Vacation
Vacation Photography: A trip to Yellowstone Part 1, Bracketing
10/08/11 09:16
Vacation Photography: A trip to Yellowstone Part 1, Bracketing
Old Faithful , Yellowstone National Park, WY
Nature magazines are full of wonderful photographs of Yellowstone National Park. Did you ever wonder how the photographer was always able to get such great exposure on every shot? They even get great exposure on shots that you know that they could not have planned, spur of the moment shots. Those great shots don’t just happen, the photographer prepares for the shot.
The great photographs start with planning. In some cases this begins weeks or months prior to the shoot or could be as simple as walking around and enjoying the attractions for a while until the time comes to pull out the camera. You want to see what catches your eye, what makes a lasting and a first impression on you and what you would want to share with others via a photograph.
The next step is making decisions about depth of field and shutter speed. You have to make the determination about wether you need a shallow depth of field (e.g. blurring the background) or if you want to let the shutter stay open a bit longer (e.g. motion blur when shooting running water).
You must select the proper ISO or film speed for the subject. Remember that just because it is mid-day you will not always shoot ISO100. If you are trying to take a photograph of a bear cub in a dark tree line you might consider bumping the ISO up to 400 or even 800. Remember it is the subject that you are exposing for, not the amount of light directly around you.
Set your camera to record RAW images or RAW + JPEG images. Capturing Raw is one of the best ways to hedge your bet on exposure. RAW format has a larger dynamic range than it’s little brother JPEG. Larger dynamic range means more leeway with exposure and that means better prints.
So at this point you have done planning, depth of field and shutter speed determinations, ISO selections, and set the camera to RAW. The next step to great photography is just about as old school as SLR photography gets. It is the secret of most of the great magazine photography. It is bracketing your exposures.
What is Bracketing?
There are several types of bracketing but when you hear someone say that they are bracketing exposures 99.99% of the time, they mean they are shooting at least three exposures of the same image and that one exposure will be slightly underexposed, one image will be exposed for the best balance between light and dark, and one image will be slightly over exposed.
Why would I want to do that?
Automatic light meters in modern cameras are very good. However, they are not perfect. Has this happened to you: you allow the camera to determine exposure and then later find that the image was too dark or too light? The problem with automatic exposure is that the camera does not really know the subject of the photograph. Something like a bright sky or a dark patch of trees can throw off the exposure. Even the best professional photographer shooting in full manual will scrub more than a frame now and again because of a miscalculated exposure.
Bracketing and the Modern DSLR
Bracketing can be accomplished either manually or by allowing the camera to do it for you. In many if not most cases it is best to let the camera do its stuff. Check your owners manual for your camera and set your camera to bracketed exposure. Many times the camera will give you a choice of +- .7 EV or +- .3 EV or maybe even +- 1EV. I like the look of the +- .7 EV and it is the most common setting across camera manufacturers so cameras will likely default to that setting on your camera. You will notice, in your owner’s manual, that there is also something called white balance bracketing, I encourage you to read about it and try it out, but for today we will stick with exposure bracketing.
Taking the Photos
Taking bracketed photos is no different than taking a regular single exposure except that when you press the shutter button down you have to keep it down and try not to move until you hear the shutter actuate three times. The camera has done the hard work, it will have takenthree images almost exactly alike except that one image is hypothetically underexposed, one properly exposed and one overexposed. Now all you have to do is load the memory card into your favorite post program, i.e. iPhoto, Photoshop, Aperture, etc. and select the image that seems to be exposed the best. You can do this by reviewing the histogram for each image or by just using your eye to tell you what you like. That is it. That is all there is to bracketing photography. Pick the best exposure and enjoy! The End. Nothing to see here, move along. (Hint: you might want to keep reading.)
Three in camera images of the Grand Prismatic Springs in Yellowstone National Park, WY. The first image is a balanced exposure, the second is slightly under exposed, and the third is slightly over exposed. None of the three represent the actual beauty and grandeur that is present when viewing the springs in person.
WAIT!!!! THERE IS ONE MORE THING!!!
HDR (High Dynamic Range Photography)
If, per chance, you used a nice tripod when you took your bracketed exposures then you are in luck. Using a solid tripod most likely means that your images are all perfectly aligned one with another (a cheap and flimsy box-store-special tripod is not likely to work). If they are perfectly aligned or at least very closely aligned then you can make some real magic happen in post production. You can layer those three exposures, either manually or by using a piece of software like NIK Software’s HDR Efex Pro. This article is not about how to make HDR prints (people have written books on the subject); I just wanted you to know that those extra exposures are extremely useful and that one day you might want to use all three of them to make a hyper- realistic work of art.
This is an HDR composite of the three image found above. This image was combined used HDR Efex Pro. No tonal compression was used on these images. The image was color corrected, and contrast adjusted, however the wide dynamic range robust colors would have been harder to achieve if not impossible to achieve using a single exposure.
This image is for sale at:
http://williamburnettphotography.smugmug.com/buy/17776563_PBwC9c/1424761566_5F9Z4Ws/
-- Enjoy
Old Faithful , Yellowstone National Park, WY
Nature magazines are full of wonderful photographs of Yellowstone National Park. Did you ever wonder how the photographer was always able to get such great exposure on every shot? They even get great exposure on shots that you know that they could not have planned, spur of the moment shots. Those great shots don’t just happen, the photographer prepares for the shot.
The great photographs start with planning. In some cases this begins weeks or months prior to the shoot or could be as simple as walking around and enjoying the attractions for a while until the time comes to pull out the camera. You want to see what catches your eye, what makes a lasting and a first impression on you and what you would want to share with others via a photograph.
The next step is making decisions about depth of field and shutter speed. You have to make the determination about wether you need a shallow depth of field (e.g. blurring the background) or if you want to let the shutter stay open a bit longer (e.g. motion blur when shooting running water).
You must select the proper ISO or film speed for the subject. Remember that just because it is mid-day you will not always shoot ISO100. If you are trying to take a photograph of a bear cub in a dark tree line you might consider bumping the ISO up to 400 or even 800. Remember it is the subject that you are exposing for, not the amount of light directly around you.
Set your camera to record RAW images or RAW + JPEG images. Capturing Raw is one of the best ways to hedge your bet on exposure. RAW format has a larger dynamic range than it’s little brother JPEG. Larger dynamic range means more leeway with exposure and that means better prints.
So at this point you have done planning, depth of field and shutter speed determinations, ISO selections, and set the camera to RAW. The next step to great photography is just about as old school as SLR photography gets. It is the secret of most of the great magazine photography. It is bracketing your exposures.
What is Bracketing?
There are several types of bracketing but when you hear someone say that they are bracketing exposures 99.99% of the time, they mean they are shooting at least three exposures of the same image and that one exposure will be slightly underexposed, one image will be exposed for the best balance between light and dark, and one image will be slightly over exposed.
Why would I want to do that?
Automatic light meters in modern cameras are very good. However, they are not perfect. Has this happened to you: you allow the camera to determine exposure and then later find that the image was too dark or too light? The problem with automatic exposure is that the camera does not really know the subject of the photograph. Something like a bright sky or a dark patch of trees can throw off the exposure. Even the best professional photographer shooting in full manual will scrub more than a frame now and again because of a miscalculated exposure.
Bracketing and the Modern DSLR
Bracketing can be accomplished either manually or by allowing the camera to do it for you. In many if not most cases it is best to let the camera do its stuff. Check your owners manual for your camera and set your camera to bracketed exposure. Many times the camera will give you a choice of +- .7 EV or +- .3 EV or maybe even +- 1EV. I like the look of the +- .7 EV and it is the most common setting across camera manufacturers so cameras will likely default to that setting on your camera. You will notice, in your owner’s manual, that there is also something called white balance bracketing, I encourage you to read about it and try it out, but for today we will stick with exposure bracketing.
Taking the Photos
Taking bracketed photos is no different than taking a regular single exposure except that when you press the shutter button down you have to keep it down and try not to move until you hear the shutter actuate three times. The camera has done the hard work, it will have takenthree images almost exactly alike except that one image is hypothetically underexposed, one properly exposed and one overexposed. Now all you have to do is load the memory card into your favorite post program, i.e. iPhoto, Photoshop, Aperture, etc. and select the image that seems to be exposed the best. You can do this by reviewing the histogram for each image or by just using your eye to tell you what you like. That is it. That is all there is to bracketing photography. Pick the best exposure and enjoy! The End. Nothing to see here, move along. (Hint: you might want to keep reading.)
Three in camera images of the Grand Prismatic Springs in Yellowstone National Park, WY. The first image is a balanced exposure, the second is slightly under exposed, and the third is slightly over exposed. None of the three represent the actual beauty and grandeur that is present when viewing the springs in person.
WAIT!!!! THERE IS ONE MORE THING!!!
HDR (High Dynamic Range Photography)
If, per chance, you used a nice tripod when you took your bracketed exposures then you are in luck. Using a solid tripod most likely means that your images are all perfectly aligned one with another (a cheap and flimsy box-store-special tripod is not likely to work). If they are perfectly aligned or at least very closely aligned then you can make some real magic happen in post production. You can layer those three exposures, either manually or by using a piece of software like NIK Software’s HDR Efex Pro. This article is not about how to make HDR prints (people have written books on the subject); I just wanted you to know that those extra exposures are extremely useful and that one day you might want to use all three of them to make a hyper- realistic work of art.
This is an HDR composite of the three image found above. This image was combined used HDR Efex Pro. No tonal compression was used on these images. The image was color corrected, and contrast adjusted, however the wide dynamic range robust colors would have been harder to achieve if not impossible to achieve using a single exposure.
This image is for sale at:
http://williamburnettphotography.smugmug.com/buy/17776563_PBwC9c/1424761566_5F9Z4Ws/
-- Enjoy
Vacation Photography: A trip to the Aquarium
10/07/11 16:09
Vacation Photography: A trip to the Aquarium
ISO 800, 50mm, f2.8, 1/20s (Using optical stabilization)
When shooting a moving animal, such as a shark, make sure that you give the animal room to move in the frame. Notice that in this frame the main shark is coming into the frame from the right and is moving towards the left. I have given the shark plenty of space on the left and in doing so I imply movement of the shark.
I recently went to the Newport Aquarium just outside of Cincinnati Ohio in the northern Kentucky town of Newport. Unlike an art museum, at the aquarium the use of a camera is encouraged. Cameras are everywhere; and so are disgusted looks on the faces of the patrons as they look at the image preview screens on their point and shoot cameras. Those disappointed looks are the result of a mixture of unique problems that occur when shooting photographs in an aquarium. The aquarium has the problem of low light conditions such as what you experience in a cave, the “shooting through the glass” problem of a standard museum, and the problem of moving subjects like in sports photography. These are three big obstacles that have to be overcome in order to get any good photograph at an aquarium.
In the tutorial Vacation Photography: Let's Visit a Cave ISO, Aperture, and Shutter speed when shooting in low light are covered in depth. I really wish I could just tell you to read that article and apply everything I say there to aquarium photography. However, I can’t. I can’t because those fish keep swimming back and forth and to and fro. So, I guess I can start at the beginning and work through the particulars of aquarium photography.
Hardware
I took this photo with a cell phone camera at Cabela’s in Lehi, UT.
Camera Settings
ISO 400, 50mm, f1.8, 1/60s
Technique
Taking photographs in an aquarium is not as strait forward as taking photos of fireworks or even as taking photos in a cave. The biggest factor here is not how still you can hold the camera but can you get a fast enough shutter speed to freeze the action of the swimming fish in the tank. Ideally a shutter speed of 1/120s is where action can really be paused and 250/s is even better. Unfortunately those speeds are just not going to happen in the aquarium setting. I generally end up shooting between 1/20s up to 1/80s. With a little planning and study of how the fish move these slow shutter speeds can still produce impressive results. To get an idea of what shutter speeds you will need, it might not be a bad idea to start in aperture priority mode. Set your aperture for around 2.8 and take a few shots. You will see really quickly whether you will be able to hold the camera still long enough to get a shot in the lighting conditions. After you get an idea of the aperture and shutter speeds needed to produce the photograph, switch to shutter priority and enter in the slowest shutter speed that was used in aperture priority mode. Then start taking a few photos and gradually increase the shutter speed until you find the slowest speed that allows you to focus manually and hold the camera still enough not to blur the shot. Make sure that you try both the aperture and shutter priority modes at several different ISO settings. Remember that the higher the ISO, the smaller the aperture or faster the shutter speed that can be used to expose a photo. Also remember that the higher the ISO the more noise in the final image. After you have spent a few minutes taking some test shots in both of these modes, switch the camera to manual mode, enter in the slowest shutter speed that you can hold, the smallest aperture that still exposes the image, and the ISO that gives you the best compromise between exposure and noise. Then start shooting. Please take a while at every tank and look for the way the fish swim. You will see areas of the tank where the lighting is better, you will see areas of the tank where the fish slow down or stop, observation of the subject is of prime importance in taking photographs in an aquarium.
The Magic of Under Exposing
An interesting quirk of the digital camera can come into play when shooting in extreme low light situations. That quirk is that digital images can be severely underexposed and the exposure can be corrected in post-processing to produce some pretty dramatic results. The following is an example of an image that is so underexposed that the frame itself appears to be black, except for two small patches of dark blue and a hint of orange. I could see the image well enough in the eyepiece to focus but the exposure was insufficient to use the final photograph in a professional setting. Notice I said professional setting. You will see below that, after post-processing, the final photograph was good enough to print a 4” x 6” print for an album and certainly good enough for me to post on Facebook to share with others.
ISO 800, 50mm, f1.8, 1/60s (I took this image while I was trying to determine the best exposures to use in the aquarium.) This image is severely underexposed.
The following is the same photograph as the preceding photograph. The only differences between the two photographs are adjustments made to the contrast, color correction, a little dodging and burning, and some sharpening. This is an extreme example of how much information is contained in even a drastically underexposed image. As I said above, the image is not usable for professional purposes but a less underexposed image might have been correctable to the extent that it could be used in a professional setting. While I don’t recommend underexposing an image as much as I did in this photograph, you can rest assured that, if you need to, you can underexpose the image a bit and still get a satisfactory final product. Just in case you think this is some kind of digital trickery, you should be aware that this dramatic result is also possible from film processing in a wet dark room. A good dark room technician has produced great works of art out of images with less than ideal in-camera exposure.
ISO 800, 50mm, f1.8, 1/60s This is the same image as above after contrast and color correction. Note that the image is a bit grainy but to have been essentially a black frame the final results are impressive and demonstrates that a choice to underexpose an image in-camera may be a compromise that has to be made to get the final photograph.
ISO 3200, 50mm, f2.5, 1/50s
Conclusion
The process of taking low light photographs in an aquarium is one of compromises. A professional would bring along light meters and might get permission to shoot inside the tanks while using additional lighting. However, as a tourist you can produce some amazing photographs that will rival the professional, you just need to take your time and determine the best exposure for the situation. It really is trial and error. After a short period of time, you will get a feel for the exposure needed. Practice will help you know how to adjust you shutter speed, aperture, and ISO to accommodate for low light situations coupled with fast moving animals. This process of manually adjusting your camera will make you a better photographer and will do so quickly. Last but not least, the process of manually focusing will also improve your photography very quickly. You will learn to focus faster than the camera can focus and you will add a skill that will help you not miss the important shots when the camera just can’t get the job done by itself. The fact that you will be shooting at large aperture settings, such as f1.8, will really help you become a pro at focusing. At f1.8 you might have a depth of field of only inches, or less, and you will be forced to determine what part of the animal is most important to your final image (here is a hint: 99% of the time it is the eyes).
I hope this tutorial has helped you prepare for a trip to the aquarium and I hope you bring home some great photos.
-- Enjoy
ISO 800, 50mm, f2.8, 1/20s (Using optical stabilization)
When shooting a moving animal, such as a shark, make sure that you give the animal room to move in the frame. Notice that in this frame the main shark is coming into the frame from the right and is moving towards the left. I have given the shark plenty of space on the left and in doing so I imply movement of the shark.
I recently went to the Newport Aquarium just outside of Cincinnati Ohio in the northern Kentucky town of Newport. Unlike an art museum, at the aquarium the use of a camera is encouraged. Cameras are everywhere; and so are disgusted looks on the faces of the patrons as they look at the image preview screens on their point and shoot cameras. Those disappointed looks are the result of a mixture of unique problems that occur when shooting photographs in an aquarium. The aquarium has the problem of low light conditions such as what you experience in a cave, the “shooting through the glass” problem of a standard museum, and the problem of moving subjects like in sports photography. These are three big obstacles that have to be overcome in order to get any good photograph at an aquarium.
In the tutorial Vacation Photography: Let's Visit a Cave ISO, Aperture, and Shutter speed when shooting in low light are covered in depth. I really wish I could just tell you to read that article and apply everything I say there to aquarium photography. However, I can’t. I can’t because those fish keep swimming back and forth and to and fro. So, I guess I can start at the beginning and work through the particulars of aquarium photography.
Hardware
- DSLR camera, bridge camera, or upper end point and shoot camera. You might get lucky and get a good photo with your cell phone or inexpensive point and shoot camera (I have done it), but the inexpensive camera is not ideal for the shooting situation found in an aquarium.
I took this photo with a cell phone camera at Cabela’s in Lehi, UT.
- Fast lens (Exp. 50mm/f1.8) This lens would ideally have optical stabilization in order to achieve the best results. If your camera has optical stabilization built into the camera, then turn it on prior to shooting.
- A flashlight. You will need the flashlight if you need to change settings on the camera and you are not familiar enough to make those changes in the dark.
- Circular Polarizing Lens (See:Using a Polarizing filter to eliminate reflections on glass.)
Camera Settings
- Turn off the flash.
- ISO: 400- 3200
- Aperture Priority Mode, Shutter Priority Mode, or Manual shooting mode.
- fStop: between f1.8 and f5.6 depending on how well the individual tanks are lighted.
- Image stabilization: Turn it on.
- Focus: Manual (You will need to focus manually, in most instances the light levels will be too low to reliably use auto focus.)
ISO 400, 50mm, f1.8, 1/60s
Technique
Taking photographs in an aquarium is not as strait forward as taking photos of fireworks or even as taking photos in a cave. The biggest factor here is not how still you can hold the camera but can you get a fast enough shutter speed to freeze the action of the swimming fish in the tank. Ideally a shutter speed of 1/120s is where action can really be paused and 250/s is even better. Unfortunately those speeds are just not going to happen in the aquarium setting. I generally end up shooting between 1/20s up to 1/80s. With a little planning and study of how the fish move these slow shutter speeds can still produce impressive results. To get an idea of what shutter speeds you will need, it might not be a bad idea to start in aperture priority mode. Set your aperture for around 2.8 and take a few shots. You will see really quickly whether you will be able to hold the camera still long enough to get a shot in the lighting conditions. After you get an idea of the aperture and shutter speeds needed to produce the photograph, switch to shutter priority and enter in the slowest shutter speed that was used in aperture priority mode. Then start taking a few photos and gradually increase the shutter speed until you find the slowest speed that allows you to focus manually and hold the camera still enough not to blur the shot. Make sure that you try both the aperture and shutter priority modes at several different ISO settings. Remember that the higher the ISO, the smaller the aperture or faster the shutter speed that can be used to expose a photo. Also remember that the higher the ISO the more noise in the final image. After you have spent a few minutes taking some test shots in both of these modes, switch the camera to manual mode, enter in the slowest shutter speed that you can hold, the smallest aperture that still exposes the image, and the ISO that gives you the best compromise between exposure and noise. Then start shooting. Please take a while at every tank and look for the way the fish swim. You will see areas of the tank where the lighting is better, you will see areas of the tank where the fish slow down or stop, observation of the subject is of prime importance in taking photographs in an aquarium.
The Magic of Under Exposing
An interesting quirk of the digital camera can come into play when shooting in extreme low light situations. That quirk is that digital images can be severely underexposed and the exposure can be corrected in post-processing to produce some pretty dramatic results. The following is an example of an image that is so underexposed that the frame itself appears to be black, except for two small patches of dark blue and a hint of orange. I could see the image well enough in the eyepiece to focus but the exposure was insufficient to use the final photograph in a professional setting. Notice I said professional setting. You will see below that, after post-processing, the final photograph was good enough to print a 4” x 6” print for an album and certainly good enough for me to post on Facebook to share with others.
ISO 800, 50mm, f1.8, 1/60s (I took this image while I was trying to determine the best exposures to use in the aquarium.) This image is severely underexposed.
The following is the same photograph as the preceding photograph. The only differences between the two photographs are adjustments made to the contrast, color correction, a little dodging and burning, and some sharpening. This is an extreme example of how much information is contained in even a drastically underexposed image. As I said above, the image is not usable for professional purposes but a less underexposed image might have been correctable to the extent that it could be used in a professional setting. While I don’t recommend underexposing an image as much as I did in this photograph, you can rest assured that, if you need to, you can underexpose the image a bit and still get a satisfactory final product. Just in case you think this is some kind of digital trickery, you should be aware that this dramatic result is also possible from film processing in a wet dark room. A good dark room technician has produced great works of art out of images with less than ideal in-camera exposure.
ISO 800, 50mm, f1.8, 1/60s This is the same image as above after contrast and color correction. Note that the image is a bit grainy but to have been essentially a black frame the final results are impressive and demonstrates that a choice to underexpose an image in-camera may be a compromise that has to be made to get the final photograph.
ISO 3200, 50mm, f2.5, 1/50s
Conclusion
The process of taking low light photographs in an aquarium is one of compromises. A professional would bring along light meters and might get permission to shoot inside the tanks while using additional lighting. However, as a tourist you can produce some amazing photographs that will rival the professional, you just need to take your time and determine the best exposure for the situation. It really is trial and error. After a short period of time, you will get a feel for the exposure needed. Practice will help you know how to adjust you shutter speed, aperture, and ISO to accommodate for low light situations coupled with fast moving animals. This process of manually adjusting your camera will make you a better photographer and will do so quickly. Last but not least, the process of manually focusing will also improve your photography very quickly. You will learn to focus faster than the camera can focus and you will add a skill that will help you not miss the important shots when the camera just can’t get the job done by itself. The fact that you will be shooting at large aperture settings, such as f1.8, will really help you become a pro at focusing. At f1.8 you might have a depth of field of only inches, or less, and you will be forced to determine what part of the animal is most important to your final image (here is a hint: 99% of the time it is the eyes).
I hope this tutorial has helped you prepare for a trip to the aquarium and I hope you bring home some great photos.
-- Enjoy
Vacation Photography: Fireworks and the 4th of July
01/07/11 23:02
Vacation Photography: Fireworks and the 4th. of July
Fireworks, Every kid loves them and every adult secretly loves them. In America the biggest day for fireworks is July the 4th. Taking photographs of fireworks is easy if you have the right tools. Believe it or not I searched my hard drive for some firework photos that I had taken and I just can’t find them. I did find a few a friend of mine had taken with his Nikon camera so I thought I might share a few of his photos taken at an Independence Day party a few years ago.
Photo Credit: John Blandford
Hardware
Camera Settings
Technique
Fix it in post.
Here is a secret: for years, less than perfect in-camera photos were corrected in the darkroom. With a digital darkroom, AKA tools like iPhoto, Aperture, Lightroom and Photoshop you have those same controls at the tips of your fingers. I will use the iPhoto program to show you this little post-processing trick. I know that many of you are not using iPhoto for post production. I don’t use iPhoto myself. I selected iPhoto because of the simple interface and the fact that many of my readers do have Apple computers. The principles are the same in every program but the procedure may be very different from program to program. Since this website is about teaching the concept (and the procedures will constantly be changing) I encourage you to get a manual for your post-processing software of choice or see if the help menu of the software can actually be of help. Hear are the concepts of how to post-process your picture:
Photo Credit: John Blandford
The above photograph was taken at f3.5. As you can see the sky is looking pretty bright because it was not really dark enough to be shooting the fireworks but we wanted to play with the camera a bit before it got so dark we could not read the dials and buttons.
This photo is really pretty good as far as exposure goes. It leaves plenty of room to play and in the end the sky is going to be pitch black.
Step 1: Load the image into your photo software.
Step 2: Open the edit or adjustment menu of the software. It might look something like the following photo.
Step 3: Adjust the mid-point of the image. The mid-point is the portion of the graph that represents the middle levels of luminance of the image. In other words grab the slider or bar under the middle part of the graph and move it to the right. This will stretch out the mid-point and will darken the skies a bit. The following photograph is an example of what it may look like. Look at the graph at the top of the adjustment window.
Step 4: Adjust the black point. This is going to be the same type of adjustment as in step three, except this time you will move the slider under the graph, which is otherwise all the way on the left, to the right. Move it until the sky turns black but not so far as to make the fireworks disappear.
Step 5: Increase the saturation, do this by moving the saturation slider to the right until the fireworks are the color you want them to be. Caution: If you plan on printing these images you may want to move the saturation to the point that you really like and then pull it back a bit. Most printers cannot reproduce a highly saturated image.
Step 6: Adjust the temperature or white balance of the image. The temperature of an image is simply how warm (red/yellow) and image is or how cool(blue) it is. To the left is cool and to the right is warm. I like fireworks warm so I start moving it to the right. This will have two effects. The first effect is that the sky will begin to darken a bit more and the second effect will be that the reds will get really red and will even start to glow a bit. Caution: This is saturating the colors a bit as well. If you are planning on printing the image you might want to go back to step 5 after this adjustment.
Step 7: Make any adjustments to the contrast or sharpness that you think may be necessary.
Step 8: Get that image up to Twitter or Facebook and make your friends marvel at your photographic prowess. Well, at least give them something to look at other than grainy, blurred, cell-phone photos taken while drunk on a neighbor’s deck. Caution: Never drink and play with fireworks. It leads to terrible photography no matter how cool the photos look while drunk.
Photo Credit: John Blandford
Before: In camera.
Photo Credit: John Blandford
After: Post processed.
Conclusion
I want to wish everyone a happy holiday weekend. Go out there and try to get some great in-camera photographs of the celebrations. But, don’t worry if they are not perfect-you can fix it in post.
-- Enjoy
Fireworks, Every kid loves them and every adult secretly loves them. In America the biggest day for fireworks is July the 4th. Taking photographs of fireworks is easy if you have the right tools. Believe it or not I searched my hard drive for some firework photos that I had taken and I just can’t find them. I did find a few a friend of mine had taken with his Nikon camera so I thought I might share a few of his photos taken at an Independence Day party a few years ago.
Photo Credit: John Blandford
Hardware
- DSLR Camera or at least a point and shoot camera with ISO adjustment, timer mode, and long shutter adjustment.
- Tripod
- Remote Trigger, if your camera will accept a remote trigger.
- Wide Angle Prime or Zoom Lens - 18mm - 28mm will do just fine.
- A flashlight. You will need the flashlight if you need to change settings on the camera and you are not familiar enough to make those changes in the dark.
Camera Settings
- Turn off the flash.
- ISO - 100 - 200 (You will be tempted to use a high ISO, but don’t do it. Fireworks are bright and the sky is dark. You are taking photos of the fireworks and not the sky.)
- fStop - start at f8 and if it needs to be brighter, start working towards f2.8. If the scene is over-exposed adjust the fStop smaller towards f11.
- Image stabilization - Turn it off.
- Focus - Manual and the focus should be set to infinity.
Technique
- Mount your camera on the tripod and aim it to the part of the sky where the fireworks will explode.
- Set the focus and ISO.
- Set the shutter time for several seconds up to 30 seconds or set the shutter to bulb if you are using a remote trigger. The important thing to remember here is that the longer the shutter is open, the more fireworks will appear in one shot. If you leave it open 2 seconds you might get one or two bursts and if you leave it open 30 seconds it will look like the grand finale of the show.
- Set your timer if you are not using a remote trigger.
- When the fireworks start, open the shutter and take the photo. If the sky is too blue then you have the fStop adjustment too large and you might try moving it towards f11 and if the scene is too dark then open up the aperture a bit, try f5.6 all the way to f2.8. You can open all the way up if you want; experiment and see what works best for you. Keep reading I am going to show you a little trick that might make you want to keep the setting at f8 even if the sky looks like noonday on the image.
Fix it in post.
Here is a secret: for years, less than perfect in-camera photos were corrected in the darkroom. With a digital darkroom, AKA tools like iPhoto, Aperture, Lightroom and Photoshop you have those same controls at the tips of your fingers. I will use the iPhoto program to show you this little post-processing trick. I know that many of you are not using iPhoto for post production. I don’t use iPhoto myself. I selected iPhoto because of the simple interface and the fact that many of my readers do have Apple computers. The principles are the same in every program but the procedure may be very different from program to program. Since this website is about teaching the concept (and the procedures will constantly be changing) I encourage you to get a manual for your post-processing software of choice or see if the help menu of the software can actually be of help. Hear are the concepts of how to post-process your picture:
Photo Credit: John Blandford
The above photograph was taken at f3.5. As you can see the sky is looking pretty bright because it was not really dark enough to be shooting the fireworks but we wanted to play with the camera a bit before it got so dark we could not read the dials and buttons.
This photo is really pretty good as far as exposure goes. It leaves plenty of room to play and in the end the sky is going to be pitch black.
Step 1: Load the image into your photo software.
Step 2: Open the edit or adjustment menu of the software. It might look something like the following photo.
Step 3: Adjust the mid-point of the image. The mid-point is the portion of the graph that represents the middle levels of luminance of the image. In other words grab the slider or bar under the middle part of the graph and move it to the right. This will stretch out the mid-point and will darken the skies a bit. The following photograph is an example of what it may look like. Look at the graph at the top of the adjustment window.
Step 4: Adjust the black point. This is going to be the same type of adjustment as in step three, except this time you will move the slider under the graph, which is otherwise all the way on the left, to the right. Move it until the sky turns black but not so far as to make the fireworks disappear.
Step 5: Increase the saturation, do this by moving the saturation slider to the right until the fireworks are the color you want them to be. Caution: If you plan on printing these images you may want to move the saturation to the point that you really like and then pull it back a bit. Most printers cannot reproduce a highly saturated image.
Step 6: Adjust the temperature or white balance of the image. The temperature of an image is simply how warm (red/yellow) and image is or how cool(blue) it is. To the left is cool and to the right is warm. I like fireworks warm so I start moving it to the right. This will have two effects. The first effect is that the sky will begin to darken a bit more and the second effect will be that the reds will get really red and will even start to glow a bit. Caution: This is saturating the colors a bit as well. If you are planning on printing the image you might want to go back to step 5 after this adjustment.
Step 7: Make any adjustments to the contrast or sharpness that you think may be necessary.
Step 8: Get that image up to Twitter or Facebook and make your friends marvel at your photographic prowess. Well, at least give them something to look at other than grainy, blurred, cell-phone photos taken while drunk on a neighbor’s deck. Caution: Never drink and play with fireworks. It leads to terrible photography no matter how cool the photos look while drunk.
Photo Credit: John Blandford
Before: In camera.
Photo Credit: John Blandford
After: Post processed.
Conclusion
I want to wish everyone a happy holiday weekend. Go out there and try to get some great in-camera photographs of the celebrations. But, don’t worry if they are not perfect-you can fix it in post.
-- Enjoy
Vacation Photography: Let's Visit a Cave
30/06/11 15:15
Vacation Photography: Let's Visit a Cave
Mammoth Cave National Park, KY, USA
One my most fond memories of childhood was visiting Mammoth Cave National Park. We went every summer and I took every tour of the cave that they would let a kid take. So, as an adult I wanted my kids to have the same great cave experience and this year we went to the cave. It was so interesting to hear the Ranger tell the tour group the same thing that the Park Rangers said to the groups as a child. He said, “If you want a photo of the inside of the cave then buy a postcard.” No, he was not trying to sell post cards he was stating a fact. The fact is, it is hard to take a good photograph of the inside of a cave and especially hard to take those photos when you are on a tour.
ISO 800, 50mm, f2, 1/60s
Safety and Courtesy
Before I start talking about how to get a great cave photo let me talk about safety and courtesy on a cave tour.
I will talk about safety first. Never walk and take photos at the same time while in a cave. Caves have uneven ceilings, floors, and walls. Caves are poorly lit and at times caves are wet. These things all lead to one certain conclusion and that is no matter how well you walk in your own home, if you have a camera up to your eye you may end up giving yourself a concussion, contusion, or being cussed at by another cave customer.
Courtesy is another factor in getting good cave photos and perhaps the best way to be courteous to others and the Rangers is to stay with the group and in particular stay in the front of the group. During walking tours in a cave or in the woods, groups tend to act like an accordion. They stretch and contract. If you are in the front you will need to stop from time to time to let people catch up. These are perfect times to take photographs without feeling rushed and without holding up the group. The people in the back of the group always feel rushed to catch up with the group and being rushed does not make for good photography.
Point and Shoot
If you have a standard run of the mill point and shoot camera the ranger is most likely correct: you need to just buy a post card. These inexpensive cameras are not well suited to cave photography. Most point and shoot digital cameras have a very small sensor and that small sensor translates into very little light being recorded on the image sensor. These cameras are also primarily automatic focus. Automatic Focus is next to useless in near complete darkness. If you have a bridge camera, in other words if your camera will shoot in RAW mode, has manual ISO and Manual focusing, you can give the photos a try but I am not making any promises that you will get the results you are looking for in your cave photographs. Unfortunately cave photography is an advanced technique and if you can do it with a point and shoot camera (yes, it can be done) then you don’t need this article. However if you have a DSLR or at least a bridge camera, why not use this as an opportunity to push your skill set and get in there and take some photos you will remember.
Hardware
The hardware you will need is pretty strait-forward. You need a DSLR camera, and a prime lens (otherwise known as a fixed focal length lens- for a APS-C I recommend a 28mm or 25mm lens with at least an f2.8 and for a full frame camera I recommend a 50mm f1.4 lens) preferably optically stabilized.
Camera Settings
ISO
I know I have already mentioned it but I feel like I should say it again, caves are dark. Since caves are so dark very little light is going to reach the sensor of the camera and that must be taken into consideration when shooting in a cave. The first thing you want to do is set your ISO on your camera to a high ISO setting. Depending on the ambient lighting within the cave, this might mean ISO 400 up to ISO 3200 or even higher. Just remember that the higher the ISO number the more noise/grain on the final photograph and the faster the shutter speed can be on your camera. In other words take a few shots to see what the slowest shutter speed is at which you can hold the camera steady. Optical stabilization in your camera or lens will help extend this time significantly.
ISO 12800, 50mm, f2.8, 1/8s
Ranger Steve Kister conducting a tour of Mammoth Cave. He is demonstrating what a single flame of light looks like in total darkness.
Notice the grainy nature of this photograph. It was taken with only the flame in his hand illuminating the scene. This required an extremely high ISO and as such introduced a lot of noise into the shot. If I could have used a tripod in the cave I could have reduced the ISO and increased the clarity of the photo.
Depth of Field (DOF) or fstop
Depth of field or fstop is a tricky thing in a cave and has to be taken seriously. You might think that I would recommend making the aperture of the lens as big as you can get it. A big aperture does mean more light getting to the sensor and faster shutter speeds. It also means very narrow depth of field and more often than not a blurry photograph. If you had all the time in the world and could somehow sneak in a tripod, you could calculate your depth of field and determine an ideal fstop to accommodate the lighting. Calculating depth of field requires measuring front and back distances of the focal plain, taking light readings, and (most of all) time. Time is one thing you do not have a lot of on a cave tour. I have found that setting my aperture to f 2.8 is a fair compromise between depth of field and my ability to hold the camera steady during shooting.
Shutter Speed
Shutter speed is also tricky. I shoot full manual or aperture priority mode in low light situations. I always start out shooting a few shots on aperture priority mode. I want to get a feel for what the camera thinks is a good shutter speed. Now is a good time to mention that you may want to set your camera’s metering mode to spot metering. This will allow you to take more precise measurements of the light part of the photographs and not worry about the unlighted portions of the frame. Otherwise you may actually over-expose the lighted areas. I have found that I can hand hold my camera at about 1/8th of a second shutter speed, however, your mileage may vary.
Manual Focus
Manual focusing is a must in extreme low light situations. Automatic focusing relies on contrast to work properly and contrast relies on light. If you rely on auto-focus you will find that your camera is searching for focus instead of getting the shot. Manual focus is pretty easy with a little practice and will have you hanging a print on the wall instead of trying to sharpen the image enough in post processing to at least share it on Facebook.
Conclusion
ISO, DOF, Shutter speed, and Manual Focus . Yep, those are the three elements of taking photos in a cave. Go out there and take some great shots.
Woah! Woah! Woah! What about using a flash to just light up the cave?
Flash
Using a flash in a cave is a great way to get some great shots. Those postcards the Ranger encouraged us to buy were all shot with flash units or at least some sort of external and additional lighting. I guess I really should have talked about flash under “Courtesy,” but I wanted to save it for last. A flash is impolite in a cave. Let me rephrase that a flash is just plain rude to use on a cave tour. Your built in flash is too low powered to really illuminate anything much in the cave and a high guide number external flash is going to blind everyone else on the tour every time you take a photo. Just think about it, it is dark in a cave and people’s eyes adjust to the dark. When you fire the “Big” flash you will blind someone else on the tour and that cussing I told you about might be coming your way; and if you really make someone mad the concussion might be on it’s way as well.
The Real Conclusion
Cave photography, while an advanced technique, is in reality very strait forward. The following summary is really all you need to know.
I hope if you make it to a cave this summer that this article helps you bring home some great photographs. After you get out of the cave, don’t forget to take a few photos of the surrounding area, often these are as pretty or prettier than the cave itself. I will leave you with a photo of the forest around Mammoth Cave.
-- Enjoy.
The forest surrounding the natural entrance to Mammoth Cave.
For a gallery of cave photos click here: Cave Photos
Mammoth Cave National Park, KY, USA
One my most fond memories of childhood was visiting Mammoth Cave National Park. We went every summer and I took every tour of the cave that they would let a kid take. So, as an adult I wanted my kids to have the same great cave experience and this year we went to the cave. It was so interesting to hear the Ranger tell the tour group the same thing that the Park Rangers said to the groups as a child. He said, “If you want a photo of the inside of the cave then buy a postcard.” No, he was not trying to sell post cards he was stating a fact. The fact is, it is hard to take a good photograph of the inside of a cave and especially hard to take those photos when you are on a tour.
ISO 800, 50mm, f2, 1/60s
Safety and Courtesy
Before I start talking about how to get a great cave photo let me talk about safety and courtesy on a cave tour.
I will talk about safety first. Never walk and take photos at the same time while in a cave. Caves have uneven ceilings, floors, and walls. Caves are poorly lit and at times caves are wet. These things all lead to one certain conclusion and that is no matter how well you walk in your own home, if you have a camera up to your eye you may end up giving yourself a concussion, contusion, or being cussed at by another cave customer.
Courtesy is another factor in getting good cave photos and perhaps the best way to be courteous to others and the Rangers is to stay with the group and in particular stay in the front of the group. During walking tours in a cave or in the woods, groups tend to act like an accordion. They stretch and contract. If you are in the front you will need to stop from time to time to let people catch up. These are perfect times to take photographs without feeling rushed and without holding up the group. The people in the back of the group always feel rushed to catch up with the group and being rushed does not make for good photography.
Point and Shoot
If you have a standard run of the mill point and shoot camera the ranger is most likely correct: you need to just buy a post card. These inexpensive cameras are not well suited to cave photography. Most point and shoot digital cameras have a very small sensor and that small sensor translates into very little light being recorded on the image sensor. These cameras are also primarily automatic focus. Automatic Focus is next to useless in near complete darkness. If you have a bridge camera, in other words if your camera will shoot in RAW mode, has manual ISO and Manual focusing, you can give the photos a try but I am not making any promises that you will get the results you are looking for in your cave photographs. Unfortunately cave photography is an advanced technique and if you can do it with a point and shoot camera (yes, it can be done) then you don’t need this article. However if you have a DSLR or at least a bridge camera, why not use this as an opportunity to push your skill set and get in there and take some photos you will remember.
Hardware
The hardware you will need is pretty strait-forward. You need a DSLR camera, and a prime lens (otherwise known as a fixed focal length lens- for a APS-C I recommend a 28mm or 25mm lens with at least an f2.8 and for a full frame camera I recommend a 50mm f1.4 lens) preferably optically stabilized.
Camera Settings
ISO
I know I have already mentioned it but I feel like I should say it again, caves are dark. Since caves are so dark very little light is going to reach the sensor of the camera and that must be taken into consideration when shooting in a cave. The first thing you want to do is set your ISO on your camera to a high ISO setting. Depending on the ambient lighting within the cave, this might mean ISO 400 up to ISO 3200 or even higher. Just remember that the higher the ISO number the more noise/grain on the final photograph and the faster the shutter speed can be on your camera. In other words take a few shots to see what the slowest shutter speed is at which you can hold the camera steady. Optical stabilization in your camera or lens will help extend this time significantly.
ISO 12800, 50mm, f2.8, 1/8s
Ranger Steve Kister conducting a tour of Mammoth Cave. He is demonstrating what a single flame of light looks like in total darkness.
Notice the grainy nature of this photograph. It was taken with only the flame in his hand illuminating the scene. This required an extremely high ISO and as such introduced a lot of noise into the shot. If I could have used a tripod in the cave I could have reduced the ISO and increased the clarity of the photo.
Depth of Field (DOF) or fstop
Depth of field or fstop is a tricky thing in a cave and has to be taken seriously. You might think that I would recommend making the aperture of the lens as big as you can get it. A big aperture does mean more light getting to the sensor and faster shutter speeds. It also means very narrow depth of field and more often than not a blurry photograph. If you had all the time in the world and could somehow sneak in a tripod, you could calculate your depth of field and determine an ideal fstop to accommodate the lighting. Calculating depth of field requires measuring front and back distances of the focal plain, taking light readings, and (most of all) time. Time is one thing you do not have a lot of on a cave tour. I have found that setting my aperture to f 2.8 is a fair compromise between depth of field and my ability to hold the camera steady during shooting.
Shutter Speed
Shutter speed is also tricky. I shoot full manual or aperture priority mode in low light situations. I always start out shooting a few shots on aperture priority mode. I want to get a feel for what the camera thinks is a good shutter speed. Now is a good time to mention that you may want to set your camera’s metering mode to spot metering. This will allow you to take more precise measurements of the light part of the photographs and not worry about the unlighted portions of the frame. Otherwise you may actually over-expose the lighted areas. I have found that I can hand hold my camera at about 1/8th of a second shutter speed, however, your mileage may vary.
Manual Focus
Manual focusing is a must in extreme low light situations. Automatic focusing relies on contrast to work properly and contrast relies on light. If you rely on auto-focus you will find that your camera is searching for focus instead of getting the shot. Manual focus is pretty easy with a little practice and will have you hanging a print on the wall instead of trying to sharpen the image enough in post processing to at least share it on Facebook.
Conclusion
ISO, DOF, Shutter speed, and Manual Focus . Yep, those are the three elements of taking photos in a cave. Go out there and take some great shots.
Woah! Woah! Woah! What about using a flash to just light up the cave?
Flash
Using a flash in a cave is a great way to get some great shots. Those postcards the Ranger encouraged us to buy were all shot with flash units or at least some sort of external and additional lighting. I guess I really should have talked about flash under “Courtesy,” but I wanted to save it for last. A flash is impolite in a cave. Let me rephrase that a flash is just plain rude to use on a cave tour. Your built in flash is too low powered to really illuminate anything much in the cave and a high guide number external flash is going to blind everyone else on the tour every time you take a photo. Just think about it, it is dark in a cave and people’s eyes adjust to the dark. When you fire the “Big” flash you will blind someone else on the tour and that cussing I told you about might be coming your way; and if you really make someone mad the concussion might be on it’s way as well.
The Real Conclusion
Cave photography, while an advanced technique, is in reality very strait forward. The following summary is really all you need to know.
- Be Polite: Stick to the front of the group, stop to take a photo, and turn off the flash.
- Image Stabilization: Turn it on.
- ISO: Set the highest ISO that you need to get the shot but remember that high ISO equals added noise in the photo.
- Depth of Field: Bigger is better to a point. f2.8 works best for me but you may find that you can get acceptable images at f1.2 or f5.6. Try it out to see what works for you.
- Shutter Speed: Make it as slow as you can without blurring the shot.
- Manual Focus: Turn off the autofocus in low light.
I hope if you make it to a cave this summer that this article helps you bring home some great photographs. After you get out of the cave, don’t forget to take a few photos of the surrounding area, often these are as pretty or prettier than the cave itself. I will leave you with a photo of the forest around Mammoth Cave.
-- Enjoy.
The forest surrounding the natural entrance to Mammoth Cave.
For a gallery of cave photos click here: Cave Photos