Some vistas are so beautifully expansive that a single shot with a wide-angle lens just won’t do it justice. Panoramas allow you to push the boundaries of the frame, leaving the photographer no longer restricted by how wide angle the lens is. This technique has become so popular that camera manufacturers like Sony and Fujifilm have fashioned new technology that enables you to take your own panorama simply by sweeping the camera in a semi-circle.

This month, DCE will show you that you don’t need a brand new model with this feature to create your own panoramic pictures. A sweeping seascape, an illuminated city at dusk, or even your own back garden – you can produce a panorama of anything. A common illusion is that this technique demands a host of specialist equipment, when in reality all that’s required is a digital camera and a tripod. Even a handheld compact would produce results.

The most important thing to get to grips with is creative control. As with any form of photography, the basics must be covered – composition, depth of field, the tonal range of the image – but with panoramas this is much more crucial. To create the characteristically wide appearance of a panorama, the photographer needs to take several pictures of the scene and if the white balance, focal length, and aperture are not fixed – stitching the images together later will be very tricky. This guide will break the panorama process down into simple steps; teach you how to master the all-important editing stages, and professional photographer and panorama guru, Jaspal Jandu, shares his top tips.

//What you’ll need:

Digital camera (with manual controls)

Tripod

Spirit level

//Skills you’ll learn:

Stitching a panorama

Cloning

Curves and levels

Setting Up Shot

Compose

Opt for a location that contains features in the foreground, as well as in the distance, to occupy the viewer’s eye and ultimately add interest. Avoid shooting directly into the sun as this can alter the lighting within the different sections of the scene. Remember that panoramic photos can be either horizontal or vertical, so select the orientation that suits the scene.

Tripod

It is recommended that you fix your camera to a tripod to keep shots level and minimise camera shake. If you’re working handheld, tuck your arms tightly into your body and keep feet firmly planted as you take your series of shots. A brick wall or fence could serve as support if all else fails.

White Balance

Turn the automatic setting off and manually set the white balance to compliment the lighting conditions. If you don’t, tones will change throughout the scene and create hard work later on. It is a good idea to speed up the process and fire your shots quicker when the weather is cloudy.

Focal length

Choosing the same focal length for each shot will ensure that there are no alterations in the different photographs that will make up your panorama. Bear in mind that a longer focal length will mean you have to capture more images, so choose a shorter focal length to limit processing work.

Aperture

Select a small aperture such as f16 or above so that the scene is in focus from front to back, which will simplify stitching the images together in the editing stage. Also, by setting your camera to process images as JPEGs instead of RAW files, the large file size won’t slow your computer.

Snap away

Have a practise run, panning your camera around to cover what will eventually be your panoramic photograph. This way, you can see whether the camera is level and that you’ve chosen the optimum settings. To ease the process of stitching your images afterwards, estimate a 20-30% overlap between each image.

TOP TIPS

Take a picture of your thumb pointing upwards to signify the start of your panorama and downwards once you’ve reached the end for efficient editing.

If you take each shot for your panorama in portrait, you will capture more vertical detail. In landscape orientation, you may need to take more pictures.

Movement within the scene can cause blurring and doubling up of people of cars. Be aware of this and take your pictures quickly if this is the case.

Editing your Panorama

Step 1: Photomerge

Photoshop helpfully provides an automatic stitching tool called Photomerge. To select this, click on File > Automate > Photomerge.

Step 2: Pick the pictures

A window will open to prompt you to select the photographs you want to merge. Click on Browse and source the images in sequence if possible.

Step 3: Merge together

Once selected, Photomerge will assemble the photos into a panorama straight away.  However, if this does not occur, then use the Select Image tool in the Photomerge dialog to adjust them one by one. Ticking the Perspective option will also lend a more realistic look to the finished piece.

Step 4: Cover the cracks

Give your panorama a professional finish by choosing the Healing Brush to cover up any noticeable joins. You can alter the brush size accordingly and press Alt + click on the area you wish to duplicate. Complete the process by cropping the edges and don’t forget to hit the Save button.

The long way round

A detailed, more gratifying way to stitch your images

Step 1: Loading

Launch Photoshop and open all the images you have taken for your pano picture. Either find them via browsing, or simply drag and drop all the images if they are lurking on the desktop.

Step 2: Blank canvas

Click on File>New to create a blank document that you will be able to drag your sequence of images on to. Make sure the measurements are big enough to hold the width and height of all your images.

Step 3: Drag and drop

Choose the Move tool from the toolbar and drag all of your pictures on to the blank document. Try to drag them in sequence order to avoid confusion, as each image will form a different layer.

Step 4: Get into position

Now click on the layer on the far left (layer 2 or equivalent). On the Layers palette, reduce the opacity to 60% and then use the Move tool to line the image up with the adjacent one. Go to View>Rulers, then drag out two rulers and position them either side of where layer 1 and layer 2 overlap.

Step 5: Erase the lines

Drag the Opacity back to 100%, then select the black-and-white icon at the bottom of the Layer Palette to add a layer mask. Hit D to set the default colours and choose the Brush tool from the toolbar and open the Brush palette.

Step 6 : Brush up

Select a medium brush and set the Hardness to 60%. Then use this brush to erase the photo underneath this current layer to soften the joining lines between images. Use the rulers as a guide to keep within the lines.

Step 7: Repeat

Repeat steps 4, 5, and 6 to create the rest of your panorama. Ensure no major seams are on show and when you’re happy, click on File>Save and name the document ‘panorama_rough’.

Step 8: Cropping

Call up the Crop tool from the toolbar and click and drag from the top left of your image to the bottom right. If the panorama fills the space you have highlighted, hit Return to leave a neat rectangle shape.

Step 9: Colouring

If the colours of the different images don’t match up, select a layer that requires some attention and click Image>Adjustment>Brightness Contrast. Alter the sliders until the image resembles the remainder of the panorama. Don’t forget to save the final piece.

Pro Tips:

British born photographer Jaspal Jandu is recognised as a leading exponent of panoramic landscape photography with a special emphasis on natural phenomena and the environment.  His latest book, ‘Natural Wonders: A Panoramic Vision’ (RRP £25) is the result of a four-year long voyage to capture nature’s perilously fragile landmarks at their most beautiful and imposing.

Website: www.jaspaljandu.com

Tip 1:

Wide isn’t always wonderful

Given the ease of digital stitching, it’s tempting to include too much angle-of-view in panoramic sequences.  Human stereoscopic vision is limited to around 90-120 degrees, so try to aim for a sequence of three to five overlapping images in the first instance.

Tip 2

Shoot vertical

Forest canopies and cathedral interiors are just two scenes that lend themselves perfectly to vertical panoramas.  This orientation requires some forethought, however, as you don’t want to be crouched awkwardly underneath your camera by the end of sequence.

Tip 3

A panoramic narrative

Panoramas are normally ‘read’ from side-to-side rather than front-to-back, so create a strong narrative that compliments this facet.

Tip 4

Be mindful of lighting

The sweeping coverage of a panorama will often contain large variations in light intensity and/or polarisation.  Either bracket your sequence or shoot in low contrast light if you want to avoid blocked shadows or blown highlights in different areas of the final image.

Printing your panoramas

Be proud of your panorama and order a professional print out

Spectrum Photographic offer quality services ranging from photographic and giclee printing to museum quality mounting and framing. Even pro photographer Caroline Irby has ordered a print for her exhibition at the V&A museum this year, so DCE called upon their services to print one of our panoramas.

www.spectrumphoto.co.uk

Online orders can be placed anytime day or night

Opening hours
Monday to Friday 9am - 6pm
Saturday 10am - 4pm

Telephone: 01273 708222 Spectrum Photographic
Unit 10 Hove Business Centre
Fonthill Road, Hove,
East Sussex. BN3 6HA

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Capture the nature on your doorstep with this month’s guide to wildlife photography

For this month’s feature, DCE visited a wildlife park in the New Forest, to show you how to capture the best accessible wildlife images using essential photography skills. By the end of this eight-page technical guide, you too will be capturing stunning animal images and improving your photography skills. From understanding shutter speed and Burst mode settings to thinking about composition and being in the right spot at the right time, you’ll soon be taking your best ever shots.

Accessible wildlife comes in many shapes and forms and can be found in a variety of locations. The home, zoo, farm and garden are all ideal places to go and capture a wide range of species. You’ll find the internet comes in handy when researching locations, although planning a shoot around your local area should be easy to do. The trick is to know what is available on your doorstep and in which season. The time of day will also make a difference to which creatures are active and what light will be available to shoot in.

So whether you have a compact camera or a DSLR, follow this simple guide and you too will be shooting like a pro in no time. For this type of photography, some sort of zoom lens is recommended and manual controls on your camera will make the job easier.

Checklist - What you’ll need

Camera
DSLR, superzoom or compact, manual settings are best

Zoom lens
For animals at a distance and of a shy nature, this will help

Tripod
Some stability will aid close-up shots, keeping the camera still in low light

Skills you’ll learn

Basic camera settings

Learn to work with the camera settings and light

Burst mode settings

Capture the precise moment of moving matter

Garden photography 

Find interesting wildlife in your back garden

Camera settings

Get the most from your shots with the right settings 

The light and location will determine what settings to use on your wildlife shoot. However, there are some basic rules to follow which should make it easier to predict what to set your camera to.

A fast shutter speed for photographing any moving subject matter is a must. Animals are unpredictable, so keeping the camera steady and positioned appropriately is rule number one. If you have a long zoom lens, using a monopod or tripod can be useful or leaning the lens on a support can also do the trick. If you don’t want the restrictions of using a tripod, use your body as support by crouching on one knee and resting your elbow on your knee.

The lack of light in many locations can be a problem and the only way to get around this is to increase the ISO and open the aperture. Selecting the right subject matter is also important. For example, in the zoo amphibious animals such as snakes and lizards generally stay still for longer, so it can be easier to photograph these than a more sprightly creature.

Fast shutter speed

If using a 70-200mm zoom lens and you will want to use a fast shutter speed. The camera should be set around 1/200sec, which is ideal for the size of the lens. The aperture is open at f4 and the ISO is low at 320.

Slow shutter speed 

If you have the shutter set at 1/30sec, this will be too slow. With a standard lens this may be fast enough to hold the camera in the hand, but in these circumstances it is too long for the lens and subject. Opening the aperture and increasing the ISO might have saved the shot.

Pick the right subject matter

Animals that are not shy and are slow movers will provide better results. Once landed, the perfect shot can be achieved. The butterfly house can be the perfect environment– be sure to take a cloth into environments like these, as the lens will steam up due to the humidity.

Capture the moment

Make sure you capture that once-only shot with our top tips 

In wildlife photography even accessible subject matter can be hard to capture at an exact moment, so to increase your chances there are some rules to follow.

The Burst mode or continuous shutter speed is a great feature to employ, as it means the camera is rapidly firing. Make sure you have the camera at full resolution, as often in wildlife photography cropping into the image is necessary due to the distance from the subject matter. Shooting at a continuous speed will make an interesting sequence of images that can be displayed together. Try capturing an animal moving or eating, as this will give the sequence of images a more diverse nature. 

It is easiest to photograph wildlife using a fast lens – a lens with a wide aperture (ie, f1.2). Having a wide aperture means more light is reaching the sensor, so the ISO can stay lower and the shutter speed faster. The right lens will make it easier to achieve a good wildlife image. A zoom lens around 70-200mm with a wide aperture can be pricey, so really should be considered only by those who are enthusiastic about photography.

Jargonbuster Auto focus

Is this a feature worth having?

Auto focus and tracking features for fast-moving subjects can be highly beneficial. In pro cameras, tracking features are advanced and keep focus on the subject. Some AF cameras are able to detect whether the subject is moving towards or away from the camera. This includes processing the speed and acceleration of the subject. AF tracking is used mainly in sports, wildlife and other action photography. In mid-range amateur DSLR models, AF features can still be impressive and help produce sharper results.

Capture fast movement

A step-by-step guide to capturing the perfect shot of a fast-moving creature

Set the speed

To set the Burst mode every camera is different, but look out for the icon above. Remember to look for the ratio between speed and resolution, as you don’t want to compromise image quality.

Shot 1

This doesn’t show much, as the mouse was positioned too far back and out of the focus zone. From watching its movements and getting into position, it was predictable that the mouse would come forward into the shot.

Shot 2

As the mouse begins to move forward, the camera is fired again. This is to ensure the precise moment will be captured as it comes into the foreground. On this shot, the mouse is still too far back. 

Shot 3

Still not perfect in shot three in the sequence, as the mouse is not sharp enough. This shot indicates that the next one will be better, as parts of the mouse’s face are beginning to look sharper.

Shot 4

The last shot of the sequence captures the perfect moment. Details such as the whiskers, nose and eyes are sharp in focus. The soft focus surrounding the mouse makes it stand out even more. 

Get the shot

The right spot is key to a successful shot

Top tip

Take plenty of memory cards with you, as shooting on a continuous shutter speed will greatly increase your storage consumption.

It may sound obvious, but being in the right spot at the right time is what is going to get you that prime shot.

If you are in a zoo, it’s essential that you make sure you know the feeding times. This can get you closer to the animal, as it’s more likely to be in a more visible position. It is good to get there early, so you are not stood at the back of a crowd.

Do not take an image for the sake of it.
It is common to see many people coming away with many shots of animals from behind, which do not make for the most attractive shots! 

Avoid bars

Animal cages and bars in zoos and wildlife parks are unavoidable in some circumstances, however there are a few things to be aware of. Avoid signs and wait until the creature is in a different place, or change your position.

Avoid reflections

Glass can be a hindrance or a help, depending upon your angle. It can sometimes be hard to avoid a glaring reflection, though it can be avoided. Placing the lens close to the glass and cupping your hand around the end of it will help. A lens hood is a useful accessory to have, as it will protect the lens from bumping the glass.

The right position 

Another technique to avoid reflections includes getting an assistant to hold a dark piece of material behind the camera so the light is blocked out. It will also help switching the AF onto Manual mode, as often the glass can be dirty so the lens will try and focus on the pieces of dirt. In Manual focus mode, you will have full control over creative choices.

What’s on your doorstep?

Bird watching

Setting up a bird feed in the garden will ensure a variety of birds come to you. Think about positioning the bird feed in relation to the garden, background, time of day and what light will be available.

Visiting creatures

The back garden is filled with many visiting creatures. At dusk, nocturnal animals begin to stir and the change in light can produce some atmospheric images.

Pond life

If you have a pond in the back garden, take advantage of the variety of animals that live in it. For example, the development of a tadpole to a frog is an interesting journey to document.    

Domestic pets

Beloved pets make ideal subject matter. They’re particularly good for using as practise for taking images before going into a tougher shooting environment, such as the zoo.

Creepy crawlies

During the summer months the garden will be full of insects. Flowers and bees produce excellent macro images – bees can be easier to capture than other insects due to their flight pattern. 

Top tip

A macro lens is ideal for
garden photography, but these can be pricey. An extension tube with a standard lens is a good second choice.

Pro tips: Bjørn Anders Nymoen

Norwegian photograper Bjørn Anders Nymoen shares his top wildlife tips 

Born in the city of Oslo, Bjørn Anders Nymoen moved north to Svalbard (the northern most community on Earth) at the age of 18. There he studied for 13 years, mainly concentrating on wildlife photography alongside Biology. Now working in the film industry as a full-time nature photographer, Bjørn also works as a freelance photographer and has his images shown worldwide in stocks and bureaus.

Website: www.nymoenphotography.com

Tip 1: Find your own style. Remember that it’s your vision you want to capture. Play with your camera and learn how it responds. Pick up influences from photographers you like and then adapt it.

Tip 2: Even with digital photography there is a certain amount of skill required to achieve a pro-looking shot. In wildlife photography you can get closer to the animals by learning their habits – where do they eat, drink and sleep?

Tip 3: Don’t be afraid to show your images to the rest of the world, as receiving critique is the fundamental way to go further. There are many internet sites out there that let you publish your images
(such as www.dphotographer.co.uk). Take part in forums and contests. Don’t aim for the top straightaway, but participate in smaller contests like ‘picture of the day’, etc on the DP site. Photography is all about practice – keep the best, throw the rest.

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Portraiture can conjure up intimidating images of swanky studios, complete with infinity coves, beauty dishes and metering systems. This month, however, DCE is setting out to prove that all you need is a willing model, a camera and photo-friendly weather to obtain some great results. 

Some of the most striking portraits are taken outdoors, as the uncontained environment can help models to relax and ultimately produce naturally beautiful images. However, it’s not as easy as taking a trip to the park with your camera and model in tow. Lighting is difficult to control and without careful consideration and planning, you can end up with unflattering images of squinting models with harsh shadows.

In this month’s detailed guide, we will take you through all the important aspects of outdoor portraiture, including lighting, aperture, composition and more. Everyone enjoys being outside in great weather, especially children, so there’s even a section dedicated to photographing youngsters.

As well as an abundance of top tips, you will discover the essential portraiture skills that you can take with you into the studio, as well as the need-to-know facts for photographing outdoors like a pro. Take advantage of the summer months and don’t restrict yourself to staying indoors.

Check list

What you’ll need

• Camera - Manual settings are preferable
• Reflector - To eradicate shadows 
• Black umbrella - Create your own shade 

Skills you’ll learn

• Lighting and location
  Manipulate the weather to your advantage
• Aperture and composition
  Optimum settings and framing

Lighting and location

Lying in a bed of flowers, propped up against a leafy tree or braving the surf on a sandy beach – apart from adding interest, the location you select for your outdoor shots can tell a narrative. Make sure you pick a place that conveys to the viewer something about the model you are photographing. If this is a family member or a friend, your insider knowledge should serve you well. If not, then ask them to bring a prop that demonstrates their interests.

For example, would a graffiti-smothered skate park represent the model’s passion for urban fashion and music? Or is she a hippy at heart, who would be most comfortable pictured in a fairytale-like woodland? Keep it simple and look for patterns, such as brick walls or clusters of flowers, so as to not detract from your subject. Aperture settings need to be considered, as this can greatly enhance the power of your portraits. Lighting is also a major component in snapping a successful shot, so a reflector or flash is a must. Have a look at our dos and don’ts for inspiration.

Shade

Overcast days are ideal for portraiture, as clouds act as a giant
softbox, diffusing light and preventing harsh, directional shadows. Seek shade if possible and avoid arranging a shoot for midday, when the sun is at its highest. Early morning or late afternoon is ideal.

 Without shade 

A common misconception is that the sun should always be behind the photographer, but this makes for a squinting model. When the sun is just behind the model, it can create attractive highlights in the hair. To avoid underexposure, shoot with the flash turned on.

Without reflector

Unless the sun is directly head-on, heavy shadows will be cast on one side of the face. A reflector is a must for outdoor portraits and it’s easy to create your own. Just cut out the side panel of a box, glue some foil or white paper over it and you have a DIY reflector.

Aperture & composition

A powerful portrait draws the viewer’s eyes to the model. Hold their attention by ensuring your model is looking into the lens and use a wide aperture. This blurs the background, enhancing focus on the subject. The aperture is the diameter of the lens opening and is measured in f-stops, or f-numbers. The higher the f-number, the smaller the diameter of the aperture. Therefore less light hits the sensor when the shutter release is pressed, and vice versa.

On a DSLR, the most direct way of controlling the aperture is by setting the camera to Aperture Priority (indicated by an ‘A’ on the Mode dial). This will enable you to set the aperture to suit your desired effect. A shallow depth of field is most appropriate for portraiture as the background will be rendered out of focus, so use a small f-stop eg f2. Conversely, a large depth of field is more suited to landscape photography, so a large aperture value should be used, eg f22.

Composition

Is it a full body shot you’re after, a mid-shot, or a classic headshot? Is that headshot going to be a close-up, or an extreme close-up? There are countless options and angles that you as the photographer have to choose from. To help you decide, you need to consider what it is that you’re trying to communicate.

The model should always be the main object of attention in a portrait. With outdoor portraiture, the photographer must take note of what is around the subject. Avoid snapping pictures of people with street lamps appearing out of their heads, for example.

Full-length

This is particularly suited to fashion portraits, where the aim is to flaunt an ensemble. Use the scenery to your advantage and look for interesting doorways or staircases to frame the model. Don’t feel restricted by taking shots at eye level only. Low angles can add drama, while making the model appear powerful as she peers down at the viewer.

Mid-shot

Look for leading lines that will direct the viewer’s eyes to the model. You don’t have to follow the rule of thirds, either. Experiment with placing your model at opposite ends of the image, which can work effectively to give the subject space to look into if their gaze is off-centre.

Headshot

A headshot is commonly used in portraiture, often including the head 

and shoulders of the sitter. It’s best to keep the eyes in the upper third of the image, as this is the most natural spacing. Play around with the direction that the model is looking. Staring straight at the lens can arrest the viewer’s attention, while gazing off into the distance can add an element
of mystery.

 Extreme close-up

Don’t be afraid to zoom in close to the model and fill the frame with their face – the photograph is about them, after all. Capturing the subject’s character is crucial, so try snapping candid moments such as when the model is laughing naturally. Extreme close-ups can amplify emotions and can prompt intrigue in the viewer.

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Water Photography

Capture inspiring images of the open ocean to a singular drop of water

This month DCE takes you through the essential guide to water photography covering all aspect of the area. Water is a powerful substance and has symbolic presence in photography, as it is the reason to our existence on this planet. Water is a fantastic subject matter to capture and the diverse range of its form means a variety of photographic methods can be applied and different effects can be achieved.

In this month’s tutorial DCE shows you how to capture a range of subject matter from fast moving rivers with slow shutter speeds to intense reflections in large still lakes. Submerge under the water surface and get in close to a single drop in the comfort of your own home. This month’s feature is a must have for any beginner photographer who wants to improve their water photography skills. We reveal easy methods for achieving excellent results whether you have a compact camera or DSLR.

Movement and exposure

Capture the flow of water by slowing down time

Water can be full of movement and this can provide some good opportunities to experiment with time. On a camera the shutter speed can be adjusted which is what will determine whether there is movement in the image. The shutter on a DSLR is the flap that opens and closes to let light onto the sensor. Rivers are the ideal subject matter to practice this technique on and can create some beautiful and atmospheric images. 

On a DSLR the easiest way to control the shutter speed is to set the camera to the shutter priority mode. A shutter can also be left open and controlled manually, which is usually indicated by the B (bulb) or T (time) symbol.  These settings are for very long exposures and are best for lowlight and night time photography. Don't forget to take your tripod and it is best to shoot on less windy days or in sheltered spots if you are leaving the shutter open for long periods of time.

Checklist -

Camera

A DSLR, hybrid or compact camera can be used for this type of photography as along as you can adjust the shutter speed. 

Tripod

A tripod is a must have accessory as you will need to keep the camera steady for long periods of time.

Filters

Filters can help reduce glare as they work by decreasing reflectivity in surfaces. They are also useful for keeping the end of your lens protected.

Shutter release

Keeping the camera still is vital, as you only want the water to be moving. Using the self-timer or a shutter release is best, as you should no be touching the camera when the shutter is open. 

Lens hood

A lens hood can come in handy if there is sun or rain. It will help eliminate lens flare or stop drips running down the front of the lens. 

Top tip
 
Splashes: avoid splashes on your lens, as these will ruin the shot and make it difficult to focus. A lens hood can be useful however this will not completely protect the lens so avoid places where there is spray.

Water and waves -Capture the drama of the ocean

Be careful

When photographing big waves the first rule is safety. Yes you want to get in close to the action however it is not worth risking your life. Stand at a safe distance and use a zoom lens to make it look like you are taking the picture from the danger spot!

The crest of a wave

Getting in close to the wave will give you the best results. A DSLR and an 80-200mm or ideally a 300mm zoom lens will do the job for most point and beach breaks waves. To help eliminate camera shake turn up the ISO between 400 and 800 and use a monopod or tripod.

Shoreline

When the seas are calmer look for subtle photographic moments. Footprints in the sand on the shoreline make for a romantic image and drawing in the sand can look effective as can be seen in this example. Shells on the seashore also make an excellent subject matter and can be good to use with a macro lens.

Calmer seas

For landscape photography the sea can produce powerful and atmospheric imagery. The best time of day for shooting a seascape is at first or last light. The colours in the sky are more dramatic and will reflect in the water. Using filters can help enhance these colours.

Shutter speed

Slow down time and capture the flow of water.

To change the shutter speed on your DSLR or compact camera (if it has manual controls) you need to look under the shutter priority mode. On Canon DSLRs this is labelled, as Tv however on most other DSLR models you will see it as S on the top dial control.

Depending on the surrounding light and speed of water flow will determine what speed to set your camera. If there is little light them you may need to open up the aperture to the widest setting e.g. f2 and adjust the ISO to a higher level e.g. ISO 800. If there is a lot of light then lowering the ISO to 100 will produce finer results and the aperture can be closed for a greater depth of field.

1/250th sec

At this speed you won’t capture any movement in the flow of water and it will appear as drops. The camera can still be held by hand at this speed.

1 sec - Depending on the speed of the flow of water will depend on what speed to set your shutter. 1sec is enough for fast moving water but not for a slow moving flow. 

2 sec - At 2 seconds the water changes texture and soften. The difference of the effect of this image to the 1-second result is noticeable. 

6 sec - A long open exposure will produce a soft and blurred effect. For this exposure time shoot in lowlight and have a narrow depth of field e.g. f22.

Reflections, landscape and water photography

Still water can produce some interesting and intense reflections, which work especially well in landscape photography. Lakes are the perfect source for sharp reflections if you are shooting on a still day. On a windy day the results will look different as there will be ripples on the surface however this can still look effective. If you are using a tripod then use your body to shelter the camera or shoot from a less windy spot.

For reflection photography mountains make excellent subject matter as they produce stunning reflections and make dramatic images. The sunset and sunrise are good times to capture this type of scenery, as the colours are more impressive. If you are shooting in the day then try to shoot when there are clouds in the sky as this gives the reflection more depth and texture. Reflections in water landscape photography are not just found in lakes as puddles or still rivers are also ideal.

Exposure compensation - Correctly expose your images

Get it right in camera

Although a lot can be corrected postproduction it is always best to get the right exposure in camera. If your shot has a high dynamic range i.e. a wide contrast between the shadows and highlights then use the exposure compensation button as is shown here. What this essentially does is takes the image one or two stops above or below the average reading. Take one shot on the average, one above and one below as you will have all areas correctly exposed and can edit them together.  

Water and sky

A graduated filter is a filter that has a gradient from the top to bottom meaning one end filters the light and it fades out to a clear screen. These types of filters can be most useful if you have a bright sky and darker foreground. To use the graduated filter it is best to make sure the horizon is level and set the line where the filter ends so it covers the sky.  

Under water photography

Submerge your camera below the surface

Underwater photography can produce some fantastic results however there are a few more obstacles to get around. Firstly work in the clearest possible water. Water is 800 times denser than air so the light is going to be much less even in shallow depths. Water will also produce a heavy cyan (blue-green) cast as essentially you are shooting in a big filter. To achieve rich, vibrant colours underwater photography use an artificial light (a strobe) and work close to your subject matter. Know your limitations and plan what you want to achieve from your shoot.  

Stay close to the surface

The reflections created under the water can be just as or even more impressive than the ones on top. Shooting close to the surface will produce more vibrant colours and light is less filtered and will provide richer results. If in deep water make sure you attach your camera to yourself, as it will sink to the bottom.

Pre set your camera

Shooting underwater is tricky and you don't want to miss the moment due to fiddling around with settings. Not only this it can be hard to change them underwater. Preset your camera before you dive in. As there is less light underwater you will need to set the ISO to a higher number and keep the aperture wide.  

Protect your equipment

Whether you want to take underwater photography seriously or not if you are going to submerge your equipment then investing in a good casing is vital. There are many manufacturers on the market. In the next issue of DCE (97) we put four tough underwater compacts to the test so watch out for that review. 

Weather and water

Ice, snow, rain and fog. Get the most from the bad water weather 

In landscape photography then water comes in many forms. Shooting in rain or fog can produce some excellent results however remember to take a lens cloth. Fog can be hard to capture and more often than not it is about being in the right place at the right time. To maximise your advantage fog looks the best at dawn with the first light and is more likely to be around at this time. Remember to take your tripod, as at this time the lowlight will require longer shutter speeds.

In bad weather remember to protect your equipment. This does not involve purchasing lots of fancy equipment as a couple bins liners and a roll of sticky tape can work wonders. Remember to set up a system that lets you access your camera to change settings. To avoid condensation forming in the camera and lens, make sure that that camera stays sealed in the camera bag for a while after returning indoors.

When shooting in dark and windy conditions a high ISO number is unavoidable when taking shots in bad weather however don’t let this put you off. Noise is not a disaster so try to use it to your advantage by creating grainy looking images. Switching them to black and white post shoot can look effective.

Abstract photography and water

Getting in close to water can produce some amazing imagery. To approach this type of photography a macro lens is useful, as it will produce sharper results however if you do not own this equipment do not panic. With a bit of experimenting good results can still be achieved and generally practice makes perfect. An extension tube can be useful (see last months DCE lens tutorial) as this is cheaper then a macro lens and will allow you to focus right in on the drop.

To capture a water drop it is best to focus the camera using the manual mode. Set the point where you anticipate the drop to fall and use an object (a pen or pencil usually does the job nicely) to focus. Remember to get the perfect water drop image you will take lots of images so not feel disheartened if you do not get the results you are after straight away. This type of photography can be easily achieved in the comfort of your own home. See the set up guide and get shooting. 

How to capture a water drop

Step 1

Chose your container. A glass, fish tank, or anything with a clear surface will be ideal. Fill the tank with some water as this makes ripples when the drip hits the surface. 

Step 2

Make a drip. A plastic bag with a pinprick hole will be sufficient for this. Make sure you don't make the hole too big as you want a drip not a waterfall!   

Step 3

Light the drop. Either set the equipment up near a window which will provide natural light or use a table lamp. Using colour card or material will change the background colour.

Step 4

Set the camera to continuous shutter speed. Use either the manual or shutter priority mode. You want the shutter to fire around 1/200sec. Focus the camera using the manual mode. 

Step 5

Practice makes perfect. Shoot lots of images to get a few good ones. You can use a tripod however if you are shooting at fast speeds then the camera can be handheld. 

Other abstract methods

Get up close and create some abstract images

Dropping objects in water

Any object can be dropped into water and can produce some effective and fun images. It can be easier to get somebody else to drop the object(s) into the water. The higher the drop the more bubbles created. A white background can look cleaner and a continuous shutter speed will help achieve better results.

Ink in water

Again generally a white background will look best for this type of photography however experimenting with different approaches can produce surprising results. Drop a small amount of ink into a glass and photograph the pattern as it spreads. This is a slower movement so shooting at a single shutter speed rate should be sufficient.

Ripples

To achieve the perfect ripple image start with a completely still surface of water and use a narrow depth of field so the image is sharp throughout. Use a tripod, set the focal point and put the camera onto continuous shutter speed. Disturb the water with a stick or object and fire the camera.  

Raindrops

Just after a rain shower is the perfect time for capturing macro rain drop shots. This type of image can be easily found in the garden and the bigger the leaf the more drops. If there is a dry spell in the weather you can cheat and spray water over the plants and leaves.    

Tips from a Pro

Patrick Strik reveals his professional top tips for water photography

I'm 35 years old and a freelance photographer from Holland. My love of photography started about 8 years ago, thanks to my wife. It all began with the Nikon F50 and I found the best way to learn the art of photography is to use film. This will help your compositional skills and think about exposure and settings before you take the shot. I love shooting anything that comes in front of my camera and a day without my camera is a bad day. Photography makes me forget everything and gives me peace of mind.

Website: http://strictlyphoto.org/

1. Water is alive so you always need to think ahead. To get different colours use a big bowl and put some coloured paper underneath. Never use the in camera flash. I always shoot water with the help of my torch or a lamp.

2. Always try new stuff when it comes to water and other subject matter. You can find something interesting anywhere, even in the back garden. You can do without a macro lens; however don't forget your UV filter, as water will destroy your glass.

3. When shooting water seascapes use the best available light. Evening light will give you the most desired effect and remember your tripod. Timing is everything so wait as long as you can to get the shot.

4. Use a narrow depth of field for a sharper effect. Water is a great abstract subject and can come alive in the strangest of places. Don't turn on the shower until you are close with your camera. First open the tab then come in closer with your camera.

 

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The Essential guide to Lenses

Macro, telephoto and wide angle all explained

The lens is one of the most important elements of the camera as it determines the sharpness, focal length and overall effect of an image. The right choice of lens at the precise moment can make a significant difference to the impact of the shot. However, for many a lack of technical knowledge in this area is a problem, as there are a numerous amount of lenses on the market all intended for different purposes. For the novice photographer the choice can feel overwhelming so this month DCE takes you through the essential basic guide to digital lenses.

This feature covers all aspects including lens terminology and equipment from macro, telephoto, zoom to wide-angle lenses. Learn about changing lenses, focal length, focusing and how to clean and keep your equipment in tiptop condition. Feel confident when shooting with the right type of lens in any given situation.  

The art of macro photography- Capture the magic of spring using macro photography.

For abstract and close up imagery then macro photography is one of the most effective ways of shooting. There are many lenses on the market designed specifically for taking these types of images with most accompanying a ratio of 1:1. This means that objects/subject matter can be photographed at a much finer detail then the standard lens.

Macro photography is ideal for capturing a range of subject matter and there are inspirational images everywhere to be captured. Flowers, insects, leaves, patterns and texture are all objects/elements to look out for when selecting appropriate shots.

For the novice photographer choosing objects that remain still such as flowers and plants are much easier to practice on. After the basic skills have been learnt advancing to moving matter such as insects and water splashes is possible. For rainy days household objects such as cutlery or anything with an interesting surface is a great way producing abstract imagery. With macro photography anything goes.

Top tips

Generally in macro photography it is best to use a plain background as this emphasises the subject in the foreground framing it in the shot.

Capturing action in macro photography can be tricky and is best to do after some practice on still objects. To achieve a goiod shot one a continuous shutter speed is essential. When using this setting remember to shoot at full resolution, as you do not want to loose quality.   

Giving the subject matter context makes for a more interesting image. As the flower is the only part of the image that is not moving you can predict and set the focus point before the subject has landed. 

A shot can be predicted with a little patience and some knowledge. A lot of insects follow a pattern of flying so try to position your camera in front of a plant or flower that gets a lot of interest. Then it’s just a case of letting the nature come to you.

Focusing and macro -Four steps to capturing the perfect macro image

1. Choose your subject

Think about your light source and how this is going to affect your image. For macro photography then natural light is one of the easiest resources to utilise. If shooting a still life subject then manoeuvre your body out of the light source so there are no dramatic shadows. The light should be flat so the image can pick up lots of detail.

2. Set up your composition

Obviously for a macro composition the angle is going to be tight. Try taking a few angles coming in to the subject as this gives more options when editing. Depending on what equipment you have will also determine how close up you can get. 

3. Set your focus

For Macro photography then a sharp focus is crucial however at close distances the auto focus setting can be tricky to use. If there is little movement in your shot it is best to practice using the manual focus and take it in and out of focus as you will be able to observe when it is crisp.

4. Get the right exposure

As there is little depth of field in macro photography you need to set your camera to a narrow aperture. Turn the aperture up to the highest f-stop possible e.g. F22 and set the ISO to a low number e.g. ISO 100. Remember to use a tripod, as at these settings the camera will meter a long exposure time. 

The essential basics -All you need to know about looking after your lenses.

Changing a lens

To remove a lens from a camera body there is a button situated at the front which needs to be pressed and the lens will swivel anti-clockwise and unlock. To attach a lens the red dot on the body needs to be lined up with the red dot on the lens and then it can be locked clockwise into place.

Top tip for changing a lens
 
Remember once the lens has been detached the body is vulnerable so try to avoid dusty environments. It is best to change your lens in a clean and dry setting however if dust does get inside it can be cleaned. Visible dust do excellent home sensor cleaning kits.

Keeping your lens clean

A lens cloth is a must have accessory for any photographer as dirt on the lens is one of the main factors that reduces image quality. A brush can also be used which is effective for removing dry pieces of dust.  You can also try using a UV or polarizing filter as this will protect the end of your lens and will enhance images taken in daylight.

Macro Lenses -All you need to know about macro photography equipment.

There are many different lens manufacturers on the market and which brand to purchase will depend on your camera and budget. Here are a few basic tips for getting started. For product photography and small objects a 50–60mm range is the best choice and a 90–105mm range is ideal for capturing insects, flowers and small objects. A 150–200mm provides additional working distance and is typically used for insects and other small animals. A few zooms lenses do provide a macro option, however they generally do not allow a 1:1 magnification so the results are not so detailed.

The macro lens

If macro photography is your area of interest then a good macro lens is a great investment, as it will produce controlled results. The standard macro lens has a ratio of 1:1 and picks up fine detail producing higher quality imagery at a shallower depth of field. This means you can use a faster shutter speed then compared to a standard lens with a macro setting.  

Extension tubes

For the photographer who takes an interest in this area but cannot afford an expensive macro lens an extension tube can be used. The tube is mounted onto the camera body and then the lens onto the tube. What this essentially does is allow the standard lens to focus closer then it normally can. This method generally does not produce as high-quality results as a macro lens however it is a good second and cheaper option.

Macro Flash

For night time and lowlight shots then a fill in flash is a must have accessory for the macro photographer. The key to achieving well-lit shots is not to overpower the subject matter but enhance it. Try to diffuse the flash by covering the unit with a translucent material or bounce the flash against a piece of card.

Telephoto and zoom lenses

Telephoto and zoom lenses mean far distant subject matter can easily be captured. They are ideal for sport, wildlife photography or even landscape photography when you want to isolate one element.  Being able to get in close to subject matter with out physically being there yourself means you can capture some special moments.

There are problems that accommodate these types of lenses, for example camera shake, which is when the image appears blurred due to too much movement in the lens at full zoom. The rule of thumb to eliminate camera shake is you should be shooting at a shutter speed at or above the effective focal length of your lens. For example if you have a lens that is 50mm 1/60th is fast enough however if you have a 200mm lens you’ll want to shoot around 1/250 to compensate for the length of the zoom.

Another problem that comes with zoom and telephoto lenses is weight as generally they are not the lightest of products. For the novice photographer a standard zoom like a 70-300mm lens is ideal or if you require a wide-angle lens the 18-200mm is a great choice. Anything over these distances and the lens starts to become very heavy and expensive due to the amount of glass needed to construct it.

35mm

At the widest angle the surrounding scenery has been captured. The wide-angle lens (turn to next page to see more details) is the ideal choice for landscape photography.

50mm

At 50mm the subject matter begins to become isolated however this is still a wide-angle and for many is sufficient for landscape photography.

70mm

At this angle the subject matter is close up and detail can be captured. As the zoom is quite long it may be easier to use the auto focus setting on a shot such as this one.

200mm

At full zoom the shutter speed and ISO need to be increased to avoid image shake and a tripod or monopod can be a useful accessory.

Focal distance- The focal length of your subject

Focal length is the distance from the centre of the convex element on the lens to the focal point of the object/subject. The focus and focal distance work in conjunction with each other. For example, if you have a point that is x distance away then the focus will be sharp at a certain point. If you move further away the focus needs to be adjusted to correct the distance. This can be mathematically worked out and is called the hyperfocal distance.   

Pick your focal point

After you have composed your image you need to select the point of focus, which is called the focal point. If you are zooming into one object/person then this is where you need to make sure the focus is crisp. If you are photographing people/animals it is important to make sure their faces are in focus.

Telephoto/ zoom lenses- Get in close to the action with a zoom lens

Zoom and telephoto lenses come in an array of sizes and specifications and depending your needs will determine which one to purchase. A zoom lens with a focal length ranging from 100 mm to 400 mm may be described as a 4:1 or 4x zoom. The standard kit lens that comes with most DSLRs is an 18-55mm zoom lens. Long zoom lenses are very expensive as there are many components needed to make up the lens. The heaviest telephoto lens ever constructed was by Carl Zeiss and had a focal length of 1700mm and weighed 256 kg. Now that is getting in close!

How a lens is constructed

There are many different design constructions for a zoom lens with the more complex systems incorporating up to 30 elements however the example here shows the basic principle. They consist of a number of individual pieces that are either fixed or slide along the body of the lens.

Look after your equipment

If a lens is dropped or heavily knocked then the components can de-align which is problematic. The image will look as if it is focused when you look though the viewfinder however it is not. If you drop your lens by accident always check the results on the LCD straight after you have taken the shot to see if the focus is sharp. 

Keeping steady

A tripod is a useful accessory to own however there are restrictions when using it that can be frustrating if trying to capture action. A monopod is the perfect accessory with the zoom or telephoto lens as it provides the user with stability as well as flexibility.

Long zoom lens -Up close and personal

A fixed long-zoom lens is different from a zoom lens with the advantage being they produce clearer results as there are less moving parts. Due to this factor they are also lighter and are popular with sport photographers and the most common type of lens that they will use is a 400mm f/2.8. This means that when the aperture is open at the widest (i.e. a shallow depth of field) a fast shutter speed can be applied to capture action.

Unlike macro photography where a narrow depth of field is preferable, for action photography a shallow dof will produce superior results. Setting the aperture to f2.8 throws the background out of focus hence isolating the subject and also allows for more light to enter through the lens meaning it is easier to focus.

Wide angle lenses

Perfect for landscape or architectural photography the wide-angle lens is the photographer’s best friend. For most people the option of using one of these lenses with a full frame model is not an option as these types of cameras are very expensive however this is where you can achieve fantastic results. This is because the camera will give you 100% coverage with no crop factor if you use the right lens.

For the novice photographer the temptation of using a standard zoom lens is more appealing however the fixed wide-angle lens can be highly beneficial for learning about composition. The fixed point forces the user to physically move around hence thinking more about the shot and a top tip to follow when it comes to shooting is less is more. It is better to take fewer images that are of a higher quality that have been considerably composed and exposed correctly then take hundreds of shots that are no good. Using a tripod can also be a good way of practicing this approach, as it will slow you down.  

Lens Hood

Depending on what type of lens you have will determine what type of lens hood to should use. An incorrect fit will produce dark corners in the frame of your shot. For lenses that cover a wide-angle range, a flower-shaped lens hood is best to use. If you are unsure what will type you need take your camera to your local photography shop and make sure you test the lens on the widest angle and at full zoom.

How a lens hood helps

Come rain or shine a lens hood can be great accessory for any photographer. In the sunshine it will help eliminate lens glare, which is where a streak of light runs across the image. In the rain a lens hood can be useful to stop water running down the front, as this will ruin the shot and causing problems with focusing.

Composition -Get it right first time

When shooting at a wide angle your composition is even more crucial as there is more to include in the frame and there are many rules that can be followed. Composition comes down to practice and thinking about the elements in the frame and how they are going to work together before taking the shot.

Wide-angle lenses -Get the full picture with a wide-angle lens

Longer lenses magnify the subject where as wide-angle lenses magnify the distance between objects, which in turn allows for a greater depth of field. If you are using a wide-angle lens to photograph a building from below at ground level it will look as if the building is falling backwards. This is because the wide-angle lens is allowing for more subject matter to be included in the frame. A wide-angle lens will have a focal length of between 22-28mm where as an ultra wide-angle lens has a focal length between 14mm- 21mm.

Wide-angle

The wide-angle lens is also useful for photographing interiors where there is little space to manoeuvre. If you have a wide angle of 14mm and you are stood in the corner of a room most of the space will be in shot. The wide-angle lens is also useful for portrait group shots when you need to squeeze a lot of people in.

Shift and Tilt lens

If you are photographing a building from below and want the wide angle but don’t want any distortion a shift lens can be used. This is where the angle of the lens can be adjusted from the camera meaning the building or subject appears parallel. This type of lens is expensive and should only be considered by those who take architectural photography seriously. 

Wide angle fish eye

A fish eye lens can be an effective way of producing abstract hemispherical images. Landscape photographers shooting broad sceneries can use this lens to their advantage as it emphasises the curvature of the earth. The fish eye lens has a focal length of 6mm and at this length will produce as close as possible 360-degree image. 

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From start to finish, how to shoot, edit and present digital images.

You’ve just purchased or been given your first DSLR however there is every chance that the images you are producing are no better then the ones you were capturing on your compact camera.

This could be down to the fact you aren’t yet aware of how to use your DSLR to its fullest potential. This month DCE takes you through the basic guide from start to finish to ensure you are getting the most out of your DSLR and images. Take your camera off auto mode and build upon your photography skills in the shooting, editing and presentation departments by following this simple guide. You will gain the necessary techniques across the next eight pages to produce top quality images that you can take pride in.

Shoot- How to take photographs

With more settings and controls then a compact camera a DSLR can feel overwhelming and may discourage many from moving away from the auto mode setting.

Photography is all about reading and balancing light so you need to think about everything in a logical manner. If you consider your camera to be a set of scales that requires shutter speed, aperture and ISO to all balance in order to achieve the correct exposure. All these elements have been discussed in previous tutorial sections of DCE however for those who require a refresh here is a quick recap.

ISO is the charge of the sensor and most models range from 100-6400. Shutter speed is how fast the shutter is opening and closing to allow light through and the average DSLR ranges from 30 - 1/4000 sec. The aperture is the amount of light coming through the lens and a narrow depth of field is usually around f.32 to a shallow depth of field f.2.8.    

The basic settings to know

Metering a scene

When you meter a scene depending on the conditions you are shooting determines how you approach the exposure. If you are shooting in overcast conditions then it is best to take an average reading of the whole scene. If there is extreme lighting conditions i.e. a high contrast of light and dark then use the spot meter and select the area you want to expose. 

Reading the light meter

After selecting how you are going to meter a scene you now need to know how to read the light meter. Most systems work in the same manner and to ensure the expose is correct the needle needs to sit in the middle.

Manual mode

If you have your DSLR on manual mode this means you have more control over all elements and will achieve better results if you know what you are doing. Using the camera on manual mode can be slower and does take some time to get used to. You need to think about ISO, shutter speed, aperture and white balance.

Shutter and aperture priority

These two elements work in conjunction with each other. If you have your camera set on shutter priority then you control the shutter speed and the aperture will change accordingly to balance the light. This works vice versa and can be useful if you need to shoot quickly yet have some control over one setting. On Canon models the shutter priority could be labelled as Tv.

Uploading images

Getting your images from your camera to computer

There are many different methods of uploading your images from your camera to your computer however one of the easiest ways to do this is to use a card reader. As there are many different formats of memory cards make sure the device is compatible with the card. To upload images simply plug the reader into the USB port on your computer, make a folder, then drag the images over.

Other methods include plugging the camera straight into the computer with the USB cable that should be provided in the box. You may also need to install some software when using this approach. Some DSLRs come with a HDMI cable which means images can be viewed straight from the camera onto a high-def television screen.  

File formats -What to shoot in?

Most DSLRs have the option of shooting in a variety of formats. The two most common for DSLRs are compressed JPEG and uncompressed RAW. Once images are on the computer there are even more formats to work in however unless you are a professional photographer most are worth staying clear of. Some can be confusing to use and restrictions can apply with certain programmes. If you are shooting in RAW then the option of shooting with a high resolution JPEG is usually available and worth selecting.

RAW

RAW is the first choice format to shoot in, as the files are not compressed meaning images retain more information and are easier to correct post shoot. On the down side RAW files are large in size and can be slow to upload. If you are a complete amateur then this format is worth avoiding however if you are an enthusiast or want to progress in the medium then it is best to start shooting in RAW and JPEG simultaneously. 

JPEG

JPEG is a compressed file that is the standard format for nearly every camera. Being a compressed file means compared to the RAW format the file holds less data. On the plus side sizes are much smaller then RAW files so are easier to work on. They take up less storage space on both computer and memory card and are easier to open with all software programmes.

TIFF and PSD

The TIFF format remains widely accepted as a photograph file standard in the printing business. TIFF files are not as flexible as JPEGS however it is still recognised in most programmes.
If you use the programme Photoshop or Photoshop Elements then there is every chance that you will have come across the PSD format. Photoshop files are useful as they retain information such as layers (as can be seen in this example) however in size they can be large to store. 

Edit

There are a variety of software programmes that can be used for editing images. Adobe Photoshop is one of the best however it is very expensive to buy and most users will rarely progress past using the basic settings, as it is so complex.

Photoshop Elements on the other hand is a basic version of the programme and can be purchased for under £100 or you can download a free trail from www.adobe.com. All these programmes are very similar in style so for the sake of this tutorial we will be using Adobe Photoshop Elements however the advice given can be applied to most software packages.

Filters and experimenting

Easily switch images to black and white by going into the enhance menu, select colour adjust, then choose the option remove colour. Increase the contrast and brightness levels either in levels or simply on the brightness/contrast bar, as this will give the image more depth and texture. 

There are a variety of different filters to use in Photoshop Elements and most software programmes have similar features. Filters are simple to apply and work by selecting menu option filters and choosing the one you require. The diffused glow shown in this example looks effective in the clouds.   

A more subtle effect such as this paint daubs filter adds texture to the image without making it look over the top. The trick when it comes to filters is less is more. The mistake many amateur photographers make when they start editing is making the effect too heavy. Remember you want the image to speak for itself. 

Other basic editing tools

Cropping images

The crop tool is one of the most useful tools in any editing programme. Straighten up horizons and cut out unwanted objects/people/space from images. If you find you are cropping your images more often then not then make an effort to consider your composition when you take the shot. The more you crop into an image the more resolution you loose.     

Dodge and burn tool

Both these tools can be useful if there is a small area that needs lightening or darkening. The burn tool darkens and the dodge tool lightens. To make effective use of these tools turn the opacity on the top bar down from 100% to 50% or sometimes 25% as otherwise brush strokes can look too harsh. Size can also be adjusted depending on the area you are working on.

Layers

Layers are an extremely useful application and although the complexity of them operates into great depths they can also be simple and effective to use in the basic mode. It is worth duplicating layers if there are many parts that need changing. Once a layer is duplicated the unwanted part can be removed with the eraser tool. 

Correcting images

There are many different things you can do post shoot to help enhance your images and you do not have to be a computer whiz to be able to do them. For the amateur photographer then there is no real need to move past the basic adjustments in editing software programmes. These adjustments come in the form of levels, colour balance, filters, hue/saturation and for those wanting to push their skills a little further layers can be a good tool to utilise. With all these editing skills practice makes perfect so keep going even if at first you don’t understand

Levels

Levels are a controlled way to adjust the contrast and brightness of an image. They work using three bars illustrated by a histogram. If you slide the dark bar up the shadows get darker and vice versa with highlights with the light bar. The middle bar works for the contrast increasing and decreasing it as you slide it up and down.

Colour balance

Colour balance is quite an art to master and can be variable depending on a number of factors. Firstly it is best to have your screen and printer calibrated so what is being projected from the screen is accurate. Personal preference also plays a role in colour balance, as some images can look more effective with cooler or warmer tones. 

Hue/saturation

The hue and saturation of a photograph is how rich the colours are. I.e. if the image has strong colours then the photograph has a high saturation level however if the image looks washed out then the saturation is weak. Tweaking the saturation level can really make a big difference to the overall impact of the image.     


Presentation

The sad fact of the matter is most images taken in the digital format never make it past the screen and remain stored in a folder on a computer. Taking the time and making the effort to present your photographic work can be highly beneficial not just for your own gratification but also for others.

There are many different ways to present your images that range from the printed image to posting your work online for others to view digitally. Social networking in the last few years has become a popular method for sharing images and for those wanting to take the medium seriously a website is worth considering. Other methods for photographers of all abilities are sites such as Flicker, Facebook and the Digital Photographer (www.dphotographer.co.uk) online gallery. These sites are all easy to use with a huge number of people already following meaning you can share and view the work of others. 

Books and albums

Presenting images in this manner can be ideal as a gift or as a treasured memory and does not have to cost a fortune. Websites such as Jessops (www.jessops.com) and Blurb (www.blurb.com) are a cheap and easy way to produce a printed book for under £35. Books and gifts from these sites can be self-designed so you need to think about the images and layout carefully. 

How you arrange your images can make a huge difference to the overall impact of the book. To make an impact to the viewer juxtapose interesting images together to tell a story or use shots which have some sort of connection. Often a scene that has been taken far away can look effective with a close up image of the same subject matter as can be seen in the example here.  


Other ways of sharing images

Online sharing

Most images these days never make it past the screen and the Internet has become a sea of photographs posted by all photographers of different abilities. Online gallery sites like our sister title Digital Photographer (www.dphotographer.co.uk) is an excellent way to share your images and get constructive feed back from fellow photographers.

Digital Photo frame

These electronic devices can be a great way of showing off your images in a slideshow manner meaning you are not restricted to displaying one image. There is a range of digital photo frames available that vary greatly in price and quality. One of DCEs top reviewed digital photo frame recently is the Jessops 8” digital Picture frame that retails at £48.

The Photo frame

There is something romantic about the printed image as a material object and still an effective way of presenting a photograph. A variety of frames can be purchased for a small amount of money ranging from a small mantelpiece frame to one you can hang on the wall. If you are going to produce a large image make sure the resolution of the image is high enough to retain quality.

Printing

Printing images is a great way to display your treasured memories however with technology increasing at a fast rate this side of photography has become rather complicated. The process for many can become frustrating as certain products cannot be used together meaning images appear to have colour casts or just won’t print at all. As every printer and computer is different there is no generic solution that can be applied to all devices.

When setting up your printer if you find you are having trouble contact the printer manufacturer as most will be more then happy to talk you through the set up. Buying cheaper paper and inks may seem like a good option however more often then not it is hard to calibrate the printer and inks with the paper. Using the manufacturers paper and ink in the long run will save money and will produce better quality prints from that printer.

Colour calibration.

Colour calibration is a tricky part of the printing process and the relationship between the screen, inks and paper is what makes the difference between a great and bad print. Devices such as the Color Munki are for the more advanced photographer however they work to ensure all colour elements are matching. For more information go to colourconfidence.com.

Allow the ink to settle

Once an image has been printed in an ideal world the inks need 24 hours to settle, as the colours change in this period as they sink into the paper. Remember that the life of a digital print will be reduced greatly if it is placed in direct sunlight. Find a sheltered spot and protect your image from scratches and dust by placing it behind glass or a clear surface.

Present in an album or frame

The printed image can be a great gift or centrepiece in a room so think about presentation skills and how the photograph will appear in the space. Framing an image to a larger size or printing it on canvas can look really effective and have the wow factor.

 

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Master the art of one of the most popular mediums of photography over the past two centuries

For beginners, enthusiasts and professionals the black and white medium has been one of the most popular forms of photography over the last 170 years. Its effective and flattering results mean an average image can be instantly transformed into a work of art. The simplicity and uncluttered look without the distraction of colour forces the viewer to recognise the form and structure of the subject. Whether you want to shoot landscape, portraits or take some abstract images then follow this simple guide and you too can shoot like a pro.

Divided in three parts this month’s feature covers all aspects of the medium from a basic ISO guide to understanding the importance of shape and composition. Select appropriate subject matter and learn to visualise in contrast and tone to achieve the best possible results.

Black and white landscapes - Get outdoors whatever the weather

Black and white landscape photography is effective any time of year and results will vary depending on the approach taken. It is worth knowing the basic principles of ISO, aperture and shutter speed as changing these elements will produce different effects.

Shooting on an overcast day produces fine detail, as light is dispersed evenly where as shooting on a sunny day produces high contrast in the shadows and highlights. Metering scenes is where most photographers struggle, as the difference between the two exposures (highlights and shadows) is tricky to get accurate. If possible shoot in RAW format and bracket expose either side of the reading as results can be corrected much easier postproduction.

Bracket exposing is where you take a shot either side of the average reading to ensure you have exposed the highlights and shadows. For example if you have the settings on ISO 100, F.11, 1/125 sec you should take a shot on this setting then ISO 100, F.11, 1/60 sec and then ISO 100, F.11, 1/250 sec. Alternatively most cameras have exposure value settings and can be increased and decreased by 1-3 stops.  For this you need to use a tripod.

Contrast and Tone - Visualise in black and white

The hardest part of black and white photography is knowing what works without colour. Often a scene that looks great in colour can look washed out when changed and vice versa. Contrast, tone and textures are key components to be aware of and here are a few tips to get you started. 
 

Texture - Look for textures in the landscape. This is what will produce contrasts and tones, for example a field with flowers. For high detailed imagery set your aperture to a narrow depth of field eg F.22 and ISO 100 as this setting provides plenty of detail. If you are photographing in dark conditions you may need a tripod. 

Avoid block colours - When it comes to landscape photography then avoid blue sky, as it will become a big block of grey and look very dull. Instead shoot when the sky has texture in the clouds and look out for are sunrays filtering through or a stormy sky as both enhance the atmosphere. 

Shadows and highlights - Use shadows to your advantage. In high contrast lighting shadows will play a key role in your image. In some circumstances make the most of the extreme range between the two, as it will create an abstract look. Remember to look for shapes and carefully consider composition when shooting in this style. 

The zone system - Learn this old technique and start visualising in black and white.

The zone system is a black and white exposure technique invented by Ansel Adams and Fred Archer in 1939. Originally the method was put in place to be used with the film medium however it is still useful practice for learning how to visualise in monochrome.

If you start with zone V as this represents the mid tone greys in the image i.e. the flat greys. You need to think about what area of your image will appear like this then take a meter reading. Each zone either side represents one f-stop so if you want your shadow value to be dark but still hold detail (zone III) then decrease the exposure by two f-stops. 

This technique is advanced however for beginners it is something to be aware of even if it is only to start thinking about colours, shadows as zones. To progress in this medium becoming aware of different exposure values for shadows and highlights is the first step.

ISO guide - From detail to grain learn how to use ISO to your advantage

ISO (International Standards Organisation) equates to the speed of how much charge the sensor needs to produce an image. If there is more light filtering through to the sensor then it will have more charge so you can afford to use a lower ISO number e.g. 100. The less charge going through the ISO means detail will remain finer. If you are shooting at night then you are going to need more charge from the sensor to produce an image as there is less surrounding light. You need to set your ISO at a high number e.g. ISO 6400. The quality at this level is not so good and will produce something called noise. ISO values should only be increased to the minimum requirement possible in order to capture the best quality image. 

The ISO is all relative to the aperture and shutter speed and these elements work in conjunction with each other to balance the amount of light. To set the ISO most cameras work with a menu system and it is usually as simple of selecting the one you need.

In colour photography than noise can ruin an image however in black and white photography a higher ISO can produce a grainy looking effect that can be used to your advantage.

ISO 100 - Detail remains sharp at this level with no noise.

ISO 400- Setting the ISO at 400 is ideal when there is less light and you have no tripod.

ISO 1600 - You would use ISO 1600 at night with a tripod or at dusk with out one. 

ISO 6400- This is a good example illustrating how noise/grain can affect an image. 
 

Black and white portrait photography

Subject matter

People with lots of character make excellent subject matter so use this to your advantage.

Older people are full of character. For this type of shot it is critical to make sure you have a crisp focus. Use the manual focus if the auto focus on your camera does not work quickly as for many people having a camera close up to their face can feel uncomfortable. Keep the depth of field over aperture F.8 to ensure detail remains high and it will further emphasise the lines in the face.

Babies and young children when photographed in the monochrome medium make fantastic subject matter however remember that your time is limited. You will get the best shots at the beginning of the session as half and hour later their attention is elsewhere. It is often worth having a couple of sessions to ensure you capture the right moment. 

Documentary photography- From film to digital photography the traditional black and white documentary image makes a statement. Try to capture a decisive moment that informs the viewer of something happening. Street performers make ideal subject matter as this image illustrates. Don’t be afraid to push your way to the front to get the shot or if you have a good zoom lens then this can come in handy.  

Close up - Make an intense image and move in close to the face. Make sure the model gazes directly into the lens and to enhance the shot apply makeup to frame the eye. In postproduction use the dodge tool to boost the whites and the burn tool to darken the pupil. 

Other body parts - Hands and feet (especially babies) are great features to photograph. Juxtapose an older hand with a young hand as this emphasises the difference in size and age and provides the image with an emotional context. Make sure the hands are sharply in focus and keep the aperture at F.8 to retain detail.

Lighting techniques

The best thing about shooting in black and white is you don’t have to worry about the white balance. This means any subject matter can be captured with a mixture of light sources with only highlights, shadows and composition to consider. For indoor photography then a tripod is a must have accessory if you are using your camera on anything less then 1/60 sec. To achieve a dreamy effect use a low ISO setting e.g. 100 and a shallow depth of field e.g. 5.6 and throw the focus in the background. Using textures in clothes and materials will produce better results and effects like this one can be easily achieved.    

Indoor light- The background only needs to be some material or some card and if you are using a black background then you don't need to light it. Place the model in dark plain clothes and light the face and body. Remember to meter the face and not the background, as you want this to remain dark and not turn grey. 

Natural light - Depending on what time of day it is the light will produce different effects. Shooting portraits on an overcast day produces even tones as this image illustrates. If you want heavy shadows shoot on a sunny day however this type of light can be tricky to and can emphasise facial features in an unflattering manner so for beginners is worth staying clear off.

Flash photography - In colour photography a bright flash can produce unflattering skin tones and emphasise blemishes and spots in the skin however when switched to black and white then these imperfections disappear. This is why many people prefer to have their portrait taken in the monochrome medium as it is much more flattering. 
 

Abstract, pattern and architecture

In abstract and architectural photography colour can sometimes distract from the structure of a building or the form and shape of an object. Switching to the monochrome medium can make a huge difference and produce a greater overall impact.

When shooting in this style of photography concentrate on shapes and composition. Lines and pattern will also play a key role in the image, as these elements lead the eye around the image. As discussed previously the Ansel Adams zone system is something to be aware of as tones and contrast still apply and exposure values will read differently.

Other elements to consider are vantage point and angle of lens. Using a wide-angle lens e.g. 24mm is the preferable choice for architectural photography. A fish eye lens can also produce effective results in this medium producing abstract images.
 

Add a splash of colour

Adding colour to a black and white image will produce effective results. Bright colours such as red and orange appear particularly striking against the monochrome background. Carefully consider appropriate subject matter and try to have the colour part central in the image. The example shown here really brings out the pattern in the butterfly wings as the green in the full colour version distracts from the butterfly. This simple and effective technique can be easily achieved using basic editing software.

Composition and shapes

Abstract black and white photography is all about looking for shapes and using composition to your advantage. Unlike landscape photography where detail is important, black and white architectural photography relies on shapes and structure to enhance subject matter. Large areas of block tones and contrast are easier to use to your advantage in this area.

From below - From this angle shapes become more abstract. Try playing around with composition considering what will be seen in the foreground and background. Filling the frame and coming in close to statues/objects makes for a more interesting shot as can be seen here.

From above - The cityscape skyline is the perfect setting for the black and white medium. For this type of image use a narrow depth of field e.g. F.22 and a low ISO number e.g. under 200, as high detail with no grain is essential for the full impact. When editing turn up the contrast in the image so the difference between the blacks and whites is more extreme.

Tips from professional photographer - John Godwin

I have been shooting digitally for a couple of years. I have no particular background in photography and my first experience with a camera was when I purchased one to take product shots for a clothing company I was starting. People kept saying I had an eye for photography, so I decided to take up it up instead. 18 months on and I'm now making my living from it.

Website: http://www.john-godwin.co.uk

Email: mail@john-godwin.co.uk

Tip 1: Don't settle for an overall exposure.

Using Photoshop choose the lasso tool and make selections around key points in the shot. You can use the feather tool to make a smooth transition between the selected and unselected parts. Alter the exposure slider to adjust the value of your selection up or down. Do this for all areas until you have a more uniform exposure that retains detail in the shadows and highlights.

Tip 2: Don't worry too much about high ISO

When shooting in colour, high ISO can often ruin a shot. High levels of noise can degrade quality and ruin the atmosphere. Noise is less apparent in monotone shots, and more often than not, a little extra noise can create a film-like grain that gives a gritty texture to the picture.

Tip 3: Concentrate on subject matter and composition

A black and white image can convey the raw emotion of a picture far better than a colour photograph as colour can distract the viewer and take away from the subject matter. For this reason, pay extra attention when shooting in black and white and make sure your image contains a clear meaning.

 

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Have you ever wondered where the digital camera came from? A man called Steven Sasson invented it, and after meeting him for just one minute it is impossible to not be in awe of his presence. Besides being charming, polite and modest, he invented something that changed the consumer photography market forever. Under Eastman Kodak in 1975 Steven Sasson created the first prototype digital camera, and in a DCE news feature special he tells us his story.

Steven was born in Brooklyn, New York and as a young boy he would drag television sets home to dismantle them in the living room for spare parts. “I had a very strange childhood,” he chuckles, “but it was tremendous fun.” In 1973, Steven graduated from Renesselaer Polytechnic Institute (RPI) with a Masters and went straight to work under Eastman Kodak. “I wasn’t really sure why,” Steven explains, “as Kodak were traditionally a chemical company. However, more electronic parts were going into cameras in the Seventies, such as electronic flashes, and this was something I was interested in.”

Very early on in his employment, Steven was offered the opportunity to work with charged couple devices, which began with a 30-second conversation in the back lab with his supervisor Gareth Lloyd. It was an open-ended project, and the criteria was to do something with CCD technology. There was no budget and it was completely under the radar. With his young and creative imagination, Steven got to work on an invention that would change the entire photography market. In a relaxed manner, Steven informs us of how it came to fruition: “Being young and foolish, I thought it would be really cool to build a portable camera with this thing with no moving parts. That would be so neat. I had no idea how to do any of this.”

For some months, Steven worked on this project – but what were Kodak’s thoughts about what he was were doing? “Nobody really knew what I was doing!” he answered, admitting that he didn’t want to let people know just in case it didn’t work. However, the further along the design progressed, the more exciting it got. “It turns out I could use a lot of the technology that was around,” he explains. “I leveraged parts that were around and I leveraged knowledge from the people that were very knowledgeable about different aspects of technology.”

After one year on the project, the camera was built. With his lab partner Jim Schueckler, Steven decided to take the first photograph.“One day Jim and I literally looked at each other and said, ‘you know, I think we’ve got both pieces working – we should take a picture of something’ and that was the first time it occurred to us that we should take a picture.”

Using a woman in the laboratory, Joy Marshall, as the subject matter, the duo took the first image. It took 23 seconds to record and had a resolution of 0.01MP. Steven explains “I was just unbelievably happy. I said to Jim, ‘so much is working, this is fantastic’. Joy, who’d followed us in and was looking over our shoulders, was less impressed. She said, ‘needs work’, turned around and walked out.” However, Steven knew what the problem was and with a few changes and an hour later, the camera was working. But what did he think at that moment? “I was very happy with it. It was a very private moment in the sense that nobody knew we were working on it. I was closing on a house that day and I remember thinking it was a red-letter day. I thought ‘my camera works and I’m going to get a new house!’ – I was very happy with that day. It was December 12, 1975.”

For some time after Steven would demonstrate his camera to employers in Kodak, working his way up the ladder in the hierarchy system. He would undertake the same demonstration every time by literally not saying a word when he entered the room, just taking a portrait of any person. He informs us, “I wasn’t trying to be dramatic, I was just trying to get the camera to take pictures before it stopped working. We were taking pictures without film, we were displaying images without printing – it was 1976.”

This rather novel demonstration prompted a lot questions among the workers at Kodak; anything from who he was to why anyone would want to look at a photo on a television set. Steven shrugs. “I didn’t have answers to any of these questions. I expected them to ask me how I invented the camera. They asked me these galactic questions!”

One thing Steven always believed in was the concept of his invention. When he was asked when the camera would be ready for production, he correctly guessed a timescale of 15-20 years. As predicted, 18 years later Kodak introduced its first digital camera. Steven claims his guess was complete luck, however as modest as he is about it now, his intuition told him that it was still a generation away. When writing a compulsory lab report, Steven informs us “I had a chance to ponder the future towards the end of 1976 as the project was over. I wrote in the report, ‘camera of the future’. It was a paragraph. To read it now you get a few shivers, as a lot of things that I wrote about happened.” He continues, “The first line of the report read – ‘this approach, with improvements in technology, could substantially impact the way people take photos in the future.’” He was not wrong.

In the Eighties, another major camera company, Sony, came up with its filmless invention. However, this camera involved a process using floppy disks. Steven was thrilled that Kodak now had some competition – as he informs us, it definitely made Kodak management wake up and take notice. However Kodak was already ahead of the game, and through mathematical equations Steven worked out that Sony’s invention was not going to become a mass consumer product. Steven states, “Kodak knew it wasn’t going to evolve around the TV set (as Sony’s invention did) but around the evolving computer, which had no format limitations. It was a long pathway away, but we knew the future.”

In 1994, Kodak under Apple Mac marketed the first consumer digital camera. When asked why did Kodak not produce the camera under its own name, Steven replied, “Kodak was wary to market this camera. The marketing issues we faced with this camera as a consumer product were highly challenging.”

There was no public discussion on Steven’s invention until 2001. When he received recognition for his achievements, luckily for us he had kept the camera. When asked where the camera is today, he informs us, “In Rochester. Now it is quite a showpiece, I’m not even allowed to take it around. For 30 years no one was really too concerned with it. I used to keep it in cabinets as I moved from job to job. I lost it several times.”

We talk further about the future of digital camera technology and the challenges facing designers and companies. Steven’s views are realistic and intriguing to hear. “We take more pictures than ever,” he comments. “Think about the use of things, our cameras today are marvellous. Now they’re 10/12 megapixels. I was happy with them when they were two! The taking part has been addressed, but how about the display sharing.” He refers to the process of downloading and printing an image as the ‘chain of pain’. “That's why we invented Kodak Easyshare – we now have electronic shoeboxes.”

We move on to talk about the future of the cameraphone. Steven states “I don’t envy the designers at all,” and then goes on to tell us about all the problems designers face with lenses, processing power and flash power problems. Referring to the timescale in which we will see all of these changes, Steven states, “It will be slower than you may think. There’s a long way to go before you get all of this into this.” (Steven points at his Kodak camera, then his phone.) He continues, “This is the most exciting time in the world to be alive for imaging. There is so much that you have available to capture and describe your own life in what I call the universal language. There is a lot to happen, there is a lot of challenges we know and are working on right now and a lot of opportunity over the next couple of decades.”

Steven retired from Kodak last February after working for the company for over 35 years. However, he still does some contract consulting, as well as helping with patent litigation activities. Steven Sasson has undeniably changed the entire photography market and he was recognised for his achievements at this year’s Economist's Innovation Awards 2009, winning under the Consumer Products category. Steven states, “Inventors spend most of their time being wrong.” Fortunately however, on this occasion, he got it right.

To hear our interview with Steven, click here.

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Follows on from make your own studio part one ...

Light sources from around the home, Improvised lighting

Photography is all about light; it is as simple as that. Without light than there is nothing to photograph however learning how to use the lights to your advantage is where photography becomes tricky and can take some time to master.

Where you set your light sources plays an important factor however with some practice and a little patience than you will soon find that you can get some impressive results. Trial and error is really where you can gain the most experience and remember to take note of where you have positioned the light sources and what results you get. Do not rely on the LCD screen on the back of your camera as looking at the images on a computer screen is much more accurate.   

To get you started follow these simple instructions and remember to use logic when it comes to lighting. Look for heavy shadows being cast on the face and background and if need be redirect the light source to work to your advantage.

Lowlight lamps

Tungsten lighting can be hard to shoot with however can be useful to use as the lights can be moved to where you require them. To get the best effect use two table lamps and if you have no assistant than don’t worry multitask, as you and the model can both hold the lamps. 

Natural light

Different lights will create different effects. Remember to set the WB as discussed on the previous page to ensure colour casts are minimal. Natural light is the easiest and best resource to utilise, as it will give the most natural effect. Simply place your model next to a large window.     

Using a torch

If you want to create an intense and moody atmosphere than using a piece of cardboard with a small hole and shinning a torch through will create this effect. Come in close to the models face to make an impact. As the WB can be hard to adjust for this type of light than changing the image to black and white can look really effective.

Using reflectors

A reflector can be a great tool and worth investing in however if you don’t have one of these lying around the home there are other items that can be adapted. Tin foil can be a useful for reflecting light or to redirect light towards your subject matter a piece of white card can also do the trick.  

Without a reflector

Without a reflector a heavy shadow is cast over the face and the background is incorrectly exposed. If you only have one light source than a shadow will be inevitable unless you have the light source head on however than a heavy shadow is cast behind the head. 

With a reflector

With a reflector the light has been evenly distributed and the shadow on the face has been removed. Shadows can look effective if used in the right way but they can also make people look scary and make facial features such as the nose look bigger than they actually are.  

How to use a reflector

Bouncing and redirecting light is a simple technique to use and can dramatically change the effect of the shot. If you want an even light on both sides than set the light a little away from the subject and remember that your reflected light is going to be much weaker on the other side so the reflector needs to come in close to the subject. 

Top tips - how to photograph your model

Use props -By using props the model becomes more relaxed and makes for an interesting composition.

Make up - Dark and heavy make up can frame the models eyes and make for a more intense image. Natural make up tones will give the model a more innocent appeal as is used here.

Where to look - Getting the model to look directly into the camera can look really effective. However it is important to note that you need to make them feel relaxed and take a few initial shots to achieve the desired effect.

Still life photography

Objects can be one of the simplest subject matter to photograph as you are in complete control of all aspects of the shoot. Nothing is left to chance however this also means that it is necessary to know what you are doing which is where we come in handy.  

Whether you want to photograph still life objects for your own satisfaction or you have lots of items to sell on the internet than creating your own mini studio light box is incredibly simple to do just follow these easy steps.   

Four easy steps to create your own light box.

Step 1: Get a box or container. This can be anything from a cardboard box to a washing basket as long as it fits the object you are photographing. 

Step 2: Line the inside with foil. Foil will bounce the light all around the subject matter creating a more evenly exposed image.

Step 3: Put in a background. Choose your background depending on what you are photographing. White is a popular choice as it produces clean images. 

Step 4: Light the box. For this shot two lamps were used as this creates less shadows and an even exposure.

The dos and don’ts of flash photography

Do: Bounce the flash. Bouncing the flash will disperse the light evenly. Adjust the flashgun head anywhere in between a 45°- 90° angle depending on the environment you are shooting in. Low ceilings are best for achieving an even light however if you do not have the right surroundings than get someone to hold a piece of card and bounce it off that. 

Don’t: Use a direct flash. Using a direct flash can bleach the image and look wrong if applied in the wrong manner. A diffuser can help a direct flash however for the amateur that does not own this piece of equipment then this is not much use. Covering the flash with a transparent material can help weaken the impact.

Do: Use a cable sync lead. Using a cable sync lead can really make a big difference. You will still get the full strength of the flash but you will have much more flexibility as to where you want to position the light source. This means you can either use the flash on a direct setting if you positioned far enough away or you can bounce it.

Tips from a Pro - Eddie Cheng

Eddie Cheng is trained in product, advertising, food and architectural photography however recently he switched to graphic design. He started experimenting with fashion photography last December and most of his new work can be seen online at Purestorm and ModelMayhem under the username eymc275.

Website: http://web.mac.com/eymc275
Email: eymc275.info@me.com

Tip 1: Lighting does not have to be complicated, expensive or require any of the latest kit. A lot of my work is done with just one or two lights that are older than many of my subjects, plus a reflector or two. Knowing what to do with lighting is more important.

Tip 2: Hiring a good makeup artist can open up much more creative options and produce highly professional results that would otherwise be impossible to achieve. The difference between a model with and without professional makeup applied can be enormous.

Tip 3: Spend time getting to know your models and build a rapport by talking to them. This helps to relax them and they will deliver much better results. Following up with confident and effective direction (demonstrate if necessary) will further relax the model into providing you with the poses or expressions needed.

 

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