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6 Tips for Beginners Learning Photography

6 Tips for Beginners Learning Photography

Photography can be a very rewarding experience for many photographers. Not only do photographers create a permanent archive of memories, but the validation and criticism received when sharing your work – be it with friends and family or exhibiting in a gallery – can generate an amazing feeling and confidence within that photographer. While technology is making it easier and easier to “take” a good picture, many things are necessary in order to improve and “make” an extraordinary photograph.

Photo in my 2nd year of shooting.

Bern, Switzerland

 

In 2011, I started NYC Digital Photography Workshops, which has now collectively grown to over 5,000 members. Working alongside some of our world class instructors over these last six years, I’ve helped generate a terrific program, especially for beginners on how to best learn photography and have consistently seen positive results. Below are 12 tips for beginners on how to best learn photography.

 

DECIDE ON A WORKFLOW FIRST

I wanted to start with workflow first as not having one from the beginning was a personal mistake I made that resulted in over 30,000 images years later and not knowing where and how to start with organization. If you sit down, think about and create a good workflow from the beginning, you can avoid feeling like you will never be caught up because you keep changing your mind on how you want process your images from set up to sharing with the world.

I use Adobe Lightroom for the post-processing part of my workflow.

 

General Camera Setup

Since this article is primarily for beginners, it’s important to set up your camera’s general settings from the start and to know what will change from scenario to scenario. Some of the features you’ll want to consider setting up from Day One are:

 

  1. Your playback options of what is displayed on images upon playback such as highlights, RGB histogram and shooting data.

Info I’ve chosen to be shown on upon playback.

 

2. On your shooting menu, things such as file naming, card slot rules (if you have two card slots in your camera, what role each card slot will play), image quality (jpeg vs. RAW) and color space (sRGB or Adobe RGB). It’s extremely important for the sake of post-processing your images that you set your camera to record images in RAW format as this format will gather and record the most data. If you want to be able to instantly share your images, set your camera to RAW and JPEG together, but don’t just shoot JPEG as you will severely limit your editing options.

Shooting in RAW is extremely important for post-processing purposes.

 

3. On the video shooting menu (if you have this), you’ll want to set up your file naming convention, the destination where videos will go should you have more than one memory card slot, frame size/frame rate, movie quality, microphone sensitivity and wind noise reduction.

 

4. Under your custom menu, you might want to set up your general autofocus settings, metering and exposure settings such as ISO sensitivity, step value and EV steps, whether the camera beeps upon shooting (this can be helpful when shooting subjects in studio), continuous mode frames per second, whether or not you want to have a grid display in your viewfinder to help guide your composition and functions of the buttons on your camera. You can customize what the buttons on your camera do as you may find you use certain functions more than others and you’ll want to be able to adjust those quickly and easily, therefore, assigning those functions to buttons that are more easily accessible.

 

5. Under your setup menu, you may want to set up the color balance of your LCD monitor, your monitor brightness, the timezone and date/time, language, auto-rotation of images and customize your image copyright information.

 

How You’ll Backup

There are many ways you can backup your images as you create them with some ways being temporarily convenient while others are much more reliable in the long run.

Example backup sources (clockwise from top left): Dropbox (cloud), flash drive, desktop external

hard drive, memory card and portable hard drive.

Images courtesy of Adorama

 

Memory Cards. A CompactFlash or SD card will be your first method of backup as you are initially shooting your images (unless you are tethering to a computer or laptop…) This isn’t a reliable way to permanently store your images as they become full quickly, can be a bit pricey and offer no way to organize your images. Since you will need these regardless, I do not recommend using only one large capacity memory card when you shoot as should that one large capacity memory card become damaged, you will lose all of your images. Instead, use several smaller capacity cards so that if a card gets damaged, you only lose some of the images instead of all of them.

 

Flash Drives. While cloud-based platforms really make these unnecessary anymore these days, a flash drive is a great way to transport or deliver images should you want to share images in a place where you do not have a wifi connection. I wouldn’t recommend a flash drive for permanent storage of your images but more for when you might have a presentation and need to plug a pocket-friendly portable storage device into your laptop on the road.

 

External Hard Drives. An external hard drive is a “must” as local, secondary backup source. A couple of great options for external hard drives are the WD My Passport Ultra 2TB USB 3.0 Portable Hard Drive, the LaCie 6TB 2big Quadra Hard Disk Two Bay RAID Desktop Drive or what I have: the LaCie 4TB Rugged RAID 2.5″ External Hard Drive, Thunderbolt, USB 3.0. I’m a big fan of RAID drives because you can set up half of the drive to mirror the other half so that if one half goes down, you’re still backed up because the both halves of the drive are identical. Portable hard drives are a great backup option when you don’t have access to wifi to backup to cloud storage.

 

Cloud Backup and Storage. Your best option for backing up and sharing your work is cloud storage. Some of most common options out there are Dropbox, Microsoft OneDrive, iDrive, Google Drive (Google Photos), Apple iCloud Drive and Box. I was very pleased to find that Google Drive/Google Photos has options of 100GB to 30TB in storage ranging from $1.99 per month to $299.99 per month.

 

 

How You’ll Process Images

Another major workflow decision that you’ll want to decide on is what software you will use to organize and process your images. There are many choices out there such as Aperture, Capture One, Adobe Photoshop and Adobe Lightroom. I will be honest with you. Adobe has some of the best software out there for importing, organizing, processing and sharing your images. We generally teach our students to use Adobe Lightroom because it’s so easy to use and you can batch process images, to do as much as you can in Lightroom first and then do any fine tuning in Photoshop. You can take advantage of a free trial of Adobe Lightroom here: http://www.adobe.com/creativecloud/photography.html.


Various photo editing/tethering software such as PK Tether, Camera RC,

Control My Nikon, Aperture, Capture One and Lightroom.

 

Naming Conventions

When using photo editing software, you’ll want to decide up front on the naming convention of your images and the folders they will be stored in. Due to keywording features, some photographers keep all of their images in one folder, thoroughly keyword their images and then they are able to locate them upon a search later down the road. I personally title my folders by “yyyy-mm-dd Project Name or Subject Title” and then my images are titles “Subject Title-Sequence Number”. It’s really up to you how you prefer to organize and name your images, but it’s good to decide this in advance to avoid having to go back 20,000 images later and reorganize and rename everything in a consistent manner.

 

Keywording Your Images

Lightroom is a great tool for not only organizing your images but also locating your images when images are thoroughly keyworded. I try to be as descriptive as possible with keywording for each of my shoots so that if I need to find all images of models with black hair across all of my images, I can easily search and see only the images I have of models with black hair. It automatically picks up image information such as the camera and lens used, the date the image was created and the settings for each image (aperture, shutter speed and ISO).


Keywording in Lightroom

 

How You’ll Organize the Images

Going along with the topic of naming conventions and keywording, Adobe Lightroom is a great tool for organizing your images because you can import, create folders and move images from folder to folder within Lightroom and it mirrors the same organization on your local hard drive. An important tip: If you use Lightroom, don’t try to move images from folder to folder directly on your local drive instead of through Lightroom as when you go to look for the images in Lightroom again, you will have to locate and relink the images in Lightroom to the new location where you moved the images on your local drive.

Organizing images into folders in Lightroom.

 

If you’re interested in learning more about Adobe Lightroom, Adobe Photoshop or any other photo editing software, my group, NYC Digital Photography Workshops offers private workshops with photo editing guru, Clifford Pickett, who specializes in Lightroom, but also teaches other software as well. For more information, you can email pi@nycdpw.com.

 

GET TO KNOW YOUR CAMERA

You just got your camera and you’re ready to hit the ground running to start creating amazing images. It happens all too often though, that a new photographer will get frustrated with not getting the shot they want because they can’t figure out how to use the camera and they end up putting the camera into a drawer, never to be picked up again. Let’s safeguard that from happening to you.

 

Read Your Manual

You’ve probably heard this many times, and most of us hate to do it, but the best way to get to know your camera is to read your manual from front to back. I know, I’m terrible at manuals too, and usually don’t even look at directions when putting furniture together, but this is one instance where it will make using your camera a whole lot easier.

Read your camera manual cover to cover!

 

Try Out Every Function on the Camera

As you go through your camera manual, try out every function you read about to better understand what it does, where it is and when you might use it.

 

Lenses & Focal Length

While the camera is the performance mechanism for your kit, the lens is what creates the quality of an image once you’ve learned technique and composition. As you acquire lenses, you should have at least one good lens in your kit, which usually do not come cheap. As the saying goes, you can put a high quality lens on a non-top-of-the-line camera and still get a great shot but you can’t put a bad piece of glass on a top of the line camera and still get that same shot!

Just a few of my lenses.

 

What lens(es) you choose will be up to what you shoot. If you fancy shooting landscapes, a wider angle lens would be a good bet and those can vary in focal lengths. If you like to shoot portraits, a prime lens like an 85mm and using your feet to zoom in and out would work, or a zoom lens like a 70-200mm would do the trick – depending on how much space you have to shoot your subject.

 

LEARN MANUAL SETTINGS TO OBTAIN PROPER EXPOSURE

Learning manual settings give you more control over your shooting.

 

Program Mode

The program mode can be helpful for beginners as a place to start when learning manual settings. Set your ISO and the camera will select the aperture and shutter speed for a properly exposed image. This mode is a good start to see and understand the relationship of aperture, shutter speed and ISO and where you might want to make adjustments to these elements in full manual.

 

The Aperture Mode

With Aperture Priority, you select the aperture and ISO and the camera figures out the shutter speed for optimal exposure. Aperture Priority is best when you are wanting to control the Depth of Field. When shooting things like landscapes, cityscapes and seascapes, you will most likely want everything sharp in focus, so you will need the maximum aperture (a higher number). When you are photographing people, whether it’s portraits or headshots, you will most likely want your subject to be the only thing in focus with things behind your subject out of focus so as to avoid mergers and distractions in the portrait or headshot.

The background is out of focus here through a shallow depth of field.

 

The Shutter Priority Mode

When using the Shutter Priority mode, you select the shutter speed and ISO and the camera determines the aperture to obtain a proper exposure. The shutter speed priority mode is best used when you are trying to capture motion or to control freezing motion and to make everything in the image sharp.

 

Full Manual Mode

If you choose to use full Manual mode, you are controlling all aspects of the capture: the aperture, shutter speed and ISO.

Aperture is basically how large the opening of the lens is when a picture is taken. The aperture is what controls the amount of light that enters the camera. The smaller the opening (the higher the number), the less light will come into the camera. The larger the opening (the lower the number), the more light will come into the camera.

Shutter speed can best be described as the amount of time that the shutter stays open when a picture is taken. The longer you leave the shutter open, the more light that gets onto the sensor.

ISO is the measure of sensitivity your camera has to available light. The lower the ISO setting, the less sensitive your camera will be to light. The higher the ISO setting, the more sensitive your camera can be to light. The part of your camera that needs this input to make an image is the image sensor. The image sensor is what takes available light and creates the image. As a rule of thumb, you want to try and keep your ISO as low as possible to obtain the best image quality. You want to use a low ISO setting when there is plenty of available light to satisfy the sensor sensitivity to make the image. The workaround to use a low ISO setting in a low-light environment would be to stabilize your camera on a tripod or sit it on a stable surface and set a longer shutter time to allow more light onto the sensor. Note that anything moving within the frame may disappear or become blurred in motion. You may want to use a higher ISO when you are in a low-light environment but want everything captured within the frame and/or are limited in time to capture the image. Again, you may have to compromise image quality (introduction of grain) to get that low-light shot quickly.

 

LEARN THE KELVIN SCALE & WHITE BALANCE

To top off a good exposure, you want to also make sure that you have the proper white balance in your photo.

 

White Balance Settings

As you can see in the first image below, tungsten lights tend to produce a warm yellow-orangish hue while a typical fluorescent light might produce a little bit of a greenish hue. If you look at a scene on a cloudy day or if it is in a shady area, the image might have a slight cool cast. Your camera offers quick white balance settings for lighting situations like shade, cloudy days, sunlight, artificial/flash light, tungsten and fluorescent lighting to balance the color of your images. For more control over the white balance of your images, it’s a good idea to learn the Kelvin Scale and how to use it in certain lighting situations.

 

The Kelvin Scale

White balance and the Kelvin Scale.

Image courtesy of Google

Since the goal is correct white balance, you want to match the Kelvin number to the environment lighting. When using tungstens, for example, you’ll want to set your Kelvin number to somewhere around 3000 to get a proper white balance.

 

Tools to Help With White Balance

The easiest way to get your white balance correct is to use an 18% gray card and correct your images in post-production. You can also use the same Lastolite Gray Card or an ExpoDisc 2.0, snap a photo using one or the other and use that photo to set white balance under the Custom White Balance setting in your camera.

Lastolite Gray Card (left) and ExpoDisc 2.0 on the right.

Images courtesy of Adorama

If you don’t have a 18% gray card or an ExpoDisc, you can still get your white balance close to accurate by using the white balance settings in your camera and/or making adjustments in post-processing.

 

STUDY COMPOSITION

Good composition of a photograph is generally what will make the subject of a photograph more appealing to a viewer. To break the rules of composition, you first should learn the rules. Some elements of composition to familiarize yourself with are: The Rule of Thirds, line, balance, motion, shutter speed, depth of field, focal length, light, color, form, positive/negative space, camera position, texture, pattern, contrast and tone.

Lines make this image a little more appealing to look at. The S-Curve takes a viewer’s eyes through the image.

 

A good exercise is to go through a bunch of magazines and tear out the images you like, and then determine if composition played a part in its appeal to you.

It’s good to study magazines containing photos of your favorite genre to shoot to determine what about the image appeals to you.

I wrote a great article earlier this year that involves many of the elements of composition among other things that make an image more appealing called, Creativity & Awareness: Learning to See Before the Capture. Be sure to check it out.

 

LEARN LIGHT

Light and shadows are what make up photography, after all, the word photography literally means “to draw with light”. Light and shadows can create patterns on surfaces, which we’ve already determined is appeasing to the viewer’s eye. It can also create lightest and darkest areas of an image whereas the lightest part of an image generally will attract a viewer’s eye before anything else.

 

Natural Light

Many photographers may think that natural light photography is easy but it’s uncontrolled light that spills everywhere and with things like harsh daylight, can cause very harsh shadows, not to mention cause your subject to squint, which can really break a photograph. Once you learn some of the tools and techniques necessary to control natural light, this type of lighting can be your definitely be your friend.

Playing with the shadows of the trees in natural daylight.

Model: Daria Komarkova

 

The best time to photograph outdoors is when there are clouds in the sky. Why? Because the clouds serve as a natural diffuser to soften the harsh light the sun produces. However, when you don’t have cloud cover and you still have to shoot, you learn to find workarounds like breaking up harsh sunlight with a tree’s shadows or using a manmade diffuser to soften the light. A white sheet works wonders and can be tied or clamped to trees or light stands or held by assistants. If you can swing it, you can buy a large portable collapsible reflector, which generally has a diffuser as the base option when the covers are taken off. Another option is a scrim which you can attach to a light stand to diffuse light from the sun.

Using a reflector shooting in natural light.

Image courtesy of Yann Bizeul

What is really important to learn whether you shoot indoors or outdoors and no matter the subject is how to use a portable collapsible reflector to bounce light back onto a subject to fill in those harsh shadows. Learn how to angle the reflector and see the light on your subject and you will always have a well-lit subject.

 


Artificial Light

Another great way to learn light is by purchasing one or two continuous lights and placing them in various positions around your subject. This will give you the what-you-see-is-what-you-get (WYSIWYG) result of how the position of lights affect the way your subject will be lit. These are a great learning tool prior to obtaining monolights. Adorama has a great Flashpoint CL-1144R Circular LED Two-Light Kit to work with for $560.95.

One of my first portraits with monolights.

Model: Tara Virada

 

CONCLUSION

As a newbie to photography, these are going to be the six most important keys to learning your craft as exposure (learning your manual settings to obtain this properly), white balance, composition and light are the most important elements of photography while having a workflow in place and knowing how to use your camera will make your creating and processing your images a lot easier and much less stressful down the road. Stay tuned for more tips for new photographers learning photography – coming soon!

 

Posted by Dawn Wayand in Workshop, 0 comments
The Art of Portraiture Part 4:  Gear and Equipment for Success

The Art of Portraiture Part 4: Gear and Equipment for Success

A portrait tells a story of someone’s essence – someone’s being. It takes great skill and technique to capture an accurate portrayal of someone. While skills and techniques necessary for shooting a portrait are a large part of successful portraiture, the are not all that is needed. You also will need good tools to make the grade.

Capturing one’s essence.

Model: Maria Iodice

 

In the first part of this series, in my article entitled, The Art of Portraiture Part 1: Composition, Depth of Field and Background, I covered some of the basic necessities that contribute to a good portrait. In the second part, The Art of Portraiture Part 2: Light, I went over how light is an important element in a good portrait. In the third installment, The Art of Portraiture Part 3: Your Subject, we added in the most important element of your portrait, the person you are photographing and how to photograph him or her. In this last and final installment of this series, I will go some of the equipment that will help contribute to a successful portrait.

 

LENSES

The glass you put in front of your camera will determine the quality of the image the camera will help to produce. There is no camera made that will produce a stunning image if a bad quality lens is attached. While you most likely have a budget in mind for your new camera system, factor in the cost investment of a at least one exceptional lens before you buy that high-end camera body with half the features that you will never use.

 

Prime Lenses

Autofocus Prime Lenses. Autofocus prime lenses are great for shooting moving subjects such as when shooting fashion in the studio as you may have your subject continuously moving. Typically great focal lengths for shooting people in general are 85mm or a 100mm/105mm if you have the room. These come in several aperture ranges with the F/1.4 and F/1.8 being the most popular. The Nikon 50mm F/1.4 at $334, is a great compact lens that packs a lot of punch for its size. You can read more about this lens in my review here.

 

Shot with a 50mm F/1.4 lens.

Actor: Patrick Walsh

Manual Prime Lenses. Manual Prime lenses can cost a pretty penny and really work best only if your subject is stationary. These lenses are optimal for portraits and headshots. I found the Zeiss line to be exceptional with the more budget-friendly option of Rokinon right behind it. You can read some of my reviews on the Adorama Learning Center for the Zeiss 50mm F/1.4, Zeiss 85mm F/1.4, Zeiss 100mm F/2.0, Rokinon 50mm F/1.4 and the Rokinon 135mm F/2.0 lenses to determine which might work best for your needs.

Shot with a Zeiss 100mm F2.0 Makro ZF.2.

Model/Actress: Valery Lessard

 

Zoom Lenses

Zoom lenses can be a great option for shooting portraits as there is a tremendous variety in focal length and they allow for a versatile creative use of shooting while zooming in or out, among other uses. I’ve had the pleasure of using several Nikon zoom lenses in my studio work, most recently the Nikon 24-70mm F/2.8, retailing at Adorama at $1,796.95. While no longer manufactured, but still available used, I currently a Nikon 28-105mm in my space as well as client’s small spaces and have produced some very striking images.

Shot with my Nikon 28-105mm F/3.5-4.5D IF lens.

Model: Andy Mizerek

 

For either a close-up option or for shooting subjects from afar, I have found my Nikon 70-200mm F/4G ED AF-S to be the perfect option for producing a high quality photo, which I also use for headshots. Be sure to look for lenses that have have vibration reduction should your camera system itself not have an equivalent function.

 

LIGHT SOURCES

 

Daylight and Reflector. The easiest and most inexpensive way to light an image is through the use of bouncing natural daylight off of a portable collapsible reflector back onto your subject.

Using a portable collapsible reflector with natural daylight at sunset.

Model: Katie Buell

 

Speedlights. Another terrific portable and inexpensive lighting tool is a speedlight. Speedlights can be used indoors or outdoors and are typically used in conjunction with a portable collapsible reflector and/or bounced off of a wall or ceiling.

Using A speedlight in conjunction with natural daylight and a tungsten light.

Model: Andy Mizerek

 

Continuous Lights. These types of lights are perfect to use when shooting babies or capturing portraits of people who have trouble with blinking because there’s no disturbing flash.


Left to right: Lowel LC88EX1 Rifa

1000 Watt Light, Westcott TD6 Spiderlite, and the Fiilex P180E 40-Watt LED Light

Individual images courtesy of Adorama

 

Strobe/Monolight. Most photographers use strobes or monolights when shooting in a studio as the instant flash lends to capturing a sharper image and the numerous modifiers available for use allows the photographer to get more creative with their lighting.

Portrait shot using monolights.

Model/Actress: Celeste Smith

 

I have found the Flashpoint Rapid 600 HSS Monolight with Built-In R2 2.4GHz Radio Remote System to be a great budget monolight for shooting portraits or any other type of subject in a studio environment. For more information on this terrific option, you can read my review on it here.

 

I’ve also had the privilege of using the delicious Profoto B-1 500 Air TTL Battery-Powered 2-Light Location Kit. No matter where you are shooting, these battery-powered lights are lightweight and store conveniently in a backpack.

 

LIGHTING NECESSITIES

 

Light Meter

Cameras see differently than we do. While we have the ability to see everything in color, the camera’s meter sees and measures only how light or dark a scene is. It sees only tonality: black, white and a bunch of shades of gray in between. The shade in the middle of the gray scale is what is called middle gray. Middle gray is achieved when it reflects only 18% of the light that falls on it.

My Sekonic Flash Master L-358 with its younger sister, the Sekonic LiteMaster Pro L-478DR.

 

The largest goal in photography is to capture your images with accurate exposure or in better terms: for the camera to record your scene or subject as you see it. How can this be achieved if your camera or handheld meter only measures in tonality and brightness? In the same lighting scenario, every shade or color reflects a different amount of light and this is where a light meter can come in handy. Sekonic pretty much rocks the market on light meters.

A light meter in use.

 

If you shoot video, a color temperature meter like the Sekonic C-700 SpectroMaster Spectrometer would be an ideal tool for you. If you are looking for the percentages of where your exposure is coming from (ambient, LED, fluorescent and/or tungsten continuous lighting vs. flash or strobe lighting), Sekonic meters are known to possess this feature. My current light meter, the Sekonic L-358 Flash Master, along with the Sekonic Litemaster Pro L-478DR has this feature. Those folks that work in studios may find the need for a meter to be able to fire their strobe – “wirelessly” being a bonus. Some Sekonics such as the Sekonic L-758DR Digital Master have this feature.

 

Tripod

Obtaining a stable support system for your camera is one of the most important things you should do right after you buy any camera and lens. I’m always amazed at the number of students I’ve seen in the past who spend hundreds or thousands of dollars between a camera and lens (and maybe a flash too) along with other necessary and unnecessary equipment, but they were unwilling to spend enough on the support mechanism for their major investment.

Gitzo GK1545T-82QD Series 1 Traveler Tripod-4 Section- with GH1382QD Ball Head

 

This is almost like being too cheap and unwilling to put a good UV filter on your lens, which can help protect the front element from breaking if dropped. Not obtaining a proper tripod to support your camera and lens unit can result in the unit falling and getting damaged – sometimes beyond repair. How much did you spend on that camera and lens again? For more on tripods, check out my article, Tripods: Choosing the Right Support for Your Investment.

 

Lightstands

As you begin to add expensive pieces of equipment like lights to your home studio, you’ll want to make sure you buy proper light stands to support those lights. Regardless of the type of lighting  you may use now or in the future, light stands are a piece of equipment that you will want to think a little more long-term about as there are so many types, sizes and options available.


Just a few of the light stands in my studio.

 

For more on considerations for choosing the right light stands, check out my article, Building the Home Studio Part 2: Continuous Lights and Light Stands.

 

LIGHTING ACCESSORIES

 

Collapsible Reflector

While not everyone has an easy time folding them back up, most of us know what a collapsible reflector is and many folks have actually successfully used one. They should really be your first light modifier, even before you buy your first monolight or strobe because they are useful outdoors as well.

A good collapsible reflector is a “must” in portrait work.

 

Reflectors do exactly what their name might imply: they reflect light. They are used to bounce light from a light source back onto a subject. Photographing a person outdoors in the sun? We generally put the sun behind our subject to avoid him or her squinting, but then our subject becomes too dark because the light behind him or her is so bright. A reflector can be used to bounce light from the sun behind the subject back onto your subject so that he or she is also lit.  This works the same way in a studio. You can learn more about collapsible reflectors colors and what the different shapes and sizes do in my article: Building the Home Studio Part 04 – Essential Studio Tools, Props and Odds & Ends.

 

Umbrellas

Umbrellas are probably one of the first studio modifiers purchased by photographers as they are cheap, portable and come in a variety of sizes and colors.

 

White shoot-through, or translucent, umbrellas are one of the more common umbrellas used in photography because the shaft of the umbrella is pointed away from a subject when lighting, which means a light source can be moved in as close as desired without poking out your subject’s eye! The downside to a shoot through umbrellas is that the light is hard to control because the umbrella is translucent and the light spills everywhere. However, they guarantee your subject to be well lit.


A shoot-through umbrella in use.

 

Black/white umbrellas are a great choice for when you need to fill in shadows without it affecting the color, quality or quantity of light.

 

A reflective umbrella such as a silver umbrella (with a black covering), can be used when you want to bounce in specular highlights without affecting the color of the light. The light will be subtly harsher than a shoot through, depending on your umbrella’s distance from your lightsource and from your subject as well as the size of the umbrella.

Clockwise from the top: White (shoot-through), silver reflective, gold reflective and black/white umbrellas.

Single images courtesy of Adorama

 

A gold umbrella with black backing can be used to warm the color of an image and your subject. This umbrella color works well when photographing someone in a bathing suit or photographing someone with a very fair skin tone, where a healthy warm glow might be desired.

 

Softboxes

Whether using continuous lighting, speedlights or strobes, softboxes prove to be one of the best light shaping tools for any professional photographer’s to have in their toolbox.

 

Round softboxes, called octaboxes or octabanks, make for wonderful key lights. Their round shape is similar to the sun and the catchlights produced by round softboxes can be much more pleasing to some as they cast a more natural round catchlight into a subject’s eyes to match the roundness of the pupils.

Variety of softbox shapes.

Single images courtesy of Adorama

 

An octabox also tends to wrap light around its subject. I find a larger octabox placed close to my subjects face serves close to what a beauty dish would do for me when placed straight in front of my subject. When placed anywhere else, shadows can vary from subtle to harsh depending on its proximity to the subject. I’m personally a huge fan of the 43” Westcott Apollo Orb because it’s easy to set up and break down – much like an umbrella!

Use of a square softbox with a triangular collapsible reflector.

Model: Xavier Lujan

 

Squares and rectangles work well as main light sources as well as a fill lights. Depending on their size, they tend to throw out a more defined light complete with a nice and soft transitioning of shadows. Contrary to some preferences, I find squares to make interesting and dynamic catchlights in the eyes when used in conjunction with a circular or triangular reflector as shown above. In this image, I used a Glow 24” x 24” Square Softbox which has a large variety of speed ring adapters available, sold separately.

Use of strip softboxes behind the subject.

Model: Kathryn Hopkins

 

Strip softboxes are great for lighting the full body when placed parallel with a subject. They also work well as hair lights. Depending on the distance from the subject, strip softboxes can create a very subtle or a very harsh transitioning in shadows.

 

You can read more on softboxes in my article, Softboxes: Containing, Directing and Diffusing the Light.

 

Beauty Dish

If you are into portrait or beauty photography, a beauty dish is a “must”. A beauty dish is a circular reflector or bowl with an opening in the center that attaches to a monolight or strobe. The bulb or flash is hidden by a raised plate in the center that forces light to disburse into bowl and onto a subject rather than the light source directly hitting the subject.

My 16” beauty dish, bare.

 

Beauty dishes come as white or silver coated on the inside. White coated dishes make for a softer light whereas silver coated dishes make for slightly more contrast. Beauty dishes have two different companion modifiers that can be used along with them: a diffuser, sometimes called a “sock”, and a grid. I’ve always had a regret of buying such a small beauty dish – at 16 inches. If you can swing it, get something at least 22 inches in diameter or more. Which beauty dish you should get will depend on the monolight or strobe that you have. Brands like Glow make a variety of mount options to work for more than one single brand.

 

Grid

If you need the direction of light from your light source to be more concise, a grid is your best bet. Grids are useful when you want to light something specific with little to no spill, such as when you want to light your subject but you want to keep the background dark.

My beauty dish grid.

Image courtesy of Yann Bizeul

 

Grids are generally made to work with beauty dishes and softboxes, but I’ve also found them as companion modifiers for barndoors and snoots as well. They come in variety sizes, the hole width determining the width of the light beam emitted. Grids come in a variety of types, brands, sizes and hole widths and which you get will depend on the type and brand of main modifier you use it with.

 

Barndoors

Barndoors are one of the most versatile and inexpensive lighting modifiers one could own. This modifier is basically four doors that attach to a base which can be attached to a monolight or strobe.

My barndoor setup.

 

What’s versatile about this modifier is that each of these 4 doors can be opened as little or as much as desired allowing for numerous lighting results. Many barn doors are sold as kits that also include companion modifiers of four gels and a grid, such as Flashpoint’s Universal Barn Door Kit.

 

Snoot

Snoots allow you to focus in specifically on one small thing on a subject, such as just the face, just the hands or for baby photography, just the feet. They serve kind of like a spotlight on a choice subject.

 

Snoot used on my model’s face only.

Model/Actress: Celeste Smith

 

Snoots also a great tool for lighting particular things for an interior shoot or even products because the light is so concentrated and direct. Snoots can also have complimentary modifiers of attachable gels and grids.

My snoot setup.

 

Snoots are generally brand specific or universal as long as they have the specific speed ring adapter that matches the brand of monolight or strobe you are using.

 

Gels

Gels are not only a practical tool but they are also a fun, creative modifier to use for lighting a subject. In situations where white balance is an issue (such as incandescent bulbs adding a warm orange cast to an image and fluorescent bulbs typically generating a green cast, gels can be used to match the light’s color in order produce an image with light color closer to white.

Rosco 20”x24” Color Effect Kit

Image courtesy of Adorama

 

For a more creative touch, gels can also be used to color backgrounds or to color the light hitting a subject. In the image below, I used a Rosco 20”x24” Color Effect Kit which contains 15 different color gel sheets and is sold at Adorama for around $97.65 for the whole kit. These gels can be bent or folded and are still reuseable. This particular kit contains the larger-sized sheets, which also allows me enough available to be able to also cut swatches of the gels for use too.

Red gel was used for background and blue and yellow gels were used to color the light.

Model: Deeksha Chawla

 

I used a red gel on a background light aimed at a Savage Smoke Gray Seamless background. I also used a yellow and blue gel on two separate lights on each side behind my model aimed back toward the camera to give her an interesting rim light color on her skin and hair. As a bonus, because I used a fog machine for special effect, the gels colored the smoke as well.

 

WHEN YOU’VE CAPTURED THE ESSENCE OF BEING

When you’ve captured a true portrait of someone, you have captured the very essence of their being. As you can see, there is much involved to achieve this and many techniques available to do this successfully. This is what makes capturing a portrait – an art.

 

Posted by Dawn Wayand in Workshop, 0 comments
Creativity & Awareness: Learning to See Before the Capture

Creativity & Awareness: Learning to See Before the Capture

“You don’t take a photograph – you make it”   – Ansel Adams

 

Seeing is the very essence of photography as much so as the light that is needed for a photograph to exist. It’s a consistent and continuous mental activity that we do everyday as we go to school, go to work, go out for a night on the town, traveling and so forth.


While this image has been digitally enhanced, there are several elements of composition here lending to an interesting image.

The Adirondacks, Upstate New York

 

Remember when you were younger, the game of “Punch Bug” that you might have played with a friend or family member(s) where you called out “punch bug” and the color, whenever you saw a Volkswagen Beetle? You then begin to notice Beetles a lot more often after making it a practice to find them in the game. Perhaps you buy a new car and it’s not until you own the drive the car that you notice how many other people are on the road drive the same type of car. It’s only when you practice looking for something or when you are involved in or with a certain thing that you start to see it everywhere when you never really noticed that thing before. This is a form of “awareness” as you become more aware of something because you’ve been exposed to it in some way.

When you become more aware of your surroundings, the more photographic opportunities will arise for you. Below are various elements and techniques to help you train your eye to create more interesting images.

 

THE ART OF COMPOSITION

 

Lines

I never really formally studied art until I was 33 years old, living in St. Petersburg and attending Eckerd College after having already acquired a bachelor’s degree in Legal Studies. I decided to major in Visual Arts and in the very first class I took, I spent the entire semester working with lines. The first exercise I had was to use sharpie only and create faces using a certain number of straight and curved lines.

By week 5, the faces became more character-like as I was released more and more from line restrictions.

 

As the semester progressed, the exercises built upon the exercise from before until I had gone from being a realistic artist to an abstract artist. It was a terrific exercise to creativity. While that was drawing and painting, photographing has a use for lines as well in the form of the S-Curve, leading lines and patterns.

 

The S-Curve

Some of you may somehow find an image of a winding road through a scene to be very interesting to look at and there is a pretty good reason for this. It’s generally called an S-Curve and it helps to take a viewer’s eyes throughout an image from bottom to top and left to right (and vice-versa).

The S-Curve of the flowerbed here takes your eyes from the bottom of the image to the top.

Toronto, Canada

 

Leading Lines

Leading lines help to connect the foreground to the background of an image and they also create a sense of depth and dimension, bringing the viewer into the image. They give a sense of an infinite beyond. Some good examples of a leading lines are straight roadways and paths or even a river or creek.

The leading line of the path here creates a sense of infinite distance.

Madrid, Spain

The little creek connects the foreground to the background here.

Near Mont Tremblant, Canada

 

Patterns

Patterns give way to be an interesting element to photograph. Symmetry and repetitive things in an image are good examples of types of patterns to try to capture. In the image below, not only is there a sort of C-Curve in this image taking the viewers eyes from one side to the other, but there is a repetition of shadows, windows and arches that pulls attention into the image.

Also a good example of a leading line, there’s several repetitive aspects in this image.

Sevilla, Spain

 

Complementary Colors for a Pop Factor

If you remember the color wheel in grade school and learning about primary, secondary and tertiary colors as well as complimentary colors. Balance and harmony of an image not to mention a nice pop can be created using color contrast, which is why the use of complementary colors can be effective in composition.

 

The use of red and green complementary colors.

Brooklyn Botanical Gardens

 

Orange and blue…

The use of orange and blue complementary colors.

Munich, Germany

 

and purple and yellow…

The use of purple and yellow complementary colors.

New York Botanical Gardens Annual Orchid Show

 

Texture

Another element of composition that makes for an interesting capture is the element of texture. Photographing fur, wool or even in the case below, the macro capture of a flower petal conveying the feeling of a velvet-like touch appeals to a viewer’s sense of touch.

The detail conveys a velvet-like feel of the petal stimulating a viewer’s sense of touch.

New York Botanical Gardens Annual Orchid Show

 

Negative Space

Negative space is the area surrounding your main subject with your main subject known as “positive space”. Negative space is a natural relief for a viewer’s eyes to rest and prevents your image from appearing too cluttered.

I like using negative space in my headshots and portraits (and here, a self-portrait…)

 

Negative space also places more emphasis and bring the viewer’s attention more clearly to the main subject of your image.


The negative space of the sky, though textured, brings the viewers attention to the main subject, this statue.

Iwo Jima Monument, Arlington, Virginia

 

Close Crop

The opposite of negative space really is cropping in close, used mainly to eliminate distractions around a main subject, but also to capture detail and/or for artistic purposes. It also works well when your subject is stuck in broad daylight.

Capturing a tight crop of a tiger in harsh daylight works.

Lowry Park Zoo, Tampa, Florida

 

Motion

An interesting way of grabbing a viewer’s attention is through a capture of motion. In the image below I focused on the center guitarist’s face, allowing the movement to show throughout the rest of the image, which brings the image to life.

Amongst the crowd watching a mariachi band I capture motion to bring my image to life.

Madrid, Spain

 

Light & Shadows

Light and shadows are what make up photography, after all, the word photography literally means “to draw with light”. Light and shadows can create patterns on surfaces, which we’ve already determined is appeasing to the viewer’s eye. It can also create lightest and darkest areas of an image whereas the lightest part of an image generally will attract a viewer’s eye before anything else.

Here we not only have repetition with the columns, but the

light and shadows cast patterns on the wall and ground.

Sevilla, Spain

 

As you can see here, the brightest part of this image draws your eye inward first

Central Park, New York

 

RULE OF THIRDS AND POINTS OF IMPACT

Almost all of us has heard of the Rule of Thirds. Using an off-center composition has been known to be more appeasing to the viewer’s eye. This composition also tends to appears more natural when taking in an image rather than an image with a subject dead center.

The boat falls on the top left intersecting point of the grid.

Niagara Falls, Canada

 

The Rule of Thirds is when you divide your frame into a grid of three equal rows and three equal columns = nine equal sections total with the object being to place your main subject on one of the four guidelines, preferably at one of the four intersection points.

 

FRAMING

Another useful tool in creating a more creative capture is the use of framing your your subject. You can do this using a crook in the arm of a tree, a windowpane an arch of a doorway and so on and so forth – you get the picture. Framing your subject helps to bring focus on your subject, much like literally putting your image in a photo frame.

I used the curving arm of a tree to frame the serene lake with its beaming sunlight cast upon it.

Near the Adirondacks in Upstate New York at Fall

 

Here I used an arch in the foreground to frame the gentleman relaxing on the stone wall in the background.

Malaga, Spain

 

PERSPECTIVES AND ANGLES

Someone once taught me, “If you want to make your photography better than 80% of other photography out there in the world, change your perspective.” This was probably some of the best advice I had ever heard. If you just stand there, put the camera to your eye and take the image, anyone can do that and your images may appear to be more snapshot-like. We don’t want just snapshots – we want interesting and captivating images!

I kneeled down to capture the tulips at a level of their own height.

Battery Park City in the Spring.

 

Move about a scene and try different levels: get up on the wall or bench and shoot down. Lie on the ground and shoot your subject from below (a “bug’s eye view”). Or get at the subject’s level for a more realistic impact, which works especially well for photographing animals and children.


Shooting from above.

Madrid, Spain

 

I entitled the image above, “I Am Here” as the pants and shoes are dusty and worn. Most people know that I am a traveller and this was my expression of my journeys. While you can lay down and shoot upward, in the image below, I placed my camera lens up on the ground and shot the tulips from a bug’s eye view.

Shooting from below.

Brooklyn Botanical Garden

 

CREATIVE LENS USE

Sometimes you can get more creative with your images just by lens choice. A wide angle or fisheye lens is a fun lens to capture a little bit of distortion in your images, giving them a bit more powerful grip on the viewer. In the image below I had borrowed a Canon 7D Mark II Camera used a Canon EF8-15mm F/4L Fisheye Zoom Lens to capture the children running through the Fall leaves.

Timing and a fun lens made this image a bit more dynamic.

Storm King Art Center, Upstate New York

 

TIMING

Other times it can come down to the perfect moment. Sometimes life just happens before you and you get lucky enough to pull your camera to your face, set your settings and capture the moment before it disappears forever. There is also the trick of anticipating the moment. Oftentimes this works well with photographing sports as well as animals. I once sat at the window of a polar bear exhibit at a zoo for almost an hour studying the swimming pattern of the polar bear – trying to figure out how I was not only going to capture the image, but to do so in a way getting the image as sharp as possible and without glare. The image didn’t turn out half bad minus the abundance of breathing bubbles, but there is certainly something to be said about predicting the actions of your subject.

As I walked past this alleyway, I saw this duo and rushed quickly to take the shot as knew it was a fleeting moment.

Malaga, Spain

 

Whether it’s your lucky moment, like for me in the image above, or if you sit perched and waiting for the perfect moment to happen, such as what I did in the image below – timing can be everything to creating a beautiful image.

For this image I actually sat and waited for someone to walk through

the archway and found this to be an authentic shot of daily life in Sevilla.

Sevilla, Spain

 

EXERCISES TO HELP TRAIN THE EYE

There are many ways to develop a better awareness of photographic opportunities around you using the composition elements and techniques above as guidance for end results. A few starter exercises could be:

  1. Study the works of the Masters and how they used composition, color, light, etc. for inspiration in your own photographs.
  2. Lock yourself in a room and commit to taking 100-150 photos of various things in a room. You will definitely find that you are looking at something a different way for the first time after this exercise.
  3. Commit to photographing only objects of one color or monochromatic only.

 

There are many books with 365 Projects that can also be a great tool to help you train your eye, but if nothing else, the more you get out and shoot, the more practice you’ll have in finding creative ways to shoot even the most ordinary of an object.

 

LOOK BEFORE YOU LEAP!

You’ve probably been told to get it right in camera in the first place and quit thinking about post-production. Yes, post-production can enhance an image and can sometimes also create a whole new image depending on your skill but the bottom line is that you need to have a strong image to begin with, so practicing with the goal of a creative capture in camera is the best way to do just that.

 

Posted by Dawn Wayand in Workshop, 0 comments
Building a Home Studio Part 01: Space and Essential Shooting Gear

Building a Home Studio Part 01: Space and Essential Shooting Gear

 

You love photographing and people and have decided to make the leap from a part-time hobbiest capture here and there to becoming a part-time or full-time professional studio  photographer. While photography can already be an expensive hobby, it doesn’t get less expensive as a professional service! Some of you might not be able to afford separate studio space and have considered building your own home studio, but there’s much to consider and basic required gear to have before opening up shop. Over the next few months, I will be sharing with you tips, advice and a few recommendations on building a home studio from the ground up based on my own experiences of working in a home studio environment. My goal is to arm you with information you need to decide what to get, to help you think on if you really need what you think you need and much more. This month, I will go over space considerations as well as cover required equipment that you will need before you can even think about investing in studio equipment.

 

STUDIO SPACE

 

One of the biggest determinations of whether to embark in creating a home studio is space. “Is my apartment/home big enough?”, “Can I devote a particular part of my home to working space?” and “Do I have the ideal type of environment for a home studio?” are just a few questions going through your mind. I personally work out of a 11×12 foot space and still create work that leaves my clients happy and working with me again.
Studio-Space-1

This is not to say you can work in a closet, but as an artist, you must get creative with making your home studio space work.

 

The optimal amount of space is as much as possible, however, when you don’t have 2,000 square feet to devote to studio space, keep the following thoughts in mind:

 

  • You’ll want a decent ceiling height. Ten feet is really a minimum for shooting standing full body shots if you plan to use a hair light, and if you do not want to have to Photoshop the bottom of your roll of seamless from behind the subject’s head. Lower ceilings could work, however, sitting portraits and headshots might be more of a working option with a low ceiling height.

 

  • Aim to have at least 6 feet between the wall and your subject to avoid a shadow on the background without having to use a backlight. Depending on what you are shooting and what focal length you will use, you also want to consider the space between you and your subject too. You will not be able to use a 100mm lens and get a full length shot of your standing subject when you are only 3 feet away. Don’t have this much room? Consider shooting from outside the door of your studio space: down the hallway, from the kitchen, sit or stand on the furniture behind you to shoot – get creative.

 

  • White walls are the way to go. If you have colored walls, that color may tint your images. (I have this trouble with my blue walls leaving a bluish hue on my images…) Can’t paint your apartment walls? Consider buying or making two sets of v-flats (white on one side/black on the other side) to create 4 walls of neutral light and dark space for your needs.

 

  • Having the option of natural light in your studio space is a plus, however, in wanting to create a controlled studio lighting setup, sunlight is hard light to coStudio-Space-3ntrol and sometimes it can be too much. For this, consider installing blackout curtains for use during those overly bright times of the day.

 

  • If you are already limited on space and using only one room for your studio, keep in mind you will also need room to store equipment and props. Too much gear and not enough space? Consider creating shelves and/or hanging gear on the walls out of the way. A single coat rack makes for a nice modifier stand.  My top piece of advice is to only buy what you need and nothing more. My next piece of advice: make sure every prop you buy has more than one use (ie. my ottoman not only stores equipment but I use it for my subjects to sit/lay on.)

 

  • Most likely, you will be shooting a person in multiple outfits. You will need space for your client to change and to prepare their hair and makeup. Sometimes you may have a hairstylist and/or makeup artist in that space too. How large is your bathroom or kitchen area? Consider a portable coat rack for hanging clothes and a folding wall for your subject to change behind in the kitchen. A foldable standing mirror is a ideal for your subject’s use as it can be hung on the wall to save space, moved around the room when needed and even used as a prop (remember, double use!)

Studio-Space-2

With space, there are ideas you can create to make it work if you put on your thinking cap and get creative.

 

CHOOSING A GOOD CAMERA THAT IS RIGHT FOR YOU

 

While it’s really important to have a good camera when shooting for more than hobby, you should buy only the best camera that you can afford. Keep in mind that the glass you put in front of that camera body is nearly if not more important in determining the quality of the image you will make. Imagine the images you’ll create slapping a crappy low-end lens onto a high-end camera! This is not to say you should buy the bottom of the barrel camera body and an expensive high-end lens as then you would be losing many performance necessities.

 

First, it’s wrongly-perceived that a higher megapixel count means a better camera option for you. It is really important to consider what you are shooting and how you plan to output the images. If a majority of your image-making is for the purpose of posting on the web, regardless of what you are shooting, you are absolutely fine with a 12MP camera, so long as it has other features that are important to you. Buying a 36MP camera for only posting on the web can be overkill and if used for nothing more and would be a waste of money that could be used on buying a better glass option.

 

Next, format size is usually a big question and most of the time is decided by how much you can afford as crop sensor cameras can run anywhere from $400 to $1,000, whereas full-frame cameras can start new at $1,800 (when on sale) and can go up to $5,000 or more depending on the model. Which has better quality? I’ve shot on both full frame and crop sensor cameras and saw nearly no huge difference in quality when used with good lens choices.

 

Cameras-1

Shot with a Nikon D300 (crop sensor) using a Nikon 24-70mm F/2.8 lens.

 

Cameras-2

Shot with a Nikon D750 (full frame) using a Nikon 85mm F/1.4 lens.

 

Cameras-3

Shot with a Canon 7D Mark II(crop sensor)  using a Canon 85mm F/1.8 Lens.

 

Another consideration is whether you are interested in shooting video or think you would be in the near future. You can save money choosing a camera that does not offer a video option and putting that savings toward better or additional glass too.

 

Shooting rate and buffer size is another important quality to consider when choosing a camera that is right for you. Will you be shooting a lot of indoor action in your studio or location such as dancers or sports? You will definitely want a camera that has a higher shooting rate before the buffer kicks in.

 

While with a home studio you would mostly be shooting at a low ISO speed, for shooting on location indoors or outdoors in low-lighting conditions, ISO is another factor to consider. If you think you will be shooting in low-light conditions, you will want a camera option that has a higher ISO performance to minimize the noise quality. The Canon 5D Mark III has a native ISO of 25600 extended to a whopping ISO 102400!

 

You’ll want a camera body that has a fast focusing speed and a high number of autofocus points. I tend to shoot just about everything with off-center composition, so more autofocus points is important to me. I found the Nikon D7100 and Nikon D750 cameras are pretty darn quick and both have 51 autofocus points. While the Canon 5D Mark III has a 61-autofocus points, the Canon 7D Mark II has 65 autofocus points.

 

Do you think you’ll use the Live View option? While Live View has its benefits, such as being able to shoot from the hip or shooting from overhead and still being able to see what you are shooting, Live View does have some disadvantages. Your battery tends to not last as long when using Live View. In addition, there tends to be a little bit of a lag time between pressing the shutter and actually capturing the image in Live View mode, which I specifically noticed with the Nikon D7100. It’s important to consider whether you prefer to have a camera with Live View or would forego the option to save money and put it toward better or additional glass or save it for other gear that you will want or need for your home studio.

 

Have an existing DSLR and just looking to upgrade? Unless you have money to blow, it’s usually wise (and less expensive) to consider staying with the same brand when upgrading so that you’re not only having to go through the hassle and expense of selling your old camera body and buying the new body, but also selling all of your old lenses to purchase lenses to accommodate your new camera body.
Brands

As for brands, there is so much controversy of which brand is the best brand of camera. That’s a tough question that really cannot be answered as features that are developed that put a manufacturer on top one year is exceeded by new technology developed by a different manufacturer the next which keeps manufacturers constantly cycling on top. Sometimes awesome new helpful features tend to come at the expense of lacking other features. For your purchase now, consider the features you want and need in a camera and what you will mainly shoot with the camera.

 

For the most part, Nikons and Canons have been on top in the industry for many reasons in addition to the actual functions the cameras provide. They are versatile. They are rugged and  built to last. Nikons and Canons tend to have longer battery life than many other brands of cameras. Some brands have tethering issues to programs such as Adobe Lightroom, whereas Nikons and Canons do not have those issues. Not to mention there are many more lens options for Nikon and Canon than any other brand as not only do they have their own extensive lens lines, but third party companies like Sigma, Tokina and Tamron manufacture a multitude of lenses compatible with Nikon and Canon cameras.

 

Some of the cameras I found to be of terrific quality and that I would consider replacing my very old Nikon D300 with are the:

 

Nikon D7100 at $696.95,

Canon 7D Mark II at $1,399, or the

Canon 70D at $899

 

for crop-sensor format cameras, or for full-frame format cameras, the

 

Nikon D750 at $1,896.95,

Nikon D810 at $2,796.95, or the

Canon 5D Mark III at $2,499.  

 

“SO MANY LENSES… WHICH LENS IS RIGHT FOR ME?”

What glass you put in front of your camera will determine the quality of the image the camera will help to produce. There is no camera out there that will help produce a magnificent image with a bad quality lens attached. While you most likely have a budget in place for a new system, before you buy that high-end camera body with half the features that you will never use, factor in the cost investment of a at least one exceptional lens.

 

A good lens for you really depends on what you are shooting. It does not necessarily mean the widest aperture available. Why? Well, most of the widest aperture lenses are extremely costly and may not produce the results that you might be looking for. Almost all wide aperture lenses – while having beautiful bokeh – yield very soft images. This is great for newborn and child photography, but when your client might be a group or family or even if you are shooting for a lookbook or an ad, that client will want tack sharp images that are produced by an aperture of between F/5.6 to F/8. So why go crazy buying an F/1.2 if you’re not doing newborn and child photography?

 

You also might consider where you will be using the lens the most. If it’s in your home studio, consider the size of your space. Remember, you will not be able to use a 100mm lens in a small space for a full length portrait.

 

PRIME LENSES (AUTO)

 

Autofocus prime lenses are great for shooting moving subjects. These lenses are practical good for shooting fashion in the studio as you may have your subject continuously moving. Typically great focal lengths for shooting people in general are 50mm and 85mm. On a crop sensor camera they are right around the equivalent of 90mm and 135mm respectively. These come in several aperture ranges with the F/1.4 and F/1.8 being the most popular.

 

The Nikon 50mm F/1.4 at $334, is a great compact lens that packs a lot of punch for its size. You can read more about this lens in my review here.

 

Nikon-50mm-F1.4

Shot with the Nikon 50mm F/1.4 Lens at ISO 200, F/5.6 at 1/200 of a sec.

 

The Canon 50mm F/1.4 at $329, is also a compact lens that does a good job in capturing portraits and headshots as seen here.

 

Canon-50mm-F1.4

Shot with a Canon 50mm F/1.4 Lens at ISO 200, F/5 at 1/80 of a sec.

 

The Nikon 85mm F/1.4 at $1,596.95, is also an exceptional piece of glass that produces a beautiful bokeh and sharp features both in and outside the studio.

 

Nikon-85mm-F1.4

Shot with a Nikon 85mm F/1.4 Lens at ISO 100, F2.0 at 1/80of a sec.

 

The Canon 85mm F/1.8 at $349, is a great alternative to the F/1.4 option and is a little less expensive to boot.

 

Canon-85mm-F1.8

Shot with a Canon 85mm F/1.8 Lens at ISO 200, F/2.8 at 1/50 of a sec.

 

PRIME LENSES (MANUAL)

 

Manual Prime lenses can be expensive and really work best only if your subject is stationary. These lenses can be optimal for portraits and headshots. I found the Zeiss line to be exceptional with the more budget option of Rokinon right behind it. You can find my reviews on the Adorama Learning Center for the Zeiss 50mm F/1.4, Zeiss 85mm F/1.4, Zeiss 100mm F/2.0, Rokinon 50mm F/1.4 and the Rokinon 135mm F/2.0 lenses.

 

Rokinon-50mm

Shot with a Rokinon 50mm F/1.4 Lens at ISO 3200, F/11 at 1/250 of a sec.

 

Zeiss-85mm

Shot with a Zeiss 85mm F/1.4 Lens at ISO 640, F/5.6 at 1/160 of a sec.

 

Zeiss-100mm

Shot with a Zeiss 100mm F/2.0 Lens at ISO200, F/2.8 at 1/50 of a sec.

 

ZOOM LENSES

 

Zoom lenses can be great as they have much variety in focal length and allow for a versatile creative use of shooting while zooming in or out among other uses. I’ve had the pleasure of using several Nikon zoom lenses in my studio work, most recently the Nikon 24-70mm F/2.8, retailing at Adorama at $1,796.95.

 

It gave me terrific look book images indoors…

 

Nikon-24-70mm

Untouched, this was shot with a Nikon 24-70mm F/2.8 Lens at ISO 160 and F/3.5 at 1/40 of a sec.

 

On location outdoors this lens also made an enormous impact, case in point: the following untouched image of my model Katie at sunset.

 

Nikon-24-70mm-2

Untouched, this was shot at shot with a Nikon 24-70mm F/2.8 Lens at ISO 200 and F/5.6 at 1/200 of a sec.

 

While no longer manufactured, but still available used, I have used a Nikon 28-105mm in my space as well as client’s small spaces and have produced some very striking images.

 

Nikon-28-105mm

Shot with the Nikon 28-105mm at ISO 200, F/5.6 at 1/160 of a sec.

 

Be sure to look for lenses that have have vibration reduction should your camera system itself not have an equivalent function.

 

HARNESSING YOUR CAMERA: CAMERA STRAPS AND CAMERA HOLSTERS

 

Camera straps are one of those things you need that can also be a nuisance to deal with wearing. Some photographers take them off, only later to drop their camera and break it or drown it in a pool of water! Neck straps are generally a safe way to protect your camera from tumbles and falls, but they also have their issues such as causing neck and back pain, getting in the way of a shot when shooting down as well as the “obvious” factor when you are a street photographer trying to conceal that you are shooting.

 

There are some great alternatives to neck straps out there such as sling straps, double-camera vests and holster belts.

 

CAMERA SLING STRAPS

Sling-StrapBlackRapid makes a great sling strap called the BlackRapid Metro Sling Camera Strap, which is available at Adorama for $39.95. This is my go-to when I’m shooting outdoors, as I can let the camera hang to my side and quickly and easily bring it up to my eye by sliding it across my body up from waist to eye. It’s also nice as the lens hangs behind you, making it harder to damage the lens if you run into something.

 

 

 

CAMERA VESTS

Camera-VestIn addition to the sling strap, BlackRapid also makes the BlackRapid Double Slim (DR-2), Double Strap for two cameras. If you shoot weddings or other events, for $134.95 this is a perfect solution for having your backup camera also attached to you saving you money from the damage of having both cameras bumping into each other using two neckstraps. My favorite studio strap is not a strap at all – it’s a belt.

 

 

 

CAMERA HOLSTERS

SpiderHolsterAt $15.95, Spiderholster Pro Kit is an easy way to have your camera securely attached to your waist by a locking hook mechanism, which takes the strain off of your neck and back while keeping your camera right at your side, within your hand’s reach.

 

 

 

 

 

 

KEEPING IT CLEAN

 

It’s extremely important to clean your camera and lens after every use to avoid heavy buildup from occurring as well as to keep dust from getting into your lens or camera, especially for those that are not weather-sealed. It’s like washing and waxing your car. A bare necessities that you need to do this are camera wipes, lens cleaner, a lens cloth, a blower and maybe Q-tips. Some of the basic kits that Adorama carries that get the job done are the Adorama Cleaning Kit for $14.95, the Zeiss Complete Optics Cleaning Kit for $28 (good for more than Zeiss lenses), and the Vanguard 6-in-1 Cleaning Kit at $18.14.

 

Visible Dust makes decent sensor cleaning kits but while cleaning your camera exterior and lenses is like washing and waxing any car, cleaning your sensor can be extremely difficult to do and to do safely and like not making my own repairs on a high-end car, I would leave that to a technician.

 

Building your studio from the ground up starts with analyzing your space needs before anything else and if you’ve decided to give it a go, acquiring equipment and gear that is mandatory for actually producing an image such as cameras, lens cleaning kits and camera harnesses. This is probably one of the most important and the most time-consuming part of building up a home studio from scratch because of the infinite number of choices. Once you’ve gotten past this point, it is pretty much a walk in the park in choosing your light sources, modifiers and the other odds and ends you’ll need to set up a professional system. I’ll be covering all of this and more each month over the next few months. Stay tuned and happy shooting!

 

Posted by Dawn Wayand in Workshop, 0 comments