New Digital Photography Ecourse

I’m excited about this one as I have been working on it for awhile and it is finally done and ready for release. If you are not familiar with ecourses, they are lessons on a particular topic ( in this case digital photography) that you get periodically by email.

My new Digital Photography Ecourse consists of 12 lessons and takes you from the beginning to the end of basic digital photography. By the end of the course, you will know your way around your camera and how to take stunning photographs.

The learning platform I use is a little different in that I not only use text in the lesson, but also visuals aids such as charts, graphs and videos. This accommodates a wider group of people being we all learn in different ways and by using different means.

In each lesson there is also an assignment, so you have an opportunity to put into practice what you just learned in the lesson. And my ecourse also includes 30 minutes each month of personal one-on-one coaching and/or photo critiquing, depending on the lesson.

I can only take up to 200 subscribers, so if you are interested in taking this course, I would sign up now as I expect it to sell out quickly. The cost is $9.95 per month, but you can test-drive the first lesson for 50% off  – $4.98. My gift to you for signing up for this course. If you find it is not for you , you can cancel at any time. 

There are times when it can be difficult to decide on what the ideal exposure would be to get the best image of a scene, especially in high contrast situations.  Or, it may be that you don’t have the time to think about or set your exposure.  Or, it may be that there are elements of extreme brightness and shadow within the picture that you want to capture, and you’re not sure whether exposing for the highlights or the shadows will give you the better final image.  Well BRACKETING could be the solution.

Bracketing is the technical term for a sequence of 3 to 5 images of the same scene, shot in rapid succession and all at different exposures.  Normally, the exposure of each image differs from the other in steps between 1/3^rd up to a full stop.  Each sequence consists of a central exposure the camera picked to be the ideal exposure for the overall scene, and then one image under exposed and one image over exposed.  Hence the ‘correct’ exposure is bracketed (or sandwiched) between 2 exposures which are under and over exposed by the same amount.

While DSLR camera users have the option to manually bracket between exposure settings, by either changing the shutter speed or aperture while the camera is set to manual or by using the exposure compensation feature, many DSLRs have a built in control known as Automatic Exposure Bracketing or AEB.  The AEB feature is adjustable in that it let’s you select much exposure variation you want between images and then fires off 3 frames in quick succession once the shutter is depressed.

The sequence is centered round the exposure the camera has determined will be the optimal exposure to produce the best image, so this is the first picture frame taken.  It then takes the same picture but with less exposure, and finally the last frame is given more exposure than the first.  This will give you a series of at least 3 images, all of the same subject but with different amounts of shadow and highlight detail in them. 

For example, here are 2 bracketed series of images.  The top set have been taken with the AEB set to one third of a stop of exposure, so the differences between frames are a lot more subtle than the bottom set of images.  For the lower row, the AEB was set at a full stop of exposure.  This has produced a much wider variation of exposure and the difference between frames is very noticeable.

Yet, if we examine all 6 frames, although there are areas within all of them that are perfectly exposed, no single frame is entirely perfectly exposed. 

So when we expose any image, we are trading off losses in some of the shadows and highlights to gain the most acceptable exposure overall, regardless of whether we make the exposure decision ourselves or allow the camera to do it for us.

So what is the point of bracketing?  Bracketing gives photographers leeway to take and combine these multiple images in photo-editing programs to produce the ultimate perfectly exposed final image.  Photographers are able to replace areas of shadow and highlight detail that could not be recorded with the main tonal range of the subject because the extremes of exposure went beyond the sensor’s dynamic range.

Bracketing can also give you subtly differences of exposures and allow you to choose what exposure compromise you are happiest with.  Some photographers prefer to lose a little detail out of the shadows to keep the highlights from blowing out and becoming featureless white areas.  Others prefer to see detail more in the darker tones.

So the next time you’re at a loss about your exposure, try a little bracketing.  You never know, you might like it!

No doubt you’ve heard it said “Bigger is Better!”  Bigger cars, bigger house, bigger bank balance (ok, I’ll give you the last one!).  But scaling down instead of up reveals a whole new world.  Ordinary objects become amazing landscapes.  That annoying fly buzzing around your head reveals a fascinating combination of intricate design, function and color.  Beauty of shape, pattern, color and texture unveil themselves as you delve deeper and smaller into the world around you.

Traditionally, macro photography is defined as any photo in which the subject has a 1:1 ratio with the image. This means the image you record of the subject is exactly the same size (or larger) as the real life subject.   

In the days when we used film instead of digital sensors, a true macro photograph recorded the image of a subject life size on the film negative.  So if you took a picture of a fly, and that fly was 8mm in length, the image of the fly you had recorded when you looked at your film negative would measure 8mm or larger.  (Obviously, this would mean the subject matter was very small, and not a 30m building or we would not be able to carry the camera!)

Today, thanks to great advances in digital sensor technologies, we no longer need a specialist camera and lens to dabble in extreme close up photography.  On every compact camera you will see this icon.

This is your MACRO setting.  When activated, you can put your camera closer than normal to something and still get a sharp, focused picture. 

Each compact camera has its own minimum focusing distance, anywhere from 1cm to 28cm.  This distance is the closest you can get to a subject and still produce a focused image.  (You can find out in your manual what your camera’s macro distance is.)

Why Use Macro At All?

As a photographer, you are always searching for a new way to look at things, a new angle on the world, a new viewpoint in life.  Macro offers you all that.  

It is true that DSLR cameras offer a photographer more scope to explore macro photography, but you shouldn’t be deterred by that.  Compact cameras offer you the opportunity to taste what macro work is like, without having to invest heavily in specialist equipment.  You can still produce stunning close-ups of your own, even with a compact camera, and will be amazed at what the world of small has to offer.  Things that appear so ordinary and common place take on a whole new meaning. 

Take the watch in the opening photo for example. See how the image demonstrates the precision and attention to detail of the watchmaker.

The tiny parts that make up the dial – the lettering, the pointers, make us marvel at the delicacy and skill of the watchmaker’s hands to create something so tiny but perfect.  Notice the characters that make up the numbers. Their intricacies are not something very obvious when the watch is viewed normally. 

Shiny things, when you get close up, aren’t as shiny as you think they are.  You come to realise that there is no such thing as perfection.  Because you are exaggerating the scale of the object, everything begins to become visible.  This includes any flaws or defects.  

But, you also reveal amazing textures, patterns and shapes.  And a really good macro photograph can keep you looking at, and discovering more about the subject than any run-of-the-mill landscape ever could.

What makes a good macro image?  Great macro shots show something really cool or special out of something that is mundane or ordinary.  They take on a whole new scale and meaning – a pile of sugar crystals can become white sand dunes; textures appear that convey the natural world around us and mimic tree bark, lakes, mountains, etc.  You are only limited by your imagination.

Macro shots bring their own technical challenges.  Because everything is magnified, every tiny movement of your subject makes it look like it is swaying.  So when taking pictures, especially outside, always use a tripod to avoid any small amounts of camera shake, as even a tiny movement will destroy any detail in your picture.

Focusing is critical as macro photography uses a tiny depth-of-field.  Depth-of-field if you recall is the amount of your subject that is in focus both in front of and in back of your subject. With macro photography, many times you can’t even keep all of your subject in focus. Because depth-of-field is tied to how far your camera is from your subject, and with macro photography you are close, depth-of-field is going to be scaled down too.  So precise focusing is needed, along with a high f-stop setting to make sure you get the right part of the subject in focus.

Texture brings a macro to life, and the best way to bring out texture is to light your subject across the surface by making sure the light source is at the side.  This creates shadow and highlight detail which puts depth into what the viewer will see.

Once you have a selection of shots, don’t be tempted to review them on the camera and start deleting them.  This can give a distorted impression.  Wait until you can see them full size on a computer screen.  Only then will you be able to make an informed decision as to what works and what doesn’t.  By studying the images you can begin to develop your macro vision and method of working.  Macro photography takes a lot of patience, especially if you want to take macro shots of the natural world. 

Shooting Macro Tips

Here are few handy hints to getting the best macro shots…..

• Use a tripod to avoid any slight movements.
• Light overcast skies mean nice soft diffuse light.
• Experiment on stationary subjects first to get used to the way your camera handles at a macro level before moving on to chasing moving subjects.
• Insects are more sluggish in the morning and on cold days, hence are less likely to move until they get warmed up.
• Carry a white card to use as a mini reflector for extra lighting.
• Take a black and white card to use as a background to isolate a subject from a confused or overly busy background.
• The closer you get to your subject, the more you notice.  Distressed surfaces can make for great texture.
• To highlight texture, light your subject from the side.

 Now it is time to get out there and take some close-up pictures of your own!

Storage Media cards are an important, but often overlooked part of your camera system. After all, their job is to safely store your images until you can download them. Because of their importance, they should be taken care of them properly. Here are five tips to keep them healthy:

1. Format new cards

Many of the storage media cards today are touted as being “pre-formatted” and “ready to use,” but ready to use in which type camera system? Not all camera systems use the same file system format, so it is always best to format a new card for the camera it will be used in. By formatting the card in  the camera, you’ll ensure the card is in a format your camera recognizes.

2. Never fill your cards completely

Most cameras have some kind of indicator, either on the LCD screen or in a digital display on top of the camera, that tells you how many more photos you can shoot and write to the card before it is full. However, it is not a good idea to fill up a card.  Replace the card when your indicator shows there is space left for one or two more images.  Otherwise, by filling the card up, you may end up with a write error because there wasn’t enough room left to write that last file which can corrupt at least that image and possibly the whole card.

3. Never exhaust your batteries

Another item that can cause a write error is if your camera runs out of battery power mid-way through writing a file to the card. So replace your batteries with a fresh set once they start to get down to the bottom of the scale.

4. Reformat your cards in your camera

Some new photographers prefer to just delete photos from their cards via their computer once the images have downloaded. However, deleting images does not get rid of them. Always reformat your cards in your camera, instead of just deleting or erasing them. This will ensure the card is in fact empty and is in a format the camera expects.

5. Use good quality memory cards

Being you have spent a lot of money on your camera body and lens, don’t skimp when it comes to buying storage media cards. Remember the importance of these cards – storing your images until you can download them. It’s worth spending a few dollars more to buy quality cards thus ensuring your photos arrive safely at your computer. Besides the higher-priced cards usually have faster write speeds – an important consideration if you shoot action scenes and subjects. Three brands that I can personally recommend are SanDisk, Lexar and PNY.

With Valentine’s Day fastly approaching, have you thought about offering to shoot Boudoir photos to some of your female clients? When done right, they make a great gift for a boyfriend or husband. But they do require some minor location preparation.

Prior to the shoot, discuss with your client the feeling that she wants her photos to convey. Be sure to ask her what she thinks are her best features and then work out the poses to accent those features.

A boudoir photography shoot can be a trying time for a woman. With most women being self-conscious about their bodies anyway, be sure to set them at ease by complementing them and keeping to the topic of the shoot. Most women prefer working with a female photographer or at least have a female friend present during the shoot. If you are a male photographer, encourage her to have a friend present.

Outfit Selection

While corsets and bustiers are a popular choices, other great choices include well-fitted bra-and-panty sets, sexy leggings, nylons, garters and cute baby-doll pajamas. Have your client bring three outfits and multiple accessories. Accessories can include jewelry, hats, veils or a sexy pair of heels or boots. Also to personalize her photos, suggest she brings something her significant-other gave her.  Don’t overlook his dress shirts, ties, work clothes, baseball caps. If he is in the construction business, why not suggest putting on a work belt with some tools!

Location

While there are other settings you can use, one of the best for a boudoir photography shoot is still a bed. Use a white or light colored sheet as these create a great contrast against skin tone. You can also use the same color sheet to cover unwanted distractions such as a bed head or foot board.

Keep  sheets bunchy and wrinkled. Not only will you fight a losing battle trying to keep them wrinkle-free, but the ruffled look adds to the mood of the shoot. You can do a sexy or sweet shoot depending on the poses your client wants and the amount of skin she is comfortable with exposing.

Poses

As far as poses, there are six basic ones you can use:

• Lying on the stomach facing the camera.
• Lying on the back, head toward the camera.
• Kneeling down facing the camera.
• Full length figure.
• Head and cleavage.
• Arms raised above head or playing with hair.

And of course, variations of the above poses. Use your imagination!

Session Length

For a one-hour shooting session, give yourself at least two hours of working time. Because it takes awhile to set-up and figure out which lighting and angles will work the best, and usually some time for your client to warm up to the camera, total time takes about twice as long as the shooting time.

Lighting

There are two types of lighting used in boudoir photography shoots – natural and artificial. Of the two, natural is best, so be sure your shooting location is close to windows or French doors that can let in lots of light. If you don’t have enough natural light coming in, use off-camera slave lights or a studio light for additional light. If you are using multiple color light sources, be sure to set your white balance setting accordingly.

If you keep the setting light and airy, boudoir photography shoots can be a lot of fun both for you and your client. And her significant other will thank-you when he sees the photos!

There are times when it can be difficult to decide on what the ideal exposure would be to get the best image of a scene.  It may be that you don’t have the time to think about your exposure.  Or, it may be that there are elements of extreme brightness and shadow within the picture that you want to capture, and you’re not sure whether exposing for the highlights or the shadows will give you the better final image.  Well BRACKETING could be the solution.

What is bracketing?

Bracketing is the technical term for a sequence of frames of the same image, shot in rapid succession and all at different exposures.  Normally, it is a sequence of 3 or 5 frames with each exposure differing from the other frames in steps of between 1/3^rd of a stop up to a full stop or even two stops.  Each sequence starts with a central exposure the camera deems to be the ideal exposure for the overall scene. Then another image is shot under exposed and one image shot over exposed.  Hence the ‘correct’ exposure is bracketed (or sandwiched) between 2 exposures which are under or over exposed by the same amount.

How do I bracket?

While DSLR camera users have the option to manually bracket between exposure settings, many DSLR and compact cameras have a built in feature known as Automatic Exposure Bracketing or AEB.  AEB lets you select how much variation you want between frames and then fires off 3 frames in quick succession once the shutter is depressed. If you do manually bracket, be sure to use Aperture priority so that you are only changing the shutter speed and not depth-of-field.

The sequence is centered round the exposure the camera has determined will be the optimal exposure to produce the best image, so this is the first picture frame taken.  It then takes the same picture but with less exposure, and finally the last frame is given more exposure than the first.  This will give a series of 3 images, all of the same subject but with different amounts of shadow and highlight detail in them.  The exposure variation that can be set between picture frames can vary between a third, two thirds or a full stop of exposure. Some photographers even bracket up to two full stops between images.

When we expose any image, we are trading off losses in some of the shadows and highlights to gain the most acceptable exposure overall, regardless of whether we make the exposure decision ourselves or allow the camera to do it for us.

What is the point of bracketing?

Bracketing gives photographers leeway to take and combine these multiple images in photo-editing programs to produce the ultimate perfectly exposed final image.  Photographers are able to replace areas of shadow and highlight detail that could not be recorded with the main tonal range of the subject because the extremes of exposure went beyond the sensor’s dynamic range.

Bracketing can also give you subtly differences of exposures and allow you to choose what exposure compromise you are happiest with.  Some photographers prefer to lose a little detail out of the shadows to keep the highlights from blowing out and becoming featureless white areas.  Others prefer to see detail more in the darker tones.

So the next time you’re at a loss about your exposure, try a little bracketing.  You never know, you might like it!