and sharing is how you find the work and grow your business.  Hey, if you’re good, you’ll get the work. Don’t worry – there’s plenty of work for everyone. So when you’re not able to take an assignment for whatever reason, refer that client with someone else.  I guarantee that such generosity will circle back to you in the long run. If you refer a fellow photographer to your client to help them out, I can assure you that the photographer will reciprocate when the occasion arises. Be generous!

Conclusion: The more clients you have, the more you will improve your people skills. Your clients are critical to you becoming a successful professional.  Their referrals are the best form of advertising you can get.  I know – it’s cliché, but it’s true!  And be generous within the community, especially the newcomers!  Networking means referrals and everyone benefits.

Part 3 titled ‘Passion and Vision’ is coming soon!

Want more tips on Going Pro as a Photographer? Check out the dPS eBook kit – Going Pro: How to Make Money Through Your Photography.

Post originally from: Digital Photography Tips.

Check out our more Photography Tips at Photography Tips for Beginners, Portrait Photography Tips and Wedding Photography Tips.

Turning Pro Part II: People Skills and Generosity

Do you have one of those shiny new cameras with the “live view” feature on it? You know, where you can see in real time what your camera sees through its lens? A lot of people seem to assume that it is mostly useful for recording video on your camera, and it is darn useful for that, but there are a myriad of things a still photographer can use live view for as well.

Purple Finch: Canon 5D Mark II, Canon 500mm F4L IS, 1.4x Extender II, 2.0x Extender II @1400mm :: 1/800th of a second at F14, ISO 800 :: Live view used in place of mirror lockup function to reduce vibration during exposure

An excellent use of the live view feature on your camera is to help you focus. Many photographers rely on the autofocus feature of their camera but it’s been demonstrated that manual focus will often result in more accurate focus than the camera’s autofocus system especially under difficult conditions. Manual focus isn’t optimal if you’re photographing action, but if you’re photographing a landscape or some sort of still life or macro shot, you can often improve on the camera’s attempt at autofocus by doing it yourself. Many cameras offer the ability of zooming in on the live image 5x, 10x or more which really allows you to fine tune your focus.

Depth-of-field, or the amount of the image that is in focus in front of what you’ve focussed on and behind what you’ve focussed on, can be very difficult for photographers to imagine. And even though many cameras have a depth-of-field preview button (usually found somewhere around the lens mount) use of this feature while looking through the viewfinder leaves you with a very dark image that makes it hard to see your subject let alone what is and what isn’t in focus.

Instead, turn on live view and engage a feature called exposure simulation. Compose your image and adjust the aperture you want to use. Depth-of-field is controlled through the aperture setting along with the distance to the subject. When the depth-of-field preview feature is engaged you can watch in real time the effects that selecting different apertures has on the image’s depth-of-field on a nice bright display. This allows you to get creative by pre-visualizing how much of your scene is or is not in focus.

Funnel Web spider with grasshopper prey :: Canon 5D Mark II, Canon 180mm F3.5L Macro Lens @ 180mm, Canon MR-14EX Ring Flash :: 1/100th of a second at F10.0, ISO 100 :: Live view used for fine focusing

White Balance (the colour of light in a scene) is another setting that is hard to visualize ahead of time. And unfortunately, it is something the camera often has difficulty figuring out on its own. One situation that I’ve found where almost all digital cameras have difficulty calculating the proper white balance is when the subject is in the shade on a nice sunny day. Digital cameras seem to uniformly choose a white balance setting that is too cool (too much of a blue cast). Switching on live view can allow you to dynamically use the camera’s features to adjust the white balance until you verify the white balance that you’ve chosen will render the images the way you’d imagined.

I’ve heard it argued that you shouldn’t rely on the live view preview on the back of your camera for setting white balance because it isn’t a calibrated display, and that’s true, it isn’t. But in my experimentation it is darn near close enough that I am very comfortable using and relying on it.

If you’re really lucky, not only do you have a camera with live view, but you’ve got a camera that can overlay a histogram on top of that live view. Why? Because you can see at a glance if you’ve got areas of over or under exposure and make the necessary adjustments to the exposure by adjusting the ISO, aperture and/or shutter speed to make the image you want to make instead of the image your camera’s meter imagined making for you.

The final benefit I’ll mention is primarily a benefit to Canon DSLR shooters with cameras introduced from the 40D forward but strangely isn’t found in their pro line of cameras. That feature is the use of live view as a mirror lockup replacement. Mirror lockup is often used by photographers who are working with long telephoto lenses or extreme magnification macro photography. The mirror slapping up and down in the camera as it makes an exposure causes enough vibration to produce soft images.

Mirror lockup is the solution but it requires pressing two or more buttons and is inconvenient to use, especially for consecutive shots. However, shooting stills through live view mode on these cameras basically simulates mirror lockup (since the mirror is already locked up for live view to work) and a simple shutter activation is all that is required. Unfortunately other brands of cameras (and pro Canon bodies) slap the mirror back down and then do a regular exposure when an image is made in live view mode. Silly? Yes, but such is life.

Oil on water :: Canon 5D Mark II, Canon 180mm F3.5L Macro Lens @ 180mm :: LED illumination :: 0.4 of a second at F5.6, ISO 100 :: Live view used for fine tuning white balance

Of course, there are trade offs with live view. In most instances, you are going to want to use your camera on a support to really take advantage of it and of course it takes power to drive that fancy LCD display on your camera so your battery life will suffer. But, in my opinion, when the situation allows for it, there is no better way to get the image correct in the camera than by using live view.

Paul Burwell is the owner Burwell School of Photography

Post originally from: Digital Photography Tips.

Check out our more Photography Tips at Photography Tips for Beginners, Portrait Photography Tips and Wedding Photography Tips.

Using Live View for Better Still Images

The question I have for you is; Do you want editing controls in-camera?

The popularity of Instagram and other apps like it is starting to bare out a desire in consumers to be able to instantly manipulate images after shooting and sometimes even before saving them. But we have seen trends like this before in digital photography. Think of the craze of HDR (more specifically, overdone HDR) and how it seemed rampant and has since cooled. Like many fads. (Note: I am not calling HDR a fad, it’s not. The desire to overuse the effects of HDR had a noted increase, peak and has since decreased in perceived popularity among the general populace).

Is this desire to add a toy camera filter to an image or apply Fuji Velvia like qualities just a passing fad?

For my own take on the debate, here are some things I would like to see added to DSLRs (before we simply switch over to neural implants, which surely are coming in a matter of time):

• Instant dust removal. This shouldn’t be too hard and is something most manufacturers support in their computer-based software. Move it into the camera but also include the edit data so it can be backed out if it turns out to be a bad edit.
• HDR. Actually, no. Not really HDR, because that is, realistically, a short lived stepping stone. The idea behind HDR is that the digital sensors today has around 8 stops of dynamic range, depending on which site you read and which camera is used. The human eye, at one point in time, can handle about 14 stops, again depending on what you read. The technique is to use multiple images at different exposure values then combine them via a computer program to gain a larger dynamic range than the sensor alone can accomplish. I expect HDR to be eclipsed by simply better sensors to the point where they surpass the human eye and brain’s capability to ‘read’ light. So while HDR editing in camera may come, it will eventually go in its current form.
• Greater sharing. We all love to share, to some extent or another. Many point and shoot cameras already have wifi capabilities coupled with access to Facebook and Twitter accounts. Why not DSLRs?
• Edit via phone or tablet. Wirelessly connect a phone or table with a camera and have the ability to edit the image and save the edit back to the camera. This coupling would also have the ability to save the adjustments as presets, on the fly in the field, and then save that preset to the camera to be applied to future shots.

If you’re reading this post you are more interested than the general populace when it comes to photography. You have an active interest and that’s why I am curious about your take on the ability to instantly control images in-camera. Not only let us know if you want more control in-camera, but also let us know what controls make sense in-camera and which are still best left to a larger processor and screen.

Post originally from: Digital Photography Tips.

Check out our more Photography Tips at Photography Tips for Beginners, Portrait Photography Tips and Wedding Photography Tips.

Do You Want It All To Be Instant?

As Canon continues to expand the Speedlite family, more photographers struggle to know which flash to buy.

So let’s take a quick run through the current Speedlite lineup, from low end to high end, to see if we can determine which flash is right for your needs.

SPEEDLITE 270EX II

Starting with the least expensive flash, the 270EX II is a “mini” Speedlite that lacks some of the key functions found in the larger flashes.

It has no infrared focus-assist beam to help you focus in the dark (instead it does that annoying strobe thing), and while it can tilt to bounce from a ceiling, it cannot swivel from side to side.

It lacks a manual power mode, so even though it can serve as a remote TTL slave using the Canon wireless (light-based) signaling system, it cannot be used with third-party radio triggers.

Given these limitations, I see only three situations where the 270EX II makes sense:

1. You need some quick fill flash on one of the professional cameras (5D, 1D, etc.) that lack a built-in pop-up flash. The 270 makes a great replacement for that missing flash.

2. You have one of the small G-series Canon cameras that has a flash hot-shoe, but which would be overwhelmed by the size of a full Speedlite.

3. You need a very lightweight or very inconspicuous flash for some reason.

Otherwise, I suggest moving up to one of the full-size flashes.

Get a price on the Canon Speedlite 270EX II at Amazon.

SPEEDLITE 320EX

The 320EX is a new flash designed to serve two purposes simultaneously. It’s a traditional flash for still photography, but it also contains a white LED to provide continuous light for shooting video with the new video DSLR’s.

Unfortunately, I found the 320EX to be the worst of both worlds. It was mediocre both as a still flash as as a video light.

As a traditional flash, it lacks the focus-assist beam, the manual power mode, and the automatic zoom head found on the larger flashes (you can zoom it manually—if you remember to.)

As a video light, its LED is only useful in fairly dark situations. It can’t provide enough fill light to overcome even moderate backlight, and for shooting professional-looking video it’s not an option. (However, it could be a lifesaver in a truly dark setting where you suddenly needed to shoot some video.)

I find that when I’m shooting video, I need stronger lights, and when I’m shooting stills, I need a more capable flash.

So I sold my 320EX on eBay and used the money toward another 430EX II.

Get a price on the Canon Speedlite 320EX at Amazon

SPEEDLITE 430EX II

I consider the 430EX II to be the core of the Canon flash family.

It’s a reasonably priced, fully functional flash that does everything you need a flash to do. As a first flash purchase, I recommend the 430.

It has the focus-assist beam to help you focus in the dark. It can swivel and bounce. It can be used in manual mode with radio triggers, so it makes a great remote slave either with a third-party radio system or with the built-in Canon wireless system.

And although the 430EX II is somewhat less powerful than the larger flashes, I find its smaller size and lighter weight more comfortable for long hours of on-camera flash photography.

I love the 430, and I have lots of them. If you remain a Canon shooter for long, you may end up with lots of them, too.

Get a price on the Canon Speedlite 430EX II at Amazon

SPEEDLITE 580EX II

The 580EX II is the “big brother” of the 430EX II. It’s a bit more powerful, a bit more sophisticated, a bit larger, a bit heavier, and a LOT more expensive.

I only see one reason to spend the extra money for a 580EX II. It can be used as a Master to control slave units in multi-flash setups using the built-in wireless (light-based) triggering system.

Given its high price, I don’t see a need for more than one 580EX II in your kit. I would get one to serve as your Master when you decide to experiment with the wireless triggering system, and after that, just keep buying 430′s as your slaves.

And if you have one of the newer cameras, like the 7D, 550D, and others, where the built-in flash can act as a master, you may never need a 580EX II at all.

Get a price on the Canon Speedlite 580EX II at Amazon

SPEEDLITE 600EX-RT

That’s “RT” as in “radio transmitter.” This new Canon flash has radio triggers built right into it.

This triggering technology may eventually replace the old light-based triggering system (which is also built into the 600), because the older system is less reliable, limited by distance, and requires a line-of-sight between the master and slave.

Many of us have been manually attaching third-party radio triggers to our flashes to get this RT functionality, and now Canon has built it in. Hoorah!

But it comes at a very high price (currently around $600 per flash, and you need multiple flashes, of course, to use the trigger technology).

Personally, I don’t plan to buy a 600EX any time soon, because I get the same functionality for about half the cost by using third-party radio triggers (even TTL triggers!) with the less expensive Canon flashes like the 430EX II. And I have a big investment in this existing set of flashes and triggers.

However, if you are starting out with little previous investment, and you like the convenience of having your radio triggers built-in, and you have a big budget, then the 600EX RT may be right for you.

It also makes sense for professional photographers who work their flashes very hard (like wedding photographers) because it’s a powerful, robust flash with better built-in protection against over-heating from heavy use.

Get a price on the Canon Speedlite 600EX-rT at Amazon

I hope this quick summary has helped you with your flash decision.

You can watch a video version of this review at: http://steeletraining.com/tutorials/speedlite

About the Author: Phil Steele is the founder of SteeleTraining.com where you’ll find free photography tutorials and training. If you are interested in learning to use your Canon flashes off-camera you may want to check out his online video course teachingoff-camera flash portrait photography with speedlights.

Post originally from: Digital Photography Tips.

Check out our more Photography Tips at Photography Tips for Beginners, Portrait Photography Tips and Wedding Photography Tips.

Choosing the Best Canon Speedlite Flash for Your Needs