A very simple way to control light is through the use of a scrim. For small subjects and objects, a regular 42-inch round scrim or super size scrims of 60 inches or more can be a bit of overkill for just mucking about. Westcott makes a wonderfully portable sized, five-in-one that is only twenty inches and when folded in it’s carrying case is a tiny eight inches for about twenty bucks.
Here’s a quick example using a neighbor’s cactus that was showing some attractive color blossoms. Look carefully at the difference between photos and I think you’ll see that learning to use a scrim can help get you better lighting in your images.
This first image was captured with full sun as the light source. Colors are bright and you might think that this works. Look at the harsh, deep dark patches in the shadow with no detail. This is the same kind of look you will get if you use on-camera flash.
In order to tame the harsh shadows, I next captured the blooms in full shadow. This results in slightly less contrast and the color has become muted. I suppose the color could be pumped up in post-production but the shadow are still a bit blocked up.
Here a scrim was placed between the sun and subject. Even though the scrim is only twenty inches because of it’s close proximity to the flowers it is acting like a very large light source. Very nice overall light with soft shadows and color fidelity. All images were processed with the same settings straight out of the camera. (SOOC)
A quick grab of the scrim in action. In addition, the kit comes with four other surfaces to reflect or block light in various intensities and colors. Black, gold, silver and white can all also be used to bend light to your will.
You can take this same lesson and apply it to larger subject such as people by using a larger scrim. Practice with it and you will find the larger the scrim and the distance it is to your subject you will be able to control the shadow edge transitions and depth of the shadow on your subject. Moving it further away while still covering your subject will give you slightly stronger shadows. Conversely, the scrim closer will make the light softer.
Sometimes you just gotta play! NIK filters, Photoshop extraction’ Layers and the Transform Tool.
These photos were captured with the Lumix LX100 the camera I call the ‘Pro’s Point & Shoot.’ A solid little performer built on a magnesium frame for about $700.
He likened great photography to a concert. The Print is the performance. The capture is merely the score.
OK. Maybe I paraphrased a little bit but the idea is there. And the word ‘merely’ is undercutting the value of the capture. But, by virtue of the camera only having one opening it can only see so much density in a single exposure. How we process the image is a huge part of the success or failure of the photo.
We now have some technological advantages over Adams with software that allows up to combine multiple images t different exposures to expand the amount of information we can have in a single file. We can build up density and exposure in a picture without resorting to chemistry changes as Adams did. In addition to Curves and Levels, we now have the ability to add luminance masks to target very specific tones within the photo. Sharpening can be selectively applied throughout the image to help move a viewer’s attention through the image. And more. We are in a golden age of photography should we choose to follow the possibilities.
I was attending a little courtyard guitar concert at Tlaqapaque in Sedona and just happened to have a camera with me. (imagine that!) Here are a couple grabs where the image definitely has more power in black and white.
Tlaqapaque detail. Mexican shopping Village in Sedona, AZ
Images processed in Adobe Camera RAW & Nik Silver FX Pro 2 (You can get this software plugin for free)
Original capture
Images captured with Lumix GX8 with 14-140mm f3.5-5.8 lens
Portals within portals within portals add depth and dimension to an image
Original capture
I’ll be doing a more in-depth blog post on black and white processing on LifePixel’s website. You can look for it early next week.
Lumix LX100. Built on a solid magnesium body with all necessary controls on the exterior of the body with machined knurled knobs or solid switches. Fast f1.7-2.8, 24-75mm, Leica DC zoom lens. While this camera is only 12.8 MP, it has 4K video and Photo Mode which enables printing of images pulled from still frames. Features are coming out the wazoo of this camera including several ways to capture HDR images, bracket your aspect ratio, bracket white balance, 11 frames per second burst rate, and more.
Here’s an image I created from a three-stop bracket of the red rocks. The frames were processed in Aurora HDR software from MacPhun.
Red Rocks of Sedona, Arizona – High Dynamic Range (HDR) Photo
Here’s the three stop bracket. Images Straight Out of Camera (SOOC) Middle exposure was 1/160th sec f8 ISO 200 34mm (FF equivalent 75mm)
I’m liking the Aurora HDR software as it has LOTS of controls for processing the image without having the ‘HDR halos’ and other problems I always associated with using software to process multiple exposures. There are many presets for getting into the ballpark of the image you would like to create. You can still go HDR crazy if you want to push it that way. It’s up to you.
Aurora HDR software window. There are many more controls available by scrolling the right-hand panel. There are also a plethora of presets with the ability to create and save more of your own.
I feel we are living in a time of unlimited creativity. Between the new camera capabilities and software options imaging is moving into a whole new world. Yes, it’s easier for the average person to obtain a correctly exposed image. But, for those of us who have been working photographers for a long time, we can leverage that knowledge and push the tools to give us more possibilities for creating images with solid depth and dimension.
For photographers that are looking for a new and improved HDR photo editing experience, MacPhun is offering a very special competitive upgrade price, and some very special bonuses when they switch to Aurora HDR Pro from their current software.
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I have been fortunate to live in places with some spectacular scenery and would probably have a hard time living in an urban environment or someplace dull and flat. Sedona, Arizona is the gorgeous place I now get to call home. Red rock vistas and a dry climate that showers us with sunshine two hundred seventy-eight to three hundred days per year.
And, after residing here seventeen years, I still find different ways to view the majestic red rocks thanks to visitors spurring me on. Some visiting friends asked if a helicopter tour would be worth a go and would I be interested in joining them? I said, “Yes indeed!” I was surprised I hadn’t thought to fly the skies with my camera in all that time.
Sedona’s famous Cathedral Rock from the air. Lumix G7 with 12-35 f2.8 Vario G lens @f5.6 1/400 sec. 12mm (24mm FF equivalent) ISO 200
More Red Rock formations. Same gear as above. @5.0 1/400th sec, 19mm (38mm FF equivalent)
Processed in NIK Silver FX Pro2 (available free from Google)
Cathedral Rock is one of the state’s most photographed destinations. I know that I have photographed it on numerous occasions, but never from the air. An artistic rendition of Cathedral Rock was one of my first Merit images in Professional Photographers of America image competition.
Let’s talk about photographing from the air.
I have done photography in the past from the air, but it was always a charter flight where I was calling the shots for the position of the helicopter or plane and the possibility of staying on station or revisiting until I had the shot. With that kind of luxury, there was time to check settings of the camera ensuring they were correct. This flight was going to be a horse of a different color. A sightseeing tour lasting 17 minutes and no do-overs.
I thought about the new technology I have access to in the Lumix cameras and decided to place my trust in it. I’ve talked about this setting once or twice before. It’s called Intelligent Auto. I jokingly refer to it as the ‘Honey, stop the car!’ setting. It calculates the f-stop, shutter speed, and ISO. I have always used it sparingly as I want to make the decisions that control the final look of the image. In this case with no time to devote to changing settings I decided I would concentrate on framing and composition and see how well the camera would do. Shot in RAW to have more latitude to cover exposure but the SOOC files were pretty darn good.
After looking at the metadata for exposure settings (see above) I was surprised to note that the camera had automatically recognized the scene as a landscape and set the camera for ‘Landscape Mode’ – “For landscape photos with background in focus.”
Once again I was pleasantly surprised. Shutter speed was high enough to freeze the scene in spite of the helicopter’s vibration and motion. Exposure was solid for the scene. All-in-all it’s a winner. If this were a commercial shoot for a paying client, I would be working this entirely different but this is a great help in quickly changing situations.
Thinking about visiting Sedona? Check out http://www.sedonaairtours.com for your aerial view of the red rocks. really enjoyed my experience with Sedona Air Tours. They work together as a great team!
Learn more about other attractions in Sedona at theVisit Sedona website.
While the weather during the time I was on a family visit was less than stellar I thought I’d give you an overview of the scene from my mother-in-laws backyard. Photos of some of the wildlife from another post.
These two panoramic photos were captured with the Lumix GX8 and the Vario 12-35mm f2.8 lens. Very lucky to have this area as a playground when visiting.
View from the front. Panoramic Mode with the camera oriented vertically. Settings 1/1000 sec f4.0 ISO 800 18mm (36mm in 35mm equivalent)
View from one side. There’s a similar view on the other side with even less evidence of man in the view. Settings 1/2000 sec f4.0 ISO 800 35mm (70mm in 35mm equivalent)
The in-camera stitching on the GX8 is pretty amazing. In straightforward situations it makes a great pano. If you have highly complex subject matter like trees and/or patterns you might want to take two or three passes and check the details before moving on. If it is something very important I will make the in-camera panoramic and the I will also shoot the individual images in RAW for later stitching if I want super high quality. Many times I’ve been pleasantly surprised that I didn’t need to use the RAWs but I always like to back myself up.
Arizona PPA convention awards. (I made Arizona PPA Top Ten for the 16th time in 17 years) Pushing the envelope of creativity. Infrared imagery. Basics of photography exposure. How image judging works. Bob Coates Photography new web site. Lumix luminary & some new camera gear features.
For infrared conversion of my cameras I use LifePixel. Infrared allows you to put an older camera to use and opens up a new time time of day for productive image creation.
Fotopro tripods are well worth checking out. You can learn about the ones I use and recommend by clicking on the Fotopro Tripods link at the top of this page. If you want to see what other tripods might fit your needs check out the Fotopro.com website. Check back with me before you buy as a Fotopro Ambassador I’m able to get you discounted pricing including complementary continental USA shipping for my followers that you won’t find through retail outlets.
Learn Photoshop in a fun environment. Aaron Nace applies the right amount of fun with easy to understand and follow tutorials. Actions and brushes are included with lessons!
Lightning, waterdroplets, sound, time-lapse, HDR sequences, smiles and much more control for your camera!
Cameras Get Smarter -
A High Speed Smart Camera Remote
Best embroidery ever. Give Queensboro a try, get a $20 instant credit to get started by clicking on the logo! They specialize in great quality custom logo apparel and promotional products with the best customer service.
Platypod has become a great resource for being creative in getting your camera gear easily into unusual places. As an Platypod Pro I get to work/play with the gear even before it comes out. Head over to Platypod, subscribe to the newsletter and you will get special discounts reserved only for subscribers.
This first image was captured with full sun as the light source. Colors are bright and you might think that this works. Look at the harsh, deep dark patches in the shadow with no detail. This is the same kind of look you will get if you use on-camera flash.
In order to tame the harsh shadows, I next captured the blooms in full shadow. This results in slightly less contrast and the color has become muted. I suppose the color could be pumped up in post-production but the shadow are still a bit blocked up.
Here a scrim was placed between the sun and subject. Even though the scrim is only twenty inches because of it’s close proximity to the flowers it is acting like a very large light source. Very nice overall light with soft shadows and color fidelity. All images were processed with the same settings straight out of the camera. (SOOC)
A quick grab of the scrim in action. In addition, the kit comes with four other surfaces to reflect or block light in various intensities and colors. Black, gold, silver and white can all also be used to bend light to your will.
