Apr 07, 2011 — 5 comments
If you shoot macro photography, you know that you have to focus on just a little bit of content, so your final image will be out of focus in some areas. There’s no way around that—until you get to post production.
On a dull day, it can be used to simulate sunlight and add contrast to a photograph. In this situation, the flash is the main light source, and its direction should be above and perhaps to one side of the subject, just like sunlight. This entails the use of an off-camera flash. It’s important to remember that even on a dull day, the natural light is directional, and when used correctly, the flash should augment that natural light.
Silhouettes can be a fun and beautiful way to illustrate a scene and are surprisingly easy to create. Photographer Gavin Hoey shows us how to perfect the silhouette with a one light setup.
How many times have you struggled with getting the proper exposure? Your camera has built in features to help you out, but you have to learn how to use them before they’re of any use.
One of the world’s most well-known portrait photographers—with a portfolio full of celebrities—gives us some invaluable advice on how to take an excellent portrait. Renowned photographer Jillian Edelstein talks about her encounter with Nelson Mandela and how he reacted to having his portrait taken while he was president.
One of several things to keep in mind is that a sleeping baby is much easier to pose and photograph than one who is awake. Cotta uses white noise as a lullaby to keep the baby from waking. You should also turn off your camera’s focus confirm beep. Most new cameras have a silent mode that reduces the burst speeds but is much quieter. If you’re working with a mirrorless system, just turn off any sounds and you’re set.
There are many ways of removing wrinkles in Photoshop, and there are even third party plugins that do the job for you. However, the goal isn’t always complete removal since that can leave your subjects looking like they came out of a cartoon.
The advantage of using a really deep parabolic umbrella in a shoot like this is that it’s, well, deep. That means you can really focus the light on your subject without spilling any of it on to the background. In this case the background had a lot of distracting elements, such as paint shifts, banners, and items that really did not add anything to the images.
For this set of portraits, Grimes placed a 36″ Rapid Box softbox over the camera and used a reflector to bounce some light back up under the model’s chin. Grimes likes using a light gray background, so he puts his subject close to the background—but not too close. Keep in mind that this exact setup can work for low key portraiture.
When using camera flash while photographing your pets, you’ve probably noticed that their eyes get color casts akin to red eye in humans. If you try to fix this in post-production the same way as you would fix human red eye, Photoshop will just desaturate and darken the area. The eyes will look washed out and awkward.
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