A simple #dPSCHallenge theme this week – Candles! Suggested by Monica Herman over in our Facebook group.

Show us what you’ve got, people. Creativity with a candle! Use the hashtags #dPSWeeklyChallenge and #dPSCandles in your posts.

Share your weekly photograph in the comments below or across in our Facebook Group.

The post Weekly Photography Challenge – Candles appeared first on Digital Photography School. It was authored by Sime.

Museums offer incredible opportunities for photography; you can capture paintings, sculptures, educational displays, architecture, people interacting with exhibits, and so much more.

Unfortunately, while museum photography can look great, it’s tough to get right. Due to the large crowds, reflective glass, and low light, it’s easy to come home from a museum with a batch full of blurry, muddy, distraction-filled photos.

So how do you capture amazing photos at museums? Simply follow the seven tips I share below, which explain how to handle crowds, how to keep your shots sharp, how to deal with reflections on the glass, and so much more.

Let’s get started!

1. Check the rules

Before planning a photography trip to a museum, I highly recommend you start by checking the rules. Make sure you’re actually allowed to photograph inside the museum – not all museums are so photography-friendly! – and determine whether photography is off-limits in certain areas.

If photography is banned, you can always try contacting the museum and asking for permission, but don’t be surprised if you get rejected; photography can cause safety issues, and the flash can damage works of art, so museum staff likely won’t be so accommodating.

Note: Even if a museum does allow photography, you may not be allowed to capture commercial photos, and you may also encounter certain equipment restrictions. Tripods, for instance, are a big no-no at many museums, so make sure you read the rules carefully. You don’t want to prepare for a museum shoot, only to arrive and have your tripod confiscated.

Another important point to consider: Many museums house works that are subject to copyright. Although you may be able to legally photograph these pieces, you won’t be able to sell the images commercially (even if commercial photos are permitted at the museum), and you may even require a license if you plan to use the photos for an editorial assignment.

Bottom line: Before capturing some museum photos, make sure you know what’s off-limits. The restrictions are created for a reason, so regardless of the situation, never intentionally break rules.

2. Consider what you want to convey

When it comes to museum photography, it’s easy to simply walk on through, point your camera at each exhibit, and press that shutter button. However, most folks will get bored after viewing just a few photos of a museum – so instead of trying to document everything, I encourage you to really think about what you want to convey to the viewer.

For instance, do you want to emphasize the movement and engagement that occurs inside a museum? Then use a wide-angle lens to capture the main hall with all of its hustle and bustle. Do you want to impress the viewer with the intricate details of a single artifact? Then get up close and exclude all other objects from the frame.

Every museum is different, and thinking about its key attributes can help you decide what you want to highlight. You might also consider researching the museum in advance; look to understand the architecture, the exhibits, and the overall feeling of the place, then hone in on what interests you most.

That way, instead of producing hundreds of lackluster documentary-type shots, you can come away with two or three key images that really showcase the venue and its exhibits in your own unique style.

3. Don’t forget about the building!

Museums are teeming with incredible works of art, historical pieces, and/or flashy exhibits – so it’s easy to forget that they are often housed in some of the most amazing buildings in the world. Think of the Louvre in Paris, the Natural History Museum in London, or the Guggenheim in New York, and you’ll know what I mean.

In my view, the buildings are as much a part of the experience as the attractions inside, so you should absolutely spend some time exploring the museum architecture in addition to the artifacts and exhibits. I’d recommend doing a little research on the building before you go; that way, you can note any specific elements of cultural or historical importance. These small details are often missed by people (and photographers!) who focus on the main attractions, so by seeking them out, you can capture some uniquely powerful shots.

Make sure to photograph both the museum’s interior and exterior. When working indoors, pay attention to ceilings, columns, and doorways, all of which can make for beautiful images. And when you’re photographing outdoors, try to work during the early morning or late evening, when the light is soft and golden.

You can also try photographing the museum facade after dark, which will give you the opportunity to combine a moody atmosphere with beautiful artificial lighting:

4. Take steps to eliminate reflections

Have you ever tried to photograph a museum display that’s behind glass? It’s tough. If you’re not careful, you’ll end up with reflections in your final shot, and while you can reduce these in post-processing, it’s much better to get it right in the field.

So what do you do?

First, turn off your flash. Otherwise, it’ll bounce off the glass and create an unpleasant white glow somewhere in the image.

Next, make sure you’re using a lens hood. A rubber hood is best, though you can make do with a plastic hood, too (and in a pinch, you can simply drape a coat over the front of your lens).

Finally, move your lens as close to the glass as possible. You’ll want to keep your front lens element parallel to the display, and you’ll want to keep any gap between the lens and the glass covered by the lens hood.

If you follow each of the above steps, you’ll eliminate most (or even all) reflections, and you’ll end up with images like this one here (yes, it was shot through the glass!):

5. Adjust your settings or stabilize your camera

Museum exhibits are sometimes kept dark for added ambiance or for purposes of preservation, and even when exhibits are fully lit, the artificial lighting often isn’t much compared to outdoor lighting. As a result, your museum photography will turn out unpleasantly underexposed or extremely blurry – unless you change your camera settings to compensate for the low light.

Specifically, you’ll want to switch your camera to Aperture Priority or Manual mode, then boost your ISO until you can keep your shutter speed at 1/80s or above. Yes, a high ISO will increase image noise, but most modern cameras can go up to ISO 800, ISO 1600, and beyond without significant reduction in image quality, so as long as you only raise your ISO as necessary, you should be okay. (Also, it’s better to capture a noisy image than a blurry one!)

As I noted above, you’ll want to keep your shutter speed at 1/80s or above – otherwise, your images will likely turn out consistently soft – but you’ll need to take steps to keep your body stabilized. While 1/80s is fast enough for sharp handholding when using a wider lens, it’s important to use proper technique (hold in your elbows, cup your lens with one hand, keep your camera close to your face, etc.).

That said, if the museum does allow tripods, then I encourage you to use one! You can also try resting your camera on a table or a bench, which is another great way to capture sharp shots while using ultra-low shutter speeds.

6. Try to get creative

Museums aren’t exactly new, and museum photography has been going on for decades – so it’s your job, as a photographer, to showcase what people have seen and captured a thousand times from a new perspective.

How can you do this? I’d start by adjusting your viewpoint. See if you can photograph an exhibit or hall from high up (by shooting from a balcony) or from low down (by kneeling down and shooting upward with a wide-angle lens).

I’d also encourage you to look for the little details: shadows, reflections, and even moments of interaction between the visitors and the artifacts. Small details often go unnoticed, yet they can be full of meaning and beauty.

Finally, you can try out various creative techniques. If tripods are allowed in the building, try to capture a long-exposure photo that hints at the movement of the museum’s visitors. If the museum is full of artifacts, try to use shooting-through composition techniques (where you position an out-of-focus element in the image foreground) to give the viewer a sense of immersion within the scene. Make sense?

7. Avoid crowds with research and patience

As any museum photographer knows, one of the main issues when capturing images of exhibits and halls is the crowds.

After all, museums are designed as tourist destinations, and as such, they’re often very busy. Try to capture a photo of a famous sculpture, and you’ll generally end up with dozens of people fragmented throughout the frame.

Fortunately, I have a few handy tips to prevent crowds from encroaching on your shots:

First, head to the museum on days and times when things are quieter. If you attend during the week and take care to avoid school vacations, you can often avoid visitors. And if you come early in the morning, you may get whole rooms to yourself! You might also try heading to the museum between around 11 and 2, as many tour groups eat lunch during these times. (Locals can sometimes offer this kind of insight.)

Second, spend some time photographing the less-popular portions of the museum – the back rooms, the permanent third-floor exhibits, etc. These areas are often quieter, but that doesn’t mean they’re any less worthy of photos!

Finally, if you find an area you desperately want to photograph but you can’t seem to shake the tourists, just take a breath. Even in the busiest of venues, if you wait long enough, you’ll eventually find a gap in the flow of traffic. You’ll ultimately capture the shot you want, but you’ll need to give yourself plenty of time; patience is key!

Museum photography tips: final words

Museums are often beautiful and are certainly key sights in most areas, so they should be on every photographer’s shot list.

And while museum photography can be tough for beginners, just remember the tips I’ve shared, approach each new museum carefully, and stay creative. You’re bound to capture some amazing photos!

Now over to you:

What museums do you plan to photograph? Which of these tips will you use? Share your thoughts in the comments below!

The post 7 Tips for Beautiful Museum Photography appeared first on Digital Photography School. It was authored by Kav Dadfar.

Looking for fun, compelling, or even weird photography facts? You’ve come to the right place.

Photography has a long and fascinating history full of interesting events, items, and people. In this article, we share seven photo-related facts that are guaranteed to impress, including tidbits on cameras, photographic words, the most-viewed image ever created, and more.

Let’s dive right in!

1. It’s all in the name

We use terms like “photography” and “camera” all the time, but where do these words actually come from? And when were they created? Our first photography fact hearkens back to the origins of many of the words we photographers use today.

The term “photography” actually originates from the Greek words “photos” and “graphé.” “Photos” translates as “light,” while “graphé” means “drawing” (or, more literally, “a representation by means of lines”). When used in conjunction, the two words mean “drawing with light.” The original coining of the word “photography” is generally attributed to Sir John Herschel in 1839.

And the word “camera”? It comes from the Latin term “camera obscura,” which means “dark chamber.” The term originally described a means of projecting an external scene onto a flat surface in a dark room or box, which was then used to aid painters with perspective and scale.

In fact, the camera as we know it today actually evolved from the camera obscura configuration. Early photographers simply placed light-sensitive materials at the back of a camera obscura, then waited as an image was produced. Over time, cameras became more sophisticated and portable, but elements of the original camera obscura still remain!

2. “Kodak” is a nonsense word

Speaking of words, did you know the term “Kodak” is simply made up? The company founder, George Eastman, favored the letter “K” because he believed it was a “strong, incisive sort of letter.”

Then, using an anagram set, Eastman and his mother came up with the name “Kodak.” When devising the phrase, they used three principles:

1. The word needed to be short
2. The word needed to be easy to say
3. The word needed to be unlike any other name or association

As Kodak cameras became more popular, the word “Kodak” – or rather the phrase “Kodak moment” – was used to describe occurrences that seemed ideal for a photograph.

Unfortunately, despite its initial success, Kodak’s popularity didn’t last. In 2012, the company filed for bankruptcy; in the years that followed, Kodak sold its photography patents and shed its camera business. And while you can still find Kodak cameras on the shelves, they aren’t made by Kodak; they’re simply part of a licensing deal that takes advantage of the Kodak name.

3. The first selfie?

Self-portraits are commonplace today; we even have selfie sticks and front cameras for easy framing! But did you know that the photographic selfie dates way back to 1839 (the year in which photography was first unveiled to the world)?

Robert Cornelius, a lamp manufacturer with a keen knowledge of chemistry and metallurgy, took on the task of perfecting an early photographic process, the daguerreotype, alongside chemist Paul Beck Goddard.

In 1839, Cornelius decided to turn the camera on himself. While the daguerreotype created surprisingly sharp images, exposure times were very long, at least initially – so Cornelius was forced to sit perfectly still for around 10 to 15 minutes. The resulting daguerreotype depicted an off-center rendering of Cornelius, the oldest-known, intentionally created photographic self-portrait.

4. The Blue Marble

While there are many Earth-focused photography facts, you can also have plenty of photo-knowledge fun with facts from extra-terrestrial adventures.

Taken in December 1972, The Blue Marble was captured by the crew of Apollo 17 on their way to the Moon. The picture was taken a whopping 18,000 miles (29,000 kilometers) from the surface of the Earth and is the first photograph to depict the entirety of our planet from space. The photograph subsequently became one of the most reproduced images in history; it also inspired and was used by countless activists in the environmental movement.

And just so you can have a bit of extra space-photography knowledge: Do you know what happens to cameras that are taken to the moon?

Hasselblad cameras have captured some of the most iconic images in history, including astronauts’ first steps on the lunar surface. However, due to weight restrictions, not all the cameras that have embarked on moon missions have made it back to Earth. To this day, up to 12 Hasselblad cameras remain on the Earth’s only natural satellite!

5. Photobooks are old

When was the first photobook released? 1950? 1900? 1880? Nope!

Photobooks have a rich history in photography, and Anna Atkins, a British botanist, seems to have started it all. Atkins learned early photographic processes from Henry Fox Talbot (who, incidentally, is the inventor of the calotype, one of the original photographic processes and rival of the daguerreotype). Atkins is also one of history’s first female photographers.

Atkins documented botanical specimens using the blue-tinted cyanotype process. She then compiled her cyanotypes into the 1843 publication of Photographs of British Algae: Cyanotype Impressions. From 1843 to 1854, Atkins produced several volumes of her Cyanotype Impressions series. Only 17 copies of the work still exist.

6. The most-viewed photograph ever

I’ve seen it! You’ve seen it! We’ve all seen it! Captured by former National Geographic photographer Charles O’Rear in 1996, Bliss depicts rolling green hills and a semi-clouded blue sky in Sonoma County, California. In 2000, Microsoft bought the rights to the image; the company then used the image as the default computer wallpaper for the Windows XP operating system.

The success of Windows XP and its corresponding marketing materials has led most researchers to agree that Bliss is the most-viewed photograph of all time. Even O’Rear himself conceded that he would probably be best known for the shot, claiming that “anybody now from age 15 on for the rest of their life will remember this photograph.”

Despite its surreal appearance, Bliss isn’t manipulated. O’Rear captured the photo using a medium-format camera on film. He said: “I think that if I had shot it with 35mm, it would not have nearly the same effect.”

7. Cameras aren’t eyes…right?

Here’s your final fascinating photography fact:

The camera lens and the eye have a lot in common – more than you might realize!

You see, all lenses have an aperture, the diaphragm through which light passes. Therefore, a camera lens can restrict the amount of light that reaches the camera sensor by adjusting the diameter of the aperture opening. Smaller apertures, such as f/8, let in very little light, while wider apertures, such as f/1.4, let in lots of light:

And our eyes are the same! In the eye, the iris does the same job, relaxing and constricting muscles to regulate the amount of light entering the eye. When you move between light and dark environments, the iris in your eye expands or shrinks to alter the size of the pupil.

Interestingly, the human pupil expands to around 7 mm in diameter. This equates to around f/2.1, though the pupil narrows down to around f/8.3 in very bright light.

Fascinating photography facts: final words

Well, there you have it:

Seven photographic facts to impress family, friends, and more! As you can see, photography is full of amazing facts; if you have the time, see if you can share them all.

Now over to you:

Do you have a favorite photography fact? A fun fact I haven’t mentioned in this article? Share it in the comments below!

The post 7 Fascinating Photography Facts You Probably Didn’t Know appeared first on Digital Photography School. It was authored by Megan Kennedy.

Looking to enhance the drama in your portraits? In my experience, split lighting is one of the most effective ways to boost the intensity of a portrait photo – and it’s an easy lighting pattern to set up, too, which makes it perfect for beginners.

In this article, I’ll explain what split lighting is, I’ll discuss when it works (and when it doesn’t), and I’ll offer step-by-step instructions for creating stunning portraits using the split lighting technique. By the time you’re done reading, you’ll be able to create a split lighting setup of your own, and you’ll be ready to capture beautiful and dramatic portrait shots.

Sound good? Let’s dive right in!

What is split lighting?

Split lighting is a simple portrait lighting pattern that illuminates half of the subject’s face while leaving the other half in shadow.

Often with split lighting, the shadow on the subject’s face is very deep with little-to-no detail in the darkest areas, which adds to the dramatic effect. However, like any photography technique, it’s not a hard and fast rule; you can always change the intensity of the shadows to suit your image.

For instance, you can experiment and adjust the depth of the shadow area with a reflector or second light. If you’re working with an artificial main light, you can also use it to balance with the ambient light and determine the level of contrast.

That said, split lighting typically is a high-contrast style. The main light is hard and bright, and ambient light has little or no effect on the exposure. That way, half the person’s face is hidden in deep shadow, adding a sense of mystery and intensity to the portrait:

When should you use split lighting?

Split lighting is a great way to evoke a sense of power or drama in a portrait. But to get the best results, you’ll need to match it with the person you’re photographing and with your photographic intent.

For instance, if you’re capturing a tough-looking guy who wants to project a dramatic image, split lighting works well. The high-contrast effect implies power, strength, and resolve. You can also adjust the subject’s pose to elevate the portrait’s intensity; if you position the man so he’s staring into your lens, you’ll enhance the emotional feeling that split lighting brings to the shot.

Split lighting can add plenty of drama to portraits of women, and you can also use split lighting to create a sense of mystery. Just remember that your subject’s pose and the direction of their eyes can enhance (or neutralize) the mysterious effect.

Also, bear in mind that a hard light doesn’t just create a more defined shadow edge; it also emphasizes texture. When the light is directed at the subject from the side – as is the case in split lighting – skin blemishes and wrinkles will become more prominent. You can choose to make the most of this, or you can take steps to lower the intensity of the main light (e.g., you can add a diffuser).

Another key split lighting effect: It makes the subject’s face appear narrower. The intense shadow hiding half the face creates a slimming effect, so if your subject has a rounder face, the approach can be especially flattering.

How to do split lighting photography: step by step

If you’ve never tried to do split lighting before, don’t worry; it’s pretty straightforward. For one, you only need a single light source, so it’s easy to set up. And while there are a few other considerations – such as how to position the light in relation to the subject and camera, the ambient lighting, and the background – these aren’t too difficult.

Let’s take a look at my step-by-step approach for effective split lighting:

Step 1: Pick the right light source

Split lighting can be done with almost any form of light, but I recommend starting out with an LED panel. With a continuous light source, you see where the shadows fall on your subject’s face in real-time, and when the ambient light is low, you can also see the effect your main light has on the background and the subject’s surroundings.

Speedlights or studio strobes are good options, too (though you won’t be able to accurately preview the effects of the light in advance). Regardless, I do encourage you to work with artificial light, not ambient light; when you can control the position and output strength of your light source, you have far more flexibility.

If you do choose to work with a speedlight or strobe, you’ll need to take frequent test shots. That way, you can review the lighting on your camera LCD, make adjustments accordingly, and quickly hone in on the effect you’re after.

Step 2: Position your subject

Once you’ve chosen your light source, you’ll need to carefully position your subject in relation to the light and the background.

First of all, while I discuss the light position more in the next step, the goal is to illuminate half the subject’s face; you’ll want to ensure that the light hits the subject from the side, not the front. Direct your subject to stand so they’re in line with the light source but facing forward, so the light makes a 90-degree angle with their nose.

Note: If you’re using sunlight as your main light source, you’ll need to position your subject carefully to achieve the split lighting effect. Morning or evening light is best. When the sun is low in the sky, it’ll be easier to position your subject so the sunlight only illuminates half of their face. (In other words, if the sun comes from a high angle, it’s more challenging to create split lighting portraits.)

Want a clean, dark background? Then you’ll need your subject positioned so there’s not much light illuminating the background elements. In general, an effective technique is to move your subject away from any background subjects so that your main light source has very little spillover. On the other hand, if you like the look of the background and want it to appear in the scene, either position the subject near the background or light the background separately.

Step 3: Position your light

A portable light source makes split lighting much easier – you can position your subject, then quickly place the light. As I explained above, the light should be at a 90-degree angle to your subject’s nose. (This is also a 90-degree angle to your camera’s lens.) You should also place the light on a level with your subject’s face.

Remember: The lighting angle is key. If your light is slightly behind the subject, more than half of the face will be shrouded in shadow. And if your light is slightly in front of the subject, the far side of the face will be partially illuminated, ruining the split lighting effect. So aim to position the light at 90 degrees!

Step 4: Soften the light as required

If you want an intense split lighting effect, a bare, unmodified light will work best. With a strong, unmodified light, you can achieve especially dramatic photos that feature well-defined, deep shadows.

That said, split lighting doesn’t always need to be intensely dramatic. If you prefer a softer look, simply move the light closer to the subject or add a modifier. (A softbox or umbrella will significantly reduce the dramatic effect.) I encourage you to experiment with different levels of light hardness until you get the look you’re after.

Another way to manage the intensity of the shadows is by adding a second light or reflector. An additional light will reduce the contrast level and bring out detail in the shadow areas. It can also make skin texture and wrinkles less pronounced.

Step 5: Set your exposure

If you want to make the most of the split lighting effect, it’s important to carefully set your exposure. Take a light meter reading from the illuminated side of your subject’s face, and set your exposure so the area features plenty of detail. With the right contrast levels, your subject should have lots of depth.

Exposure is most important when you’re working with a hard, bright light source; with careful exposure, you can avoid blown-out highlights. Adjusting your aperture, shutter speed, and ISO to properly expose the illuminated portion of your subject’s face can also create intense shadows.

Note: If you’re using more than one light, or if the ambient light is affecting your exposure, your metering and exposure settings can be more flexible. You’ll need to take plenty of test shots to make sure you get the right results, however.

Step 6: Improve your image with post-processing

How you edit your portrait will majorly impact the results. With a few slider tweaks, you can intensify the contrast levels – or you can reduce the contrast and, consequently, the drama. So make sure you spend a little time with each split lighting portrait in your favorite editing program.

As you edit, keep in mind the feeling you’re hoping to produce. You have a great deal of control over how the lighting effects turn out in the final image, but getting your visualized result can take a lot of trial and error. Don’t be afraid to experiment!

Split lighting photography: final words

Split lighting is one of the easiest and most effective lighting setups for creating dramatic portraits. So use the step-by-step approach I’ve shared. Test out different split lighting strategies. And see what you can create!

The more you practice the split lighting technique, the better you’ll get!

What type of split lighting portraits do you plan to create? Share your thoughts (and photos) in the comments below!

The post Split Lighting: A Portrait Photography Guide appeared first on Digital Photography School. It was authored by Kevin Landwer-Johan.

Let’s revisit ‘Cold’ in a photograph.

Cold can be the lighting, it can be the scene, it can be how a photograph makes a viewer feel. What will your choice, and your photograph for this week’s photography challenge be?

Here are two of my photographs that I think fit the theme this week. #dPSWeeklyChallenge of #dPSCold (Make sure you include these hashtags in your posts either here or on social media or in our Facebook group… which I guess is social media and now I’m just rambling!)

What will your choice be? Keen to see your photos this week as the weather starts to VERY SLOWLY warm up, here in Melbourne… (Now that I’ve said this, it’s going to be a freezing weekend!)

Have a good one!

Simon

The post Weekly Photography Challenge – Cold appeared first on Digital Photography School. It was authored by Sime.

Choosing the best street photography settings can be tricky, but as an experienced shooter, I’ve spent a lot of time experimenting with different options. Over the years, I’ve determined what works – and what doesn’t.

That’s why, in this article, I’m going to share my favorite camera settings for street photography, including:

• The best camera mode
• The best aperture
• The best shutter speed
• The best focus settings
• The best white balance
• (And more!)

So if you’re ready to start setting up your street shots like the masters, then let’s dive right in, starting with an overview:

The best street photography settings: the quick version

If you’re in a hurry to get out and shoot, here’s a quick list of the best street settings:

• Camera mode: Aperture Priority or Manual
• Aperture: f/8 and narrower
• Shutter speed: Above 1/125s
• ISO: 200 and higher
• Focus mode: Manual (zone focusing)
• White balance: Auto

Of course, your settings choices should depend on the specific situation, as I explain throughout the rest of the article.

The best camera mode for street photography: Aperture Priority or Manual mode

The camera mode determines how your camera handles exposure; do you get to set the exposure variables yourself? Or will your camera do it for you?

You have a few options. You can use Aperture Priority mode, which lets you choose the aperture and ISO while your camera automatically chooses the shutter speed. Aperture Priority is good if you’re dealing with rapidly changing light conditions, though you’ll need to monitor the shutter speed to ensure it doesn’t drop too low. (While you can’t directly raise the shutter speed in Aperture Priority mode, you can boost the ISO or widen the aperture, which will have the same effect.)

Another option is Manual mode. It’ll let you select the aperture, the shutter speed, and the ISO independently. While this gives you extra control, you’ll need to pay careful attention to your camera’s exposure bar – and when the light changes, you’ll need to adjust your settings in response. (On a DSLR, this tends to be more challenging, but if you use a mirrorless camera, it’s relatively easy to adjust the exposure based on the exposure preview in the electronic viewfinder.)

At the end of the day, either Aperture Priority or Manual mode can work just fine. Sure, Aperture Priority is handier when you’re moving in and out of sun and shade, while Manual mode is better if you’re dealing with more consistent light – but my best recommendation is to try them both and see what you think.

The best aperture for street photography: f/8 and narrower

The aperture influences both the exposure and the depth of field, so it’s important you choose this setting carefully.

Wider apertures (e.g., f/2.8) let in more light, which is great if you want a bright exposure in the shade or at night – but narrow apertures offer more depth of field, so you’ll get greater sharpness throughout the scene.

Which should you choose for street shooting?

Personally, I’d recommend selecting the narrowest aperture you can afford. An f/8 aperture is a great starting point, but if you can go narrower, do it. The goal here is basically to maximize your area of sharpness throughout the scene. The greater the depth of field, the greater the margin of error when focusing – so even if you focus just behind or in front of the subject, the image will still turn out sharp. Make sense?

If you’re working in low light, an ultra-narrow aperture may result in dramatic underexposure, so you have to be flexible. Therefore, when the light starts to drop, you may need to widen your aperture to keep a nice exposure, and that’s okay. Just be mindful of how the adjustment will affect your zone of focus.

Note that you can try using a wide aperture (and the resulting shallow depth of field) to create beautiful artistic effects. This is more commonly used in other photographic genres such as portrait photography, but if you’re interested in capturing unique images, widen your aperture as far as it can go and see what you can produce!

The best shutter speed for street photography: 1/125s or faster

If you’re using Manual mode, then you’ll need to choose the shutter speed yourself. If you’re using Aperture Priority mode, you won’t have the option to select the shutter speed directly, but you can change it by adjusting the ISO, adjusting the aperture, or adjusting the exposure compensation.

Remember that a fast shutter speed prevents both camera shake and motion blur; therefore, the faster the shutter speed, the sharper your shots will turn out. Unfortunately, fast shutter speeds also let in less light, so you must carefully strike a balance between sharpness and exposure requirements.

Which shutter speed should you choose for street photography?

Basically, just stay at 1/125s or above. Things usually happen fast on the streets, and if you drop below 1/125s, you risk camera shake and motion blur. I’d also encourage you to boost the shutter speed to at least 1/250s if you’re photographing a very fast subject, such as a biker or a car.

If you want to be extra certain that your shots will turn out sharp, you could go even higher. The problem is that the higher you go, the more you’re forced to boost your ISO, which comes with other problems (as I discuss in the next section).

The best ISO for street photography: ISO 200 and higher

The ISO affects image brightness, so it comes in handy when you want to use a narrow aperture and/or a faster shutter speed. Unfortunately, while higher ISOs brighten up the scene, they also produce noise – but in my view, many street shots actually look good with noise, especially if you’re shooting in black and white.

That’s why I recommend you start at an ISO of 200 for street photography. As long as you’re getting the shutter speed and aperture you need, just leave it at 200. If the light drops, however, boost it as needed. (For instance, when shooting at night, you’ll often need to use an ISO of 1600 or even 3200!)

The best focus settings for street photography: Manual zone focusing

Beginner street photographers often shoot with their fancy autofocus modes, but I recommend an alternative:

Manual zone focusing. In my experience, it’s faster than autofocus, and it’ll never let you down.

You see, many of the best street photographers manually focus their lens a few feet in front of the camera, wait until their subjects enter the prefocused zone of sharpness, then hit the shutter button.

Check out this illustration, which includes several possible prefocus zones:

You see, by manually focusing the lens in advance, the photographer can ensure that either the blue zone or the red zone appears in focus all the time. That way, if a subject walks into the prefocused zone, the photographer can grab a sharp shot without needing to fiddle with autofocus settings.

Because here’s the thing:

Even if you have the fastest autofocus in the world, there’s always going to be a focusing delay. Plus, the autofocus might miss your main subject and hit another subject instead.

Zone focusing eliminates these problems because a zone is like a force field in front of your camera. Anything that enters the force field will be in focus, which is pretty darn nifty, right?

How to set up zone focusing

When setting up your prefocused zone, you’ll need to think about the type of shots you want to take.

So ask yourself: Do I want photos of close-up subjects, or do I want to shoot people from a distance? That will determine the perfect point of focus.

Let’s say you want to take a few shots with your subject less than one meter away. Just put your lens like this:

The aperture is at f/16, so you should put the marking on the left to 0.7, then look at the “16” marking on the right. Do you see how it’s at “1.2”? That tells you that everything between 0.7 to 1.2 meters will be in focus.

The farther you are from the point of focus, the larger the depth of field. Therefore, putting the point of focus at one meter will keep a lot of space in focus. And if you want to photograph people over a meter away, you can put the leftmost “16” to “1” and check the rightmost “16” indicator to determine your most distant area of focus.

If your lens doesn’t have those marks, that’s okay! It’s where a tool like DOFMaster comes in handy:

Simply select your camera from the dropdown menu, then dial in your lens’s focal length. Pick your f-stop, set your ideal subject distance (i.e., point of focus), then hit Calculate.

On the right-hand side, you’ll see your focusing zone (it will correspond to the near limit and far limit calculations). If you like the focusing zone, then manually focus at the subject distance and get shooting. If you don’t like the focusing zone, then feel free to adjust your f-stop, your subject distance, and even your focal length until you get a pleasing result.

Note: When you select a focal length and an aperture, the calculator will also give you the hyperfocal distance for those settings, which is the point at which you can focus for maximum depth of field. Set your lens to the hyperfocal distance, and everything from half that distance to infinity will stay in focus – which is perfect if you want to keep as much of the frame as sharp as possible.

In fact, most of the serious street photographers I know set their lenses to focus at the hyperfocal distance. It’s only when the light starts dropping that they start to widen the aperture and rein in their point of focus; that way, they can keep their exposures looking bright and keep their subjects sharp.

The best white balance for street photography: Auto

You can use white balance presets to nail the white balance setting in-camera – but in my experience, this is mostly a waste of time.

First, it can be tough to get the white balance exactly right when you’re working in the field.

Second, fiddling with the white balance can cause you to miss shots that you’d otherwise capture.

And third, as long as you shoot in RAW – and you definitely should! – the white balance is adjustable in pretty much any post-processing program.

So just set your white balance to “Auto,” and let your camera make its own decision. If you like the results, it’ll save you a few seconds of post-processing. And if you’re not a fan, you can always tweak the white balance in Lightroom, Capture One, or Adobe Camera Raw.

The best street photography settings: final words

There you have it:

The street photography settings that will get you the most keepers, and that have been used consistently by the famous photographers of the past (and present).

So try them out. See how you like them. Of course, it’s still possible to take great street photos with other settings – so if you decide to go a different route, that’s okay, too.

Now over to you:

What do you think of these street settings? Do you have other settings that you prefer? Share your thoughts in the comments below!

The post The Best Street Photography Settings (and Why) appeared first on Digital Photography School. It was authored by Olivier Duong.

Photography is a visual medium, yet it’s full of abbreviations: AF, DOF, TIFF, DSLR, CMYK, AWB, and so much more. For the beginner, these initialisms and acronyms can be incredibly overwhelming (and even seasoned photographers will find certain abbreviations confusing!).

That’s why we’ve put together this guide, which explains the abbreviations you’re most likely to encounter, whether you’re hunting for gear, photographing outdoors, or working in a studio. The list is alphabetical, so you can easily reference it whenever you come across a new photography abbreviation – though I also encourage you to read through each and every item right now. (It pays to stay ahead, right?)

So without further ado, here are the most common photography abbreviations so you can tell your TIFFs from your TTLs like a pro:

A

Aperture Priority mode, commonly abbreviated as A or Av, is a camera setting that allows you to manually adjust the aperture value (otherwise known as the f-number or f-stop), while your camera automatically selects a corresponding shutter speed to produce a well-exposed image.

The camera’s internal light meter constantly measures the lighting conditions of the scene, and as you adjust the aperture, your camera adjusts the shutter speed accordingly. Aperture Priority mode, like its sibling modes, Program and Shutter Priority, isn’t foolproof. But it offers a high degree of control and frequently does a good job of nailing the exposure.

AF

AF refers to autofocus, the camera feature that automatically adjusts the lens to acquire focus on a subject to create a sharp image.

Pretty much all recent cameras and most recent lenses offer autofocus capabilities, which allows photographers to capture sharp photos of sports players in action, birds in flight, and so much more.

Cameras offer several AF modes. Single-focus AF, known as AF-S (Nikon) or One-Shot AF (Canon) locks focus on a subject and prevents refocusing as long as you keep the shutter button depressed halfway. On the other hand, continuous or tracking focus – AF-C (Nikon) or AI Servo (Canon) – constantly readjusts the focus as the subject moves (though you will need to keep the shutter button depressed halfway). Some cameras also have a third mode, which switches between the two main AF modes automatically.

Auto

Auto is short for automatic and may also be signified by a small green rectangle on the camera’s mode dial:

In Auto mode, a camera automatically calculates and adjusts various camera settings to produce a sharp, well-exposed image, taking into account (and controlling) shutter speed, aperture, ISO, focus, white balance, and light metering.

Some cameras have specialized automatic modes, called scene modes, which are designed to capture compelling photos of a particular subject. For example, Action or Sports mode prioritizes faster shutter speeds – so you can capture sharp images of moving subjects – and is represented by a running figure on the mode dial.

AWB

AWB stands for Automatic White Balance, which tells the camera to automatically measure the white balance (WB) of a scene and remove any unnatural color casts. In other words, with AWB activated, your camera will try to analyze and color-correct each scene as you shoot.

In most cases, Automatic White Balance works fairly well, though it can be tricked (which is the reason product photographers often set the white balance manually). Fortunately, if you shoot in RAW format, you can easily tweak the white balance in post-production.

B

B refers to Bulb mode, which is designed to produce long exposures and is often used by landscape and night photographers. With your camera set to Bulb, when you depress the shutter button, the shutter will remain open until the button is pressed again (or until it is released, depending on your camera and its settings).

Bulb mode is usually used in conjunction with a tripod and a remote shutter release. It’s generally needed to achieve exposures longer than 30 seconds (the maximum exposure time on most cameras).

CMYK

CMYK stands for cyan, magenta, yellow, and black. Note that the K refers to black, which is shorthand for the key plate, a printing tool that creates the artistic detail of a picture in black ink.

CMYK is the technology used by most color reproduction printers (for magazines, posters, business cards, etc.). This four-color mode applies each color in specific amounts to create a color print. CMYK is a subtractive process, so with each added color, more light is absorbed to create the final image.

Because the RGB color space (which is generally used by cameras to record images) provides a larger range of colors for the digital screen, CMYK-printed images are inconsistent with the images you see on-screen before pressing “Print.” But if you convert the images to CMYK before printing – using Photoshop or Illustrator – you’ll see an image on the screen that is much closer to the printed product.

DOF

DOF, or depth of field, is the zone of sharp focus in a photograph. Some images feature a narrow depth of field, in which only a small sliver of the scene is in focus; other images feature a deep depth of field, in which the entire scene is in focus from foreground to background.

Note that the depth of field is affected by several factors, including the lens’s aperture. A large aperture creates a shallow depth of field effect, while a small aperture creates a deep depth of field effect.

Depth of field is also influenced by the lens focal length and the distance between the camera and the subject (i.e., the point of focus).

DPI

DPI, or dots per inch, is often used interchangeably with PPI, or pixels per inch. Technically, DPI measures the number of dots that will be printed in an inch-long line. PPI also measures the number of dots along an inch-long line, but on a computer screen instead of on paper. Printers and screens with higher DPI and PPI values, respectively, are clearer and more detailed.

To correctly size your images for printing, you need to know the DPI of your printer or lab.

DSLR

DSLR stands for digital single-lens reflex, a type of camera that features a mirror, which reflects the light coming in from the lens and directs it to the viewfinder. DSLR mirror technology lets you see a preview of the scene via the viewfinder – then, when the shutter button is pressed, the mirror flips up, allowing the light coming through the lens to reach the camera sensor.

EVF

The EVF, or electronic viewfinder, refers to a type of viewfinder popularized in mirrorless cameras. Instead of showing an optical preview of the scene, electronic viewfinders display a digital preview, which simulates the exposure of the final image.

Electronic viewfinders offer a number of benefits over optical viewfinders (OVFs, below), though they can suffer from resolution and lag issues.

F-stop or f-number

The f-stop or f-number indicates the size of the aperture opening on your lens. (Here, the “f” stands for focal.) Wider aperture openings let in more light and produce a shallower depth of field effect (see “DOF,” above). Every aperture can be expressed as an f-stop or f-number, such as f/2.8, f/4, f/8, f/11, etc.

IS

IS refers to image stabilization, a camera and/or lens feature that’s designed to counteract movement caused by camera shake. The technology goes under several names, though IBIS, VR, and VC are a few of the most common labels.

Note that image stabilization may not be offered by your camera or lens. Recent mirrorless cameras do tend to offer in-body image stabilization (i.e., IBIS), but adding IS technology is expensive, so you’re less likely to find it in beginner products.

If you like to shoot handheld at slower shutter speeds (e.g., in low light or at narrow apertures) or when using long lenses, good image stabilization is essential.

ISO

Photographers often claim that ISO stands for International Organization for Standardization, though it actually comes from a Greek word, isos.

In film photography, ISO (or, formerly, ASA) is an indication of the sensitivity of a roll of film to light. In digital photography, ISO determines the amplification of the camera sensor brightness (though if you prefer, you can think of it as the sensitivity of the sensor to light).

The ISO value can be adjusted in-camera; the higher the ISO, the brighter the resulting exposure (all else being equal). However, higher ISO values produce more grain, also known as noise.

JPEG

JPEG (sometimes shortened to JPG) refers to the Joint Photographic Experts Group image file format. (As you can probably guess, the JPEG group created the format!) JPEG is one of the most common image formats used by photographers; RAW is another common format.

Most cameras shoot JPEGs, which are highly displayable and very small. But because JPEG is a lossy file format, the images do suffer from a reduction in quality and in post-processing flexibility.

M

M stands for Manual, a shooting mode that offers complete control over every setting on your camera, including aperture, shutter speed, ISO, white balance, metering mode, and more. Manual mode can be intimidating for beginners, which is why it’s often better to use Aperture Priority (also on this list, above).

Note: Manual mode and manual focus are not the same. You can use your camera’s autofocus capabilities when working in Manual mode (and you can even use your camera’s Auto mode while focusing manually).

M4/3

M4/3, also known as MFT, is short for Micro Four Thirds. Developed by Olympus and Panasonic way back in 2008, M4/3 is a mirrorless interchangeable lens standard that revolves around the four-thirds sensor.

Because the four-thirds sensor is smaller than alternatives – such as APS-C and full-frame sensors – Micro Four Thirds cameras tend to be lighter and more compact. However, the smaller sensor size does restrict image quality (particularly resolution and high-ISO noise performance).

OVF

OVFs, or optical viewfinders, are generally found in non-mirrorless cameras (e.g., DSLRs). OVFs use mirrors to offer the photographer a “true” preview of the scene, rather than a digital rendering (see EVF, above).

Because optical viewfinders show the photographer the scene as viewed directly through the lens, they don’t offer exposure simulation – though OVFs do provide a high-resolution image with zero lag.

P

P stands for Program mode, which allows you to adjust certain settings – including ISO, flash, and white balance – while your camera selects the aperture and shutter speed. Program mode is less popular than its semi-automatic alternatives, Aperture Priority and Shutter Priority, though it is a good way for beginners to wade into the often-confusing waters of exposure.

RGB

RGB stands for Red, Green, and Blue and is based on human color perception. RGB is an additive color technology designed for viewing images on digital displays (unlike CMYK, above).

S

Shutter Priority, also known as SP or TV (for Time Value), is a camera mode that allows you to select the shutter speed while the camera automatically selects an aperture for a proper exposure. As you adjust the shutter speed, the camera’s internal light meter analyzes the scene and adjusts the aperture accordingly.

Shutter Priority mode is best used for shooting fast-moving objects or when you want to deliberately blur a moving subject.

SLR

SLR, or single-lens reflex, refers to non-digital cameras with single-lens reflex capabilities (see DSLR, above). SLR cameras feature a mirror that reflects light up into the camera viewfinder. When the shutter button is depressed, however, the mirror flips up, exposing the film to light.

TIFF

Short for Tagged Image File Format, TIFF is an image file format that doesn’t lose detail, unlike lossy compressed formats such as JPEG. Because TIFFs retain all image information, they’re ideal for printing and storing images, though TIFFs are also far larger than lossy formats such as JPEG and HEIC.

TTL

TTL stands for Through the Lens; it refers to an automatic flash metering system. With TTL metering active, the flash fires a short burst of light prior to the actual exposure, the camera measures the amount of light coming through the lens, and the power of the flash is automatically set according to the selected aperture.

Not all off-camera flashes offer TTL metering (and some photographers prefer to set the flash exposure manually, regardless).

USM

USM stands for Ultrasonic Motor, a type of autofocus motor in certain Canon lenses. Equivalent systems include Nikon’s SWM (Silent Wave Motor), Sigma’s HSM (Hyper Sonic Motor), and Olympus’s SWD (Supersonic Wave Drive Motor). These AF motors are generally designed to be fast and quiet.

WB

WB stands for white balance, the process of counteracting color casts created under different lighting conditions. Some photographers set the white balance manually, though others set the camera to Auto White Balance, then adjust the white balance in post-processing as required. (Note that the latter technique only works if you shoot in RAW.)

Common photography abbreviations: final words

Well, there you have it:

A whole host of common photography abbreviations that you should know! Of course, there are plenty more photography abbreviations, but once you know the basics, you’ll find it easier to pick up new terms as you go along.

Any additional abbreviations that I missed? Share them in the comments below!

The post 25 Common Photography Abbreviations, Explained appeared first on Digital Photography School. It was authored by Megan Kennedy.

Looking to capture incredible fog photos? I can help.

For most photographers, nothing compares to shooting in the fog. The mysterious shapes, the silky textures, the ethereal light – it’s a uniquely magical experience, and it’s a recipe for breathtaking photos.

But capturing stunning fog photography isn’t always easy. Fog can be unpredictable, it can cause focusing and sharpness issues, and it generally appears during camera-shake-promoting low-light conditions. To create the best fog photos – the kind that you’ll often find hanging on gallery walls – you need a well-planned approach. You should set out during the right conditions, use the optimal gear, choose the perfect settings, and more.

Fortunately, as a veteran fog photographer, I’ve developed plenty of strategies to ensure that you can capture consistently great shots in the fog. And in this article, I share my seven best tips – so if you’re ready to start creating ethereal, mysterious images, then let’s dive right in, starting with:

1. Predict the fog before it happens

What’s the most challenging part of fog photography? Finding the fog, of course! In many areas, fog is a rare occurrence – and you, as a photographer, have no control over the weather. So you need to learn to predict fog in advance; that way, you’re in a position to capture beautiful compositions when the right conditions occur.

The simplest way to anticipate fog is to check the weather. Fog happens almost exclusively in the morning, so before you head to bed each night, take a quick look at your favorite weather app. Scroll through the hourly predictions for the next morning, and if you see the “fog” icon, choose a good location, set your alarm clock, and make sure you set off in the dark.

Another option is to wake up before the sun rises and look outside for foggy conditions (assuming, of course, that you plan to shoot near your house). The problem with this approach is that fog can burn off quickly, and by the time you’ve determined that fog is present, you may have missed the main event.

A third (and better) strategy is to learn to predict fog in advance. If you can understand the conditions that lead to fog, you can be prepared, no matter what the weather forecasters say. In particular, fog often occurs when:

• The ground is wet (due to the previous day’s rain)
• The temperatures are low
• The wind is weak
• Skies are relatively clear

Make sure you pay special attention to the weather in late fall, winter, and early spring. While fog technically can occur at any time of the year, it happens far more regularly during the cooler seasons.

Pro tip: If you have a specific shot in mind and want to check the progress of the fog, see if you can monitor it using public webcams. That way, you can see exactly how the fog looks and whether it’ll work for the image you want to capture.

2. Bring a tripod and a remote release

Since fog often occurs at sunrise and because fog tends to heavily diffuse the ambient light, you should definitely expect darker conditions. The darker the scene, the lower you’ll need to drop your shutter speed – so to prevent camera shake, make sure you carry both a tripod and a remote release.

The tripod will keep your camera steady at shutter speeds of 1/60s and below. (It also comes in handy if you plan to capture long-exposure fog shots, which I highly recommend; see the tips presented elsewhere in this article!) And the remote release will prevent camera shake when you press the shutter button. (It isn’t a requirement – you can use your camera’s two-second self-timer instead – but a remote release can make your shooting process faster and more precise.)

By the way, make sure you lock up the mirror before shooting (if you’re using a DSLR). And regardless of your camera model, use the electronic front-curtain shutter mode to prevent shutter-induced vibrations.

3. Use manual focus and a narrow aperture

Getting sharp shots in the fog can be tough. That’s why I encourage you to switch off your camera’s autofocus and instead rely on manual focusing, especially if you’re planning to do foggy landscape photography. Otherwise, your camera’s AF system will struggle to focus in the low-contrast environment, and you may end up deeply frustrated.

Alternatively, you can use your camera’s AF to lock on the highest-contrast portion of the scene, then twist your lens’s focus ring to fine-tune the point of focus.

I’d also encourage you to shoot with a narrow aperture. The narrower the aperture, the deeper the depth of field, which is essential if you want to maintain sharpness from the foreground to the (foggy) background.

Plus, a deeper depth of field offers more leeway in case you accidentally focus in front of or behind your subject. A good starting point is f/8, but you can always narrow the aperture farther if you’re dealing with an especially deep scene and/or need more room for error.

Note that a narrower aperture will reduce the amount of light hitting the camera sensor, so you will need to reduce the shutter speed – but as long as you’re using a tripod (see the previous tip!) you should be just fine.

4. Get above the fog

If you want to capture breathtaking foggy landscape shots, instead of working from within the fog, see if you can rise above it. Search out various overlooks, make sure you’re in position as the sun rises, then photograph the fog as it sweeps across trees and buildings:

If you’re in the right place at the right time, you might even get to capture sunlight hitting the fog from above, which can look positively wondrous.

And if you’re serious about high-angle fog photography, consider purchasing a drone. That way, you can capture gorgeous shots whether or not you have access to a good vantage point.

One more tip: If you do work from above the fog, you’ll often run into high dynamic range scenes, which many cameras struggle to capture. Make sure you shoot a series of bracketed images; that way, if the dynamic range does prove to be too much, you can always blend several shots in post-processing for a well-exposed final result.

5. Don’t forget about the ordinary subjects

Fog has a way of turning ordinary scenes into something spectacular. So while you can capture more traditional subjects on foggy days – such as seascapes and skyscrapers – you can also take a second look at the everyday, the boring, and the cliché.

For instance, you can get great shots simply by heading to your local park and photographing trees, cattails, and fields. Or you can take a walk through your neighborhood streets and point your camera at fog-shrouded streetlights, houses, and cars.

On a related note, you can use fog to capture original images of frequently photographed locations. Everyone photographs the Golden Gate Bridge, but the Golden Gate Bridge plus some morning fog can lead to unique (and spectacular) shots:

6. Use a neutral density filter

Neutral density filters are designed to block out light. Put a strong ND filter over your lens, and you can drop the shutter speed to 1/10s, 1s, and even several minutes without issue – even if you’re working in brighter conditions.

Why is this useful for fog photography? Well, if you can slow down your shutter speed, you can capture smooth, silky fog that looks incredible in landscape shots. Long-exposure fog appears like waves of water:

Note that ND filters come in many different strengths, and you’ll need to choose your filter based on the time of day and the lighting conditions. If you’re shooting before the sun has crested the horizon, you’ll probably need a relatively weak filter (or no filter at all). But if you’re working from above the fog and the sun is bright, you may want to bring out a 10-stop or even 15-stop filter.

Pro tip: When you’re working with an ND filter, make sure you set up your composition and focus carefully before slotting the filter onto your lens. Strong ND filters are extremely dark, so by taking such an approach, you can make sure the shot looks great while the scene is still visible in your camera viewfinder.

7. Experiment with different shutter speeds

While I’ve spent time discussing the benefits of long-exposure techniques for fog photography, it’s important to avoid keeping the shutter open for too long. Because while lengthy shutter speeds can certainly create stunning ethereal effects, they can also make the fog lose its shape and turn into a flat mess.

That’s why I encourage you to experiment with different shutter speeds whenever possible. If you’re confronted by a foggy scene and you have the time, test out a few different settings, then view the results on your LCD. Sometimes, you might like the slower version – but other times, the faster version will look the best!

And don’t shy away from relatively quick shutter speeds, either. A fast shutter speed – such as 1/60s or even 1/125s – will give the fog more texture, which can also look great.

Fog photography tips: final words

Well, there you have it:

Seven strategies for beautiful fog photos.

Hopefully, you found these tips helpful – and you’re feeling inspired to get out there and experiment with fog photography.

Even if you struggle at first, don’t give up. Refer back to this article, figure out what you need to do to improve your results, and keep shooting!

What subjects do you plan to shoot in the fog? Will you do foggy landscapes? Foggy portraits? Foggy street photos? Share your thoughts (and images) in the comments below!

The post 7 Tips for Gorgeous Fog Photography appeared first on Digital Photography School. It was authored by Louis Raphael.

The way you light a portrait influences so much: How the person appears, the depth and three-dimensionality of the scene, and even the overall mood conveyed by the photograph.

Loop lighting is just one method of illuminating a subject – yet if you use this technique, you can be pretty certain that whoever is sitting in front of your camera will like the results. Plus, loop lighting is extremely easy to set up; you only need a single light source (which can be ambient light, a speedlight, a studio strobe, or a continuous light).

In this article, I offer a comprehensive overview of loop lighting. I explain what loop lighting is, when you should use it, and a simple, step-by-step approach for creating the lighting pattern in your own photos.

So if you’re ready to revolutionize your portrait photography, then let’s get started!

What is loop lighting?

Loop lighting is a popular lighting pattern that creates a shadow under and to one side of the subject’s nose; this small “loop” gives the pattern its name.

To create the loop of shadow, you can position your main (key) light so it’s above and slightly to the side of your subject. Note that, along with the loop shadow cast by your subject’s nose, some of the subject’s face will be in shadow, and they’ll also have a shadow under their chin.

The size and intensity of the loop shadow depend on:

• The type of light
• The light’s position
• Whether the light is direct or diffused
• The amount of ambient light
• Other light sources or reflectors

Even once you have a loop lighting approach dialed in, the way you manage your main light will dramatically alter the results. If your key light is positioned farther away from your subject, the lighting intensity will change. And as you move the light to one side or the other, higher or lower, the shadows on your subject will change, too.

Of course, if you adjust the position of your key light too much, you’ll eventually lose the loop lighting effect; instead, you might create another common pattern, such as Rembrandt lighting, split lighting, or butterfly lighting.

When should you use loop lighting?

If your goal is to create a highly flattering portrait, then loop lighting is one of your best options.

As I mentioned above, it’s easy to set up; you only need a few pieces of lighting gear (or nice ambient lighting).

And because loop lighting requires minimal gear, you can spend more time connecting with your subject. You’ll also have more opportunities to make sure your camera and lens are behaving as desired.

What makes loop lighting so flattering? It’s very gentle on your subject’s face. Yes, it creates some shadows, but they aren’t very harsh (compared to other lighting styles). Instead, loop lighting produces light and shadow that show the facial contours pleasantly. As long as you can get the angle of light right, the shadows will complement the person nicely.

Other techniques, such as Rembrandt lighting, produce shadows that cover more of the face. If you want your portraits to feature a more intense feel, such an approach works well; in fact, dark shadows on the face tend to add drama and even mystery because part of the face is hidden.

However, if your goal is to create a beautiful portrait that emphasizes the subject’s features, loop lighting is a better option.

By the way, people with more oval-shaped faces will especially appreciate the loop lighting technique. Why? It accentuates cheekbones, which tends to create a slimming look.

Getting started with loop lighting: step by step

When you start doing studio portraiture, it’s a good idea to experiment with a wide variety of lighting styles and techniques. Loop lighting is a great first option.

Because loop lighting is both easy and flattering, you’re far more likely to receive positive feedback from the person you’re photographing, which will encourage repeat shoots and referrals (it’ll make you feel more motivated, too!).

Remember: The less you need to pay attention to the lighting, the more you can focus on communicating with your subject. So start out with an easy, one-light setup. Only add a reflector or a second light source once you’ve had plenty of time to practice.

So how should you approach loop lighting for the first time? Here’s my recommended step-by-step approach:

Step 1: Prepare yourself for the photoshoot

Before your subject arrives, make sure that you’re ready to capture a loop-lit photo.

Take a look at the location. Think mainly about the ambient light and the background. Will you rely on available light? Or will you add a light source to create the loop lighting effect? Where will you position your light source and subject?

Ensure you have all the necessary gear; if you plan to use artificial lighting, set up your equipment in advance and make sure it all works as expected.

The more you can determine before your subject even arrives, the better your results will be.

Step 2: Position your light source

Once your subject arrives, ask them to stand or sit in position, then adjust your light so it’s slightly above and to the side of their face. The goal is to create that little loop of shadow under the nose, and I encourage you to clearly communicate this with your subject; otherwise, they’ll have no idea what you’re trying to achieve.

If you’re using a speedlight or strobe, you’ll generally need to capture a series of test photos. Take a shot, check the results on the back of your camera, adjust the light’s position, and shoot again. It may take a few tries before you see a nice loop shadow, and that’s okay – though the more efficient your testing process, the more comfortable the subject will feel.

If you’re worried about the setup process and/or you need to work quickly, consider starting with a continuous light source (such as an artificial continuous light or ambient light). That way, you can see where the shadows fall on the face, and you can skip the entire testing process.

Regardless, I find that talking to people about what I am doing and how I want them positioned helps them feel relaxed. If you take people through the photoshoot process, they’ll feel more confident, which shows in their facial expressions.

Step 3: Modify the lighting

At this point, you should have that nice loop-lighting shadow, but it often pays to refine the overall effect.

For instance, you can bring in a reflector – and while this isn’t absolutely necessary, it’ll soften the shadows on the subject’s face for an even more flattering result.

You can test out a few different reflector positions: beneath the subject’s chin, on the side opposite the light source, or somewhere in between. As you move the reflector, pay careful attention to the shadows on your subject’s face; the difference may be subtle, but it can be very significant.

Adding some diffusion to the light source will also help soften the shadows, which will make the image less dramatic. Of course, less drama isn’t always ideal, so you’ll need to decide if this is the type of look you want.

Step 4: Add a second light

You can create a beautiful loop lighting effect with just one light source, but if you want to take your portraits to the next level, consider adding a light behind your subject.

Make sure the light is positioned either directly behind your subject or just outside the frame. It should be directed at your subject’s back, though you’ll need to make sure the spread is confined to the subject’s head and shoulders; the goal is to help them pop off the screen, which is especially important when you’re capturing dark hair on an already-dark backdrop.

Loop lighting: final words

Loop lighting is a simple and effective technique for flattering portraits. You don’t need anything other than your camera, a lens, and a light source, so it’s great for beginners (though using additional lighting gear will give you more options).

So practice the technique until you know it well. As with any simple lighting style, you can tweak aspects of your setup to achieve different looks, so don’t be afraid to experiment. And make sure you communicate with your subject along the way!

The more you practice, the better you’ll get, and the more you’ll please your subjects. Happy shooting!

How do you plan to use loop lighting in your next photoshoot? Share your thoughts in the comments below!

The post Loop Lighting: A Comprehensive Guide appeared first on Digital Photography School. It was authored by Kevin Landwer-Johan.

You’ve come a long way (with your photography) in the last couple of years, haven’t you! You now have a good grasp of general ‘photography rules’ Now, break them and make the best photograph you can. That’s your challenge! Free form rule breakin’ fun – let’s see what you come up with!

Tag your shots #dPSWeeklyChallenge and #dPSRuleBreakers and share them on our Facebook Group or in the comments below this post.

Here’s a look at some rules that you already know – click this link

Not sure where to start? Break the rule of thirds? Over exposing for the hell of it? Wonky horizons that suit a scene? That’s easy, right?

Remember to tag your shots #dPSWeeklyCHallenge and #dPSRuleBreakers and, as always, have a nice week!

The post Weekly Photo Challenge – Rules (Breaking them!) appeared first on Digital Photography School. It was authored by Sime.