Posts Tagged ‘how to’
I follow many photo bloggers who arrange their images in beautiful multi-panel layouts on their blog posts. I love the look of multiple panels, so I started presenting my work in the same way here. Ever since I started doing it, however, I’ve been asked the same question many, many times:
“Hey Jonathan, how do you make these multi-panel thingys? Do you arrange them manually or do you use some kind of software?”
Here’s the secret:
When I first started arranging my photos into multiple panels, I did indeed make everything manually in Photoshop. What a pain! Now I use a third-party Photoshop CS5 extension called Tych Panel. As a Photoshop extension, it works right in CS5 as an additional panel that automates the diptych/triptych process. It’s so easy to use that I laughed the first time I gave it a try. How easy? Check out the video below to see what was involved in making the diptych at the top of this post (might want to view in full screen):
Whew! Doesn’t get much simpler than that, does it? What about the triptych below?
Just open the files, chose the pattern you want, and Tych Panel does the rest:
Ok, what if you want to get crazy and just keep adding photos to make one really big multi-tych? Can do!
I know the videos moved a little fast and didn’t specifically outline the step by step directions for using Tych Panel. Have no fear! Reimund Trost, the developer of this amazing extension, has very detailed instructions on how to use Tych Panel on his website.
Oh, and I forgot to mention, Tych Panel is FREE. Head on over to the link below to download it and give it a try yourself:
Hey fellow bloggers, how do you create your dips and trips?
—-Nikon D300s + Nikkor 10.5mm f/2.8 at f/5.6, 1/80 sec ISO800
One question I’m often asked is something like : “How do I get sharp photos when taking pictures of my friends dancing indoors? What lens should I get for this purpose?”
Well, in most cases, the answer has less to do with your lens and more to do with whether or not you’re using flash. Just so happened to have hosted a dance party last night at my house, so I took the opportunity to demonstrate what I mean, using a variety of lenses and shutter speeds, and of course, my hot shoe flashes. The dancing took place in my living room at night, which means no daylight pouring through the window to give me f-stoppage. The room is lit by two floor lamps, providing, I dunno, just about f/0.1 inside. Seriously though, even using my fastest lens, I ‘d probably squeeze out a shutter speed of about 1/80th shooting wide open at f/1.4 at ISO3200 in this room. Ouch…not nearly fast enough to stop action under these conditions.
—-Nikon D300s + Tokina 11-16mm f/2.8 at 11mm f/5.6, 1/125 sec ISO800
Freezing motion in bright day light out doors is relatively simple, right? You can easily hit say 1/640 or 1/1000 and higher, even stopped down, effectively freezing motion. Can’t really do that in a room like this. There’s simply not enough ambient. Using flash lets you shoot at lower shutter speeds and still freeze action.
Wait a minute! How is it that you can freeze motion with low shutter speeds when you use your flash? Another question I get asked a lot. They key, again, is in the pop of light you’re throwing at your subject. The shutter may be going at say 1/80 or even 1/15, but that flash is hitting your subject at like 1/1500th, fast enough to freeze them in their tracks. If you want to imply motion in your dancing shots, you can drag the shutter at around 1/10 to 1/15 (make sure you camera is set to rear curtain sync):
—-Nikon D300s + Nikkor 10.5mm f/2.8 at f/5.6, 1/15 sec ISO800
Or select higher shutter speeds to freeze them completely:
—–Nikon D300s + Tokina 11-16mm f/2.8 at 14mm f/5.6, 1/80 ISO800
Another note: you gotta go manual exposure in scenes like this. Throw your camera into aperture priority, for instance, and it will select what it thinks is an appropriate shutter speed to expose the scene. Well, you’re pointing your camera at darkness, which means it’ll select shutter speeds that are far too low. Use shutter priority and you camera will open up your lens to its maximum, limiting your depth of field options. For the entire night, I dictated the shutter speed and aperture and let the camera’s intelligent flash system work its magic. Worked well in this case too because in such a small, dimly lit room, almost all of the light is coming from my flash units.
Another question I get asked: “My lens doesn’t have VC/VR/IS. Can I still get sharp shots with it?” Yes! None of the lenses I used last night are stabilized:
—-Nikon D300s + Tokina 50-135 f/2.8 at 95mm f/5.6, 1/80 sec ISO800
—-Nikon D300s + Tokina 50-135 f/2.8
—-Nikon D300s + Tokina 50-135 f/2.8
—-Nikon D300s + Nikkor 10.5mm f/2.8
It’s important to remember that neither lens nor sensor based image stabilization systems help freeze subject motion. They only help reduce blur induced by small movements caused by the photographer hand-holding the camera. They key, again, is the flash.
Of course, when people are standing still, it’s even easier. =)
It was out on the town again yesterday for Suki’s week 27 image for my 52 week project. This week I wanted to try adding an accent light into the mix, one that would provide some highlights around Suki and give the impression that she is being lit from behind by background elements. You can see a hint of this effect in the image above. Snoots are great for this. But I realized before we headed out that I don’t have a snoot for my speedlights! So I constructed my own snoot out of the finest of materials:
Here it is. Made of solid, 100% magazine paper, sealed at the seams with ultra-high-strength scotch tape and costing me a whopping fraction of a penny, this rig was placed behind Suki in the photo of her above. The snoot concentrated the light into a tight beam. Instead of spreading all over, the light just hits her back side and appears as highlights around the edges of her fur. It sort of gives the illusion that the headlight from the cable car behind her is lighting her. It’s a subtle detail for sure, but it definitely adds a great element to the image.
Here’s an example of the way a snoot shapes the light coming out of a flash head.
You can even shape the front end a little to create a sliver of light like so.
The biggest challenge for this last shoot was actually the crowds of people around us as we worked. We were approached constantly by people wanting to meet Suki and ask questions about her. Gathering in small crowds around us, they would step in and try to meet her between takes. Amazingly, she was able to focus despite all the distraction.
After all that work, it was time for a leisurely stroll through the Embaracero Center in San Francisco. I enjoyed a cappuccino while Suki sniffed every corner of the area. Such a great area of the city for photographs!
Camera Specs for top image: Nikon D300s + Tokina 50-135 f/2.8 @ 125mm f/4, 1/80 second ISO640. (Aperture priority -0.3EV) SB-900 through softbox camera left (TTL +1.7EV) SB-800 snooted behind subject (SU-4 optical slave, 1/8 power).
Bottom Image: Nikon D300s + Nikkor DX 10.5mm fisheye
When I first started Suki’s 52 week project this year, I tried my best to have a very specific concept in mind for each image, planning each shot as meticulously as I could before we even headed out the door. I’m nearly halfway through the project now, and I’ve learned that having a plan is not always the best way to get a great shot. Reminds me of what Jay Maisel, a highly regarded NY based photographer once said:
“Not knowing what you’re going to shoot is the great adventure. If you go out knowing what you’re going to shoot, the great adventure is gone. Most people work to have a plan; I’ve worked to not have a plan for shooting when I go out.”
I love this advice, and I’ve done my best to incorporate the principle behind it not only in my 52 week project, but in my photography in general.
Nowadays, the only planning I do when I go out to take a photo of Suki is deciding the location. Once we’ve settled into a spot, I then start scanning the area and coming up with ideas. It forces you to be observant, to look intently for interesting compositions, lines, and light. Instead of locking down on a specific plan, you find yourself exploring with a free and clear mind, and exploration and adventure is what makes photography great.
My best images of Suki this year are the ones where no planning was involved, where I’d just say “hey, let’s go to [insert location here] and try to get some sort of shot of Suki.” The images you see in this post, for example, are from a series I shot of her last Sunday during an early morning stroll. No plan involved. Just me, some camera gear, and a Shiba Inu. We walked and walked until I saw an element of the environment that struck me. It’s a great way to approach your photography. Just make sure you always have your camera with you!
My Favorite Lenses
So lately I’ve decided that my two absolute favorite lenses in my bag right now are…..[drum-roll]…. The Nikkor 70-300mm VR (used in the top image) and the Tokina 11-16mm f/2.8 (used in the third photo from the top). Yup. My longest telephoto and my widest wide-angle. Both allow me to greatly exaggerate the perception of distance in an image. Want to really add some impact and dimension to your photos? Move further away from your subject and rack out your telephoto lens. Using an ultra-wide? Move in super close to your subject. Experiment and see what happens!
1st image: Nikkor 70-300mm f/4.5-5.6 VR, 260mm f/8, 1/400 second, ISO200
3rd image: Tokina 11-16mm f/2.8, 11mm, f/16, 1/320 second, ISO200
CLS triggered SB-800 + SB-900 used in both images
Alright, I finally did it. I broke down and gave HDR a try (click image above for large version). Creating a HDR or high dynamic range image involves blending multiple exposures together in order to display detail in the final image that would otherwise be lost in a single exposure. Our eyes are capable of looking at a scene with bright highlights and dark shadows and still see an immense amount of detail. Cameras simply don’t have that kind of ability, which is why blending exposures is useful when a scene contains very bright and very dark elements at the same time.
I set my D300s to automatically bracket a series of photos for me at 1 stop increments, and here’s what I got out of the camera:
Notice that if the sky looks good, the beach looks too dark. Conversely, if the sand looks detailed, the sky is blown out. There’s simply too much range for the camera to pick up detail in all areas of the frame. Yes, I suppose I could have used a split neutral density filter to even things out, but the purpose of this shoot was to experiment with HDR.
Exposure blending used to be extremely difficult, requiring the use of multiple layers, masks, and a whole lot of brush strokes to manually bring out detail in the HDR image. Nowadays, it’s dead simple. Photoshop has a “merge to HDR” feature built-in, but it’s not quite as good as standalone software like Photomatix Pro, which I used to merge this HDR image. All I had to do was drag the four bracketed images above straight from Lightroom 3 Beta 2 into Photomatix Pro, specify a few parameters, and POOF! It spit out an HDR image. Of course, what you see at the top of this post is not what you get right after the merge in Photomatix. I still had to tone map the HDR, then export it as a standard image file back into Lightroom for post-processing before it looked satisfactory.
I’m pretty excited about how easy the process was. My goal was to try to convey the scene the way my own eyes saw it, and I have to say that the final result looks very close to what I experienced that evening. Overall, I’m glad that I decided to give HDR a try, and I look forward using this photographic tool again.
Camera Specs: Nikon D300s + Tamron 17-50mm f/2.8 VC at f/13 ISO200, various shutter speeds.
The Canon S90 has exceeded my expectations as a great compact camera for landscape photography. Due to its small size, it’s incredibly easy to slip into a pocket carry with you at all times, just in case. Take this image you see above, for instance. Driving down a freeway back to my office in San Francisco after visiting some of my company’s customers on the east side of the San Francisco bay, I spotted these beautiful clouds hovering over lush green hills.
As the exit ramp off the freeway quickly approached, I debated with myself as to whether or not I should take a few minutes and try to capture an image of this beautiful scene. With only seconds to decide, I chose to not let this opportunity pass me by. I was so glad I had the S90 with me!
Getting the shot
After posting this image on flickr, I got quite a few questions about how I got the image to look this way, and if there was a lot of post-processing involved, so I thought I’d write a little “how I did it” on the image. The short answer is that there isn’t very much to the post processing here. The entire strategy for achieving the look I wanted, however, started at the camera and ended in Lightroom 3 beta.
I typically record JPEGs with the S90 since it’s more of a casual-use camera for me (I always shoot RAW with my DSLR). This was actually the first time since I starting using the S90 that I chose to record in RAW and post process the image myself. Shooting RAW allowed me to plan ahead in achieving the look I wanted in my editing software.
In this scene, the sky was brighter than the hill, not by a huge amount (the entire scene is front-lit), but enough to make it very difficult to get a nice even exposure across the frame. With no filters at my disposal, I had to improvise.
This is what the image looked like coming off the camera into Lightroom. Notice that the sky is over-exposed. Not to worry! I intentionally over-exposed the scene to get a good exposure on the foreground, while being careful not to blow out any highlights. In digital photography, this technique is often referred to as “exposing to the right [of your histogram].” The idea is that to get the most out of the dynamic range of a RAW file, it’s OK to over-expose the image and bring the exposure back down later, as long as you don’t over-expose so much that you clip highlights and lose detail.
In this case, my intention was to overexpose the entire scene at the camera and then selectively darken certain areas of the frame in post. The S90’s live histogram made this really easy. I simply added +EV at the camera until my histogram indicated that I was about to start clipping highlights, and then took the picture. I ended up adding +2/3EV at the camera.
Now, all that’s left to do is darken that sky in Lightroom to even the exposure out:
Here’s the final image. Darkened the sky with Lightroom’s adjustment brush and graduated filter. Notice how much detail was retained in the clouds despite the over-exposure at capture. Removed a couple distracting elements, added some contrast, and there you have it!
It’s important to keep in mind that in order for this method to work, you have to stay within the limits of your camera’s dynamic range. If this scene was back-lit and/or had a dynamic range that was higher than the camera could record without losing detail, achieving a balanced exposure might require exposure blending, HDR, or the use of a graduated neutral density filter over the lens.
Ok, so multiple people have told me that this image reminds them of a default desktop on Windows 9x/xp. I suppose it does…but hey, why use it on Windows???
That’s more like it!
Shot Specs: Canon Powershot S90 at 9.64mm f/5.6 ISO80 1/400 Second
I love what you can convey by presenting a spread of images together, as in a diptych or triptych. Some people are really good at putting images together that are distinctly different yet complimentary and story-telling. I’m not one of those people (I don’t really think I have that “artistic eye”), but I did sit down last night and combined put some photos in a way that hopefully says a little something about Suki.
One thing that can be accomplished with more than one image is the presentation of small details or fractions of a whole, that together, give the viewer a sense of the whole person, place, or object. I experimented with this concept in four images that don’t really reveal exactly what Suki looks like, but do give you a sense of her as a whole through the details that are presented. I dunno, I think it kinda sorta worked.
You can also present a sequence of events or actions using a polyptych (weird word). Suki does the most adorable yawn, but conveying what her yawn looks like pretty much necessitates that I show a series of photos in sequence.
After processing these photos in Lightroom 3 Beta, I opened each up in Photoshop to put them together. I just learned a dead simple way to do this. Assuming that each image is the same size and aspect ratio, all you need to do is extend the background layer’s canvas size by 100% in whichever direction you want to put the next image. Then, just copy and paste the next image on a new layer and drag it into place on the background layer. Sound confusing? Then head over to my cousin Josh’s blog for a video tutorial on diptychs.
Josh is my go-to guy for all my Photoshop needs. I only started working with Photoshop last year, but he’s been using it for easily over a decade for a variety of different art forms, including photography. A few weeks back I asked him how to add black bars to the top and bottom of my photos, and he sent me an email with screen shots that outlined how to do it step-by-step. I told him “Wow, wouldn’t it be cool if you did some sort of video tutorial on this?”
Soon after, what do you know! He posted a video tutorial on how to add black bars to the top and bottom of your photos. Cool! So I bugged him again and asked him to do another one on diptychs. The cool thing about his tutorials so far is that while there are dozens of ways to accomplish the same thing in a powerful and complex program like Photoshop, he endeavors to find and present the simplest and fastest method. I really appreciate this, as I’m the kind of person who likes to spend as little time as possible editing at the computer. You can find more how-to posts on his blog at http://jliba.wordpress.com.
Image Top: Nikon D300s + Micro Nikkor AFS 60mm f/2.8G
Image Bottom: Nikon D300s + Nikkor AFS 35mm f/1.8G