Tag Archives: Lighting

The secret to a wonderful black background with moody lighting

Mastering the black background

• Mastering the black background •
With very little practice you can get a perfect black background and moody lighting.

The eye is captured by solid black.

It provides a really focussed experience for the viewer. Low key and solid black backgrounds provide a wonderful insight on detail and features. If you get this right it provides an excellent insight for portraits and helps many other aspects of your photography. This is a technique I use for product photos, still life, landscapes and flower photography.

Simplicity itself

The technique involves using a bright light (off camera flash) to overpower the ambient light. The steps are simple…

  • Set your camera to its lowest ISO setting (around ISO 100) – the sensor is least sensitive to light.
  • Set your aperture to a high f number (small aperture = low light), say f11, or higher so that the amount of light your camera lets in is very small.
  • Take a test shot to ensure your screen is black – you want nothing to show.
  • Shoot with a diffused off-camera flash at full power using a narrow beam.

This simple technique is relying on extreme underexposure. Basically you are underexposing the whole scene to blackness. But then you are introducing a very narrow beam of brightness that overcomes a limited area of the underexposed shot. This leaves your highlighted spot on the subject in a moody light with the rest in black.

Photography Technique: The Invisible Black Background

Glyn Dewis  External link - opens new tab/page introduces the technique on video. Notice the way the umbrella is creating a focussed narrow beam of light. You can do the same thing with “barn door” lights or cards either side of a reflected flash. Enjoy the video…

By Damon Guy (author and Photokonnexion editor)

Damon Guy - Netkonnexion

Damon Guy (Netkonnexion)

Damon is a writer-photog and editor of this site. He has run some major websites, a computing department and a digital image library. He started out as a trained teacher and now runs training for digital photographers.
See also: Editors ‘Bio’.

Three rules of lighting… simple, but effective

• Three Rules of Lighting •

• Three Rules of Lighting •

The simple explanations are the best.

Here at Photokonnexion we try hard to provide simple explanations for the things we all want to learn about our favourite subject. If you think anything is too complicated let us know on our Contact Us page or leave a comment below the article.

Well, here is a video in the spirit of simple explanations. I really do not need to explain before you see it… just watch and enjoy.

More after this…

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Three Rules of Lighting for Photography

“We talk about the three important rules regarding the behaviour of light. As photographers we can use these rules to achieve the type of lighting we want, including the look of soft light.” – Ed Verosky
© Ed Verosky 2012  External link - opens new tab/page

For more background on lighting

Don’t forget to check out our Light and Lighting resource pages and especially the links on Hard Light and Soft Light. These are essential to the understanding of light.

All our resources can be found in the menu at the top of the page.

By Damon Guy (author and Photokonnexion editor)

Damon Guy - Netkonnexion

Damon Guy (Netkonnexion)

Damon is a writer-photog and editor of this site. He has run some major websites, a computing department and a digital image library. He started out as a trained teacher and now runs training for digital photographers.
See also: Editors ‘Bio’.

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The simple secrets behind good food photography

Food for Her World Vietnam magazine.

Food for Her World Vietnam magazine.
Food styling by Dang Phuong
Photography by Mads

Food for the World Vietnam magazine. Photography by Mads • on FlickrExternal link - opens new tab/page

We all love good looking food…

Food photography? So, what makes it look really good? I love to cook and make tasty food. But, great cooks also have a skill with presentation. It is the presentation which really makes great food shots too.

Food photography seems to be centred on three things – good looking food composition; great light and picking the right focus/centre of interest. Duh! Wait a minute, isn’t that pretty much photography summed up all over? OK, I jest. There are some specific ideas and techniques involved. Good food photography seems to require a particular approach.

Here are some introductory points for good food photography. You should look to achieve…

  • Experience with small-sized and table-top compositions.
  • A working knowledge of lighting at the table-top scale.
  • Simple natural light from one source (window).
  • Able to use reflectors/black cards to shape the light.
  • Simple centre of interest in the shot.
  • Carefully chosen depth of field.
  • Very simple, but rich backgrounds.

And with the food itself…

  • Natural and where possible bright colours.
  • The colour mix should work together.
  • Avoid odd clashes of colour.
  • The food combinations should be simple and few.
  • Focus on the main interest.
  • Avoid highlight bokeh spots where possible.
  • Try to emphasis the texture of the food (lighting).
  • Use simple but eye catching cutlery and plates.
  • Avoid cluttering the shot with too much food.
  • Give the food a big/deep background.

More after this…

Book recommendation:

Food Photography:
From Snapshots to Great Shots

Simple advice on lighting including great diagrams. The pictures include camera settings. Excellent advice on setting up a table-top studio which was also inexpensive to do. Lots of tricks and techniques like the pros use. Great presentation ideas.

 

Food Photography Tips – Video

In this video we look a range of ways to look at and shoot food. It is a great introduction to food photography basics. The video uses graphic images for a broad introduction to the art of angles, framing and creating drool inducing food photos.


Damon Guy - Netkonnexion

Damon Guy (Netkonnexion)

Damon is a writer-photographer and editor of this site. He has run some major websites, a computing department and a digital image library. He started out as a trained teacher and now runs training courses in digital photography.
See also: Editors ‘Bio’.

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Ten simple ideas to help your portraiture improve

Video

Video

Straight forward portraiture advice is difficult to come by…

In the video we have some great ideas that help you to map out a great Portraiture session. This is straight advice aimed at getting you to a good quality completed portrait as directly as possible.

I have to add that the book advertised in the video is also a great book. It is packed with some excellent ideas and written in a simple and easy-to-read way. If you are interested in following up on the book I can highly recommend it. My copy is pretty dog-eared these days!

 

Portrait and Candid Photography: Photo Workshop This is a great book packed with lots of hints, tips and ideas like the ones below. A really worthwhile read.

 

Ten points at the core of good portraiture

In the video Erin Manning highlights the importance of the following ten points…

  1. Don’t fix your subject in the middle of the frame. Instead, think about the rule of thirds – a more dynamic outcome.
  2. Poses and “cheesy” words to force a smile are false and make the photo look strained.
  3. Make your clothes simple and un-distracting. Forget patterns and fussy details. Simple solid colours help the subject to stand out, not the clothes.
  4. Avoid straight on shots with a big flash. The open pupil in the eye will cause light to reflect back to the camera and show bright red eyes… You don’t want your subject to look like red-eyed monsters. Use red-eye reduction settings if your camera has them.
  5. Vary your poses, angles and heights. The more angles you get the more you are telling a story about your subject. Get them in many different ways.
  6. Use flash to help reduce harsh shadows. The sharp sunlight of the middle of the day is very unflattering. The use of fill-in flash softens the shadows bringing out the subjects character.
  7. Look for great quality of light. Remember that hard light (harsh edges and strong contrasts) is very unflattering. Shoot in the later afternoon or early morning to get soft light with better colours. Use shade to reduce hard light if you are forced to work in bright mid-day light.
  8. Don’t stand too close and use a wide angle lens. This exaggerates the nose. Stand away and zoom in. This reduces nose size and is much more flattering. (Great advice).
  9. Pay attention to the background. If it is too busy make sure there is nothing distracting. Check to make sure the background has not created odd effects like poles sticking out of heads and flowers in ears!
  10. Make sure you have enough battery capacity and memory card space to cover the whole session. You don’t want to lose any shots when you are in full swing.
Erin Manning’s Top 10 Dos and Don’ts for Great Portraits


Erin Manning

By Damon Guy (author and Photokonnexion editor)

Damon Guy - Netkonnexion

Damon Guy (Netkonnexion)

Damon is a writer-photog and editor of this site. He has run some major websites, a computing department and a digital image library. He started out as a trained teacher and now runs training for digital photographers.
See also: Editors ‘Bio’.

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A simple introduction to backlight

• Introduction to backlight •

• Introduction to backlight •
Various images showing backlight scenarios in the studio and outside.
Images from various artists – displayed on Google Images.

Backlight is a versatile light with great potential.

The term backlight refers to the use of a light which is projected from the back of the scene/studio onto the subject from behind. The camera is placed facing the subject. It captures the effect of the light as a highlighted rim or halo around the back edges of the subject.

The use of a backlight creates very distinct effects. The most important is the rim light around the edges of the subject. This highlighting effectively isolates the subject from the background. So it is a useful technique when the subject and background share similar colours or tones. The rim effect around the edges of the subject is especially useful for bringing out highlights and style in hair. Sometimes it is also used to imply purity or goodness after the manner of a religious halo.

Backlight can be produced either with artificial light, natural light or a combination. The sun is normally the most important light for back lighting and so in cases where sunlight is strong artificial light is often used to bring the foreground or the subjects front side out of shadow. This is fill light and provides sufficient light for a good shot of the subject without blowing out the effects of the back light.

In photographic scenes the backlight is often used to create an emphasis on the three dimensionality of the subject. Lights coming directly from the position of the camera tend to make a subject look flat because all the shadows are removed. Backlight has the opposite effect. The light halo effect at the back of the subject emphasises the depth of the subject. It can also be used to emphasis depth in the picture. By strongly highlighting the back of the subject the distance to the scenery behind the subject is revealed giving the image some depth.

Setting up an effective backlight requires some care. If the source of the light shines directly into the camera lens it will blow out and create a strong distraction for the picture viewer. Also a strong backlight can make the front side of the subject look very dark or even silhouetted. To prevent this it is normal practice to use a front light as well so the subject is bright enough to capture. Setting up a good backlight often requires getting the foreground light correct first, then putting in the backlight at around 2 to 3 stops brighter to create the emphasis.

The angle at which a backlight hits the subject can be critical. If the backlight is directly toward the camera the subject can be strongly blown out by and direct light passing around the subject. Normally backlight is applied at an angle. That way the lighting will provide a little texture on the subject and not be directed into the camera lens. It can also be used to more effectively show fashion elements like hair styles by picking out highlights, curls etc.

“Backlight” should not be confused with background lighting. The latter is where a light is used to light the background, the scenery or backdrop. Background lighting typically faces away from the camera. Backlights face toward the camera.

Backlights are used in such a large variety of ways that some practice and experimentation is needed to be able to work out the best way to use them. However, because of the intensity of the light from the back the foreground lighting is often important too. It is not unusual for multiple artificial lights to be needed in order to get the best out of backlights and to keep the balance of lighting good all around the subject.

Examples of “Studio backlighting” on Google  External link - opens new tab/page
Examples of general “backlight photography” on Google  External link - opens new tab/page

Backlight techniques are very important in photography as they have so many effective outcomes. It is certainly worth practising with your lights or even natural light to try out some of the effects.

By Damon Guy (author and Photokonnexion editor)

Damon Guy - Netkonnexion

Damon Guy (Netkonnexion)

Damon is a writer-photog and editor of this site. He has run some major websites, a computing department and a digital image library. He started out as a trained teacher and now runs training for digital photographers.
See also: Editors ‘Bio’.

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Inexpensive Close-Up Photography – Reverse Rings

Bubble Wrap

Green bubble wrap shot with Canon 50 mm f/1.8 lens reversed.
Hand-held to the camera body.
• Bubble Wrap •
By Archaeofrog

Anyone can use reverse rings.

Close-up or macro photography is something every photographer should try. However, a macro lens can be an expensive investment. This series covers inexpensive ways to get great close-up results. The first article “Inexpensive Close-Up Photography – close-up rings” discussed using close-up lenses that attach to your existing photographic lens. A second way to achieve close-up results, surprising as it may sound, is to reverse your DSLR camera’s lens by mounting it on backward.

It is possible (but awkward) to simply handhold your lens backwards against your camera body, as in the top photograph. I don’t recommend it, as it can allow dust or other debris into your camera that may affect the sensor. The inexpensive alternative is to purchase a reverse ring camera mount adapter that fits your lens (based on its diameter) and the make and model of your camera body.

Canon Reversed Lens

Canon 50 mm f/1.8 lens attached backwards to a Canon T1i body using a reverse ring. The depth of field preview button is visible underneath the lens release button.
Click image to view large

How to use the reverse ring

First, remove any filters you have on your lens. To use a reverse ring, screw the ring securely on to the front of your camera lens filter thread. Hint, it is easiest to screw the ring on while the lens is in the camera body. After attaching the reverse ring to the lens, remove the lens from the camera body. Now reverse it and fit the lens-mount side of the ring into the camera body and lock it in place. You will no longer be able to use the autofocus function of your camera or adjust the aperture of the lens once it is reversed, but you will be able to adjust the shutter speed and ISO. Your camera may display an aperture value of F00 or other default. I recommend that you change the shooting mode on your camera to aperture priority or manual. In aperture priority mode, the camera will calculate and set the shutter speed for you, while in manual, you will set it yourself. Now you are ready to use the lens.

Origami Crane

• Origami Crane •
Click image to view large
Origami paper crane folded from a bite-sized Hershey wrapper.
Captured with a reverse-mounted Canon 50 mm f/1.8 lens

A reverse ring gives better results when used with a prime lens rather than a zoom lens. Prime lens are often faster, which means that they have a wider maximum aperture and can use a faster shutter speed, even in lower light.

You can use any type of lens, although light lenses are recommended. Very heavy lenses may damage the reverse ring mount adaptor or the lens filter thread.

Using a zoom lens, particularly when fully zoomed out, can be awkward to support. Because the lens is reversed, zooming the lens requires you to be further from the object you are photographing and does not give such a close-up view of the subject. The working distance (distance from the lens to the object in focus) is about five inches with the Canon 50 mm f/1.8 lens reversed. Using my Tamron 18-270 mm zoom lens at 18 mm, I have to be within about two inches to get an object in focus, while it is greater than six inches at 270 mm.

Adjusting the aperture

When your camera lens is not attached to a camera, its default position is to be open to its widest aperture. So, for the Canon 50 mm f/1.8 that would be f/1.8, which results in a very shallow depth of focus. In the crane picture above, the neck of the crane is in focus, while the beak and tail are not. When I reverse this lens on my camera, the aperture will still be f/1.8, and I will be unable to adjust the aperture value after the lens is reversed on the camera. But there is a work-around.

Most DSLR cameras have a ‘depth of field preview’ button. The purpose of this button is to allow you to look through the viewfinder and see exactly what your camera will see at the aperture that is set. When you press that button, the blades inside the camera lens close down to the selected aperture. This will allow you to set the aperture for your lens. (Please note: not all DSLRs have a depth of field preview button).

Carnation at F22

• Carnation at F22 •
By Archaeofrog

Here is the procedure. Using aperture priority or manual mode on your camera, dial in the aperture that you want to use for the shot. Next, depress and hold the depth of field preview button. While still holding down the button, press the lens release button and remove the camera lens. Then you can mount it on your camera body using the reverse ring. The camera lens will maintain whatever aperture you had selected. If you want to return to the default position or change the aperture again, simply put the lens back on the camera the regular way and repeat the process. Tip: if working outside, you may want to set your aperture first and reverse the lens indoors, to avoid dust getting into the camera body and on the sensor.

Advantages and limitations of reverse rings

The reverse ring is a fun and easy way to experiment with close-up photography. The ring itself is very inexpensive, usually less than $10 USD (around £7-£8 UK), and is small enough to fit in a purse or pocket. Depending on the lens that you reverse, you can get very close to macro-level results.

Ruler

• Ruler •
Click image to view large
This photograph of a ruler demonstrates the scale of a reverse-mounted Canon 50 mm f/1.8 lens, which gets down to an image of about an inch and a quarter wide and has a working distance of about five inches.

Like other close-up techniques, using a reverse ring does require you to be physically close to the objects you are photographing. Depending on your lens and your comfort level, however, you may still be able to capture detailed shots of slower moving insects, such as the bee below. A reverse ring is also ideal for indoor shots or other stationary details.

Bee

• Bee •
Click image to view large
Bee photographed using a reverse-mounted Canon 50 mm f/1.8 lens.

You will lose some of the automatic functions of your camera, including autofocus, with a reverse ring. The electrical contacts that normally carry signals to the lens are not in contact with a reversed lens. This is not that much of a disadvantage. Generally, with close-up shots, you get better results when using manual focusing.

While you can adjust the aperture (on some cameras), there is an additional step of setting the aperture using the ‘depth of field preview button’ before reversing the lens.

As with any close-up or macro technique, the depth of field (area in focus) will be very shallow. You can maximize sharpness by keeping the camera lens parallel to the object being photographed. In the photograph of the bee, above, the body of the bee is parallel to the camera lens and stays in focus. The flower is perpendicular to the lens and falls out of focus quickly.

Another technique to maximize sharpness is to use a smaller aperture like f/22, but this may require a longer shutter speed than you can easily hand-hold. You can solve this problem by using a tripod for stationary objects, which allows you to use a longer shutter speed to achieve the desired sharpness.

All close-up techniques benefit from the additional stability of a tripod. Although, as you can see from the shots above, you can get effective results from hand-held techniques.

A flexible option

Overall, a reverse ring is an inexpensive and portable way to use your existing lens for close-up photography. Depending on the lens you reverse, there is enough working distance to photograph insects, flowers, or any other small subjects that interest you. There is flexibility to adjust the aperture value before reversing the lens, which gives you a little control over the depth of focus. It is an inexpensive option to get you started in the tiny world of close-up photography.

Buyers guide

The inexpensive nature of these rings makes a quick purchase worthwhile. Remember that you will need to buy the ring that suits your specific camera mount (eg. Canon, Nikon etc). The size of the filter thread on your lens is important too. On the following link you can find a range camera mount types as well as thread sizes…
Reverse ring camera mount adapter products  External link - opens new tab/page

A great lens for doing close-up work is a 50mm prime lens. More information on buying 50mm prime lenses including product links can be found in…
Are your pictures distorted? Considered a 50mm?

For general reference: 50mm Prime lens product listing  External link - opens new tab/page

Lego

• Lego •
Click image to view large
Lego explorer mini-figure.
Using a reverse-mounted Canon 50 mm f/1.8 lens at f/1.8.
• Lego • By Archaeofrog

Articles on Close-Up and Macro Photography
by Katie McEnaney

Part 1 of this series focused on using close-up lenses. Part 3 will cover extension tubes, and Part 4 will bring all these techniques together with a range of close-up ideas and tips.

Inexpensive Close-Up Photography – close-up rings
Inexpensive Close-Up Photography – Reverse Rings (this article)
Inexpensive Close-Up Photography – Extension Tubes
Inexpensive Close-Up Photography – Tips and Tricks

By Katie McEnaney (contributing author)

Katie is an elementary school teacher in Wisconsin, USA. She is an avid photographer with wide interests. She is always interested in learning more and growing in her photography.
By Katie McEnaney (Archaeofrog)

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Why pro-photographers insist on using lens hoods

Lenses

Lenses

Lens hoods are all about control.

The control of your lens, control of difficult light and control over lens damage. Yes, believe it or not even pros make mistakes with flare and break or damage lenses. Lens hoods provide cover for you and perform a specific and important control function over the light that can create ugly flare or the sheen of overexposure.

In the video Phil Steele looks at the way that lens hoods help your shots get properly exposed. Remember, the best shots are taken by the photographer finalising every last detail in the chain of events that lead to releasing the shutter. Knowing about lens hoods is one of those shot makers-or-breakers. Get it right and the blacks in your picture will show just that little extra saturation and contrast that intensifies the shot bringing out depth and realism.

Lens Hoods – Why, When, and How to Use Them

SteeleTraining

By Damon Guy (author and Photokonnexion editor)

Damon Guy - Netkonnexion

Damon Guy (Netkonnexion)

Damon is a writer-photog and editor of this site. He has run some major websites, a computing department and a digital image library. He started out as a trained teacher and now runs training for digital photographers.
See also: Editors ‘Bio’.

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