Focus Stacking

 This week I wanted to write about a photography technique that I recently started playing with that I learned during my recent View Camera Theory class.

Every seen a photo in a magazine ad for a new watch or other small item and wondered “How do they get the entire item in such sharp focus?” They use a technique called Focus Stacking so that every part of that Rolex is in razor sharp focus, from the numbers and hands on the watch to the band attached to it.

Focus Stacking is where you set your camera up on a tripod so you are nice and stable, then you shoot the product or item, changing your focus point but not moving the camera or changing the focal length.

This is 5 captures of the same scene but with different focus points.

 By shooting multiple captures on the product with a different part in focus each time and them combining them in Photoshop, you end up with a finished image that had every part of the watch in sharp focus with high detail.

Once you have captured your images, import them into Lightroom and then go to the Develop module and activate your Len Profile Correction. Once you have that done then select all of the images in the group that you shot and select the Photo menu item, then go down and select “Open as Layers in Photoshop.”

Once they are opened in Photoshop, select all of the Layers at once, then click the Edit Menu and choose Auto-Align Layers. Then when that has completed, click the Edit menu again and choose Auto-Blend Layers. When the process has completed, you will have a single new image where everything is in sharp focus and with high details.

All 5 shots from above combined into this Stacked image

Now all you have to do is save the new image and you are done. Focus Stacking is a lot of fun and can give you fantastic result so grab your trip, cable release and tripod and give Focus Stacking a try!

Comments/Questions

Get More Out of Your Wide-Angle Lens

Many photographers feel that portrait lenses are only 50mm, 85mm and 135mm, which is also why the 70-200mm F/2.8 is the best selling lens in the world whether they are made by Canon, Nikon, Sigma or Tamron.

I know you will think I am crazy but you can actually get more use out of your wide-angle lens than just shooting landscapes. One of the really creative uses for your wide-angle lens is Wide-Angle Portraits!

Wide-Angle Portrait by standing above and shooting down

Now before you start flaming me saying I have gone off the deep end, hear me out. Yes a wide-angle lens will make your subjects face all exaggerate because their nose might look huge and their eyes and ears small, but by shooting creatively you can make that wide-angle to create some really awesome shots.

Instead of shooting your subject head on like you would with a regular portrait lens, try shooting them from above, pointing the wide-angle lens down at them, or if you are shooting a full body portrait, shoot from their feet. Why would you shoot at their foot level??? Well because you will make them seem taller. Every wonder how Hollywood can make an actor 5 foot 6 look 6 feet tall, well they shoot them from down low with a wide-angle lens and *BAM* Tom Cruise looks like he’s 6 foot tall instead of 5 foot 7.

Getting down low with your Wide-Angle creates a new perspective

 Another great use for your wide-angle lens as far as portraits go is the Environment Portrait as you can capture your subject and more of their surroundings. Now one thing to keep in mind when shooting with your wide-angle, get closer or you end up with them looking like an action figure instead of an action hero.

Hercules - this image borrowed from Digital Photography School.com

Even when using your wide-angle for landscapes, make them more interesting by shooting at ground level. If you are afraid to lay down on the ground, crouch and set the camera on the ground and shoot. It might be a little tricky to get your focus lock, but if you use Back Button Focus, it’s much easier.

Additionally, you can shoot multiple people and placing them at different distances you can make some really cool looking photos!

Environmental Portrait from Digital Photography School.com

 Now that I got your creative juices flowing, grab that wide-angle lens and make some awesome images!

Comments/Questions

Enough with the Pixels

So this week I got my copy of the new B&H catalog and on the rear cover is an ad for Canon’s new Cinema camera that is capable of 4.5K video. Every time I see this kind of stuff I think to myself, enough with the fake perceived new pixel resolution. The thing that irritates me the most is consumers being suckered into buying these products.

Why am I so annoyed, well because unless you read the articles about it over the last couple of years, most neuroscientists agree that these resolutions are undetectable by the human eye.

"There's going to be some density beyond which you can't do any better because of the limits of your eye," said Don Hood, a professor of ophthalmology at Columbia University, in a phone interview with NBC News.

A person's field of vision covers about 200 degrees, a little more than a semicircle. At arm's length their index finger's fingernail will appear to be about the width of one of those degrees. Imagine that fingernail covered in 120 alternating black and white stripes — being able to discern those stripes at that distance is just about the theoretical limit of the human eye.

In reality, though, hardly anyone has such superb vision. In fact, most people would be unable to discern pixels or lines twice that size. And whether a phone or tablet display meets that standard depends on how far it it is from the viewer. In a living room, a viewer's 40- to 60-inch TV is positioned at a fixed distance, probably seven to nine feet away. Unless pixel-hungry TV fans buy far larger set, or push their couches much closer, any increases in resolution simply won't be perceived.

Most experts agree that 3D was a more meaningful invention than 4K because at least 3D can be seen by the human eye.

So if piling on more pixels isn't the next big thing — despite what TV makers and retailers will try to tell shoppers over and over again — what is? Experts said there are plenty of ways displays could improve.

Neuroscientist point to newly developed "quantum dot" technology for displays that is already leading to far better color representation on some devices. Advancements in dynamic range, leading to displays capable of showing light and shadow in movies and games the way we see them in real life.

When you're in a scene where there's indoor stuff, outdoor stuff, glossy materials reflecting other lights ... that dynamic range is huge,. Consumer-grade displays don't get that stuff right.

Some of the great masters, the painters, they knew things about light and shadow. They kind of knew instinctively how the retina works. In other words, perhaps the secret to a better TV is hidden in the smile of the Mona Lisa.

So, keep all of this in mind, not only when you buy TVs and other displays, but also when buying newer cameras. If you think your customers will prefer the new 4.5K or 5K video, you are wasting your time, better to stick with what actually works, rather than having clients upset because you shot their wedding in 5K and they cannot see a quality difference.


Comments/Questions

Light Field Photography

This week I wanted to write about a new style of photography that I have recently started playing with, called Light Field photography.

A light field camera, also known as a plenoptic camera, captures information about the light field emanating from a scene; that is, the intensity of light in a scene, and also the direction that the light rays are traveling in space. This contrasts with a conventional camera, which records only light intensity.

In this image, the focus is on the mailbox.

The first light field camera was proposed by Gabriel Lippman in 1908, and he called his concept “integral photography”. Lippmann's experimental results included crude integral photographs made by using a plastic sheet embossed with a regular array of microlenses, or by partially embedding very small glass beads, closely packed in a random pattern, into the surface of the photographic emulsion.

In 2004, a team at Stanford University Computer Graphics Laboratory used a 16-megapixel camera with a 90,000-microlens array (meaning that each microlens covers about 175 pixels, and the final resolution is 90 kilopixels) to demonstrate that pictures can be refocused after they are taken.

Lytro Inc. was founded in 2006 by Res Ng, a graduate of Stanford University and inventor of the Lytro Light Field camera line.

In this version of the same shot as above, the focus is on the car.

Features of a light-field camera include:
    1) Variable depth of field and "refocusing": Lytro's "Focus Spread" feature allows the depth of field (depth of focus) of a 2 dimensional representation of a Lytro image to be expanded after a picture has been taken. Instead of having to set the focus at a particular distance, "Focus Spread" allows more of an 2D image to be in focus. In some cases this may be the entire 2D image field. Users also are able to "refocus" 2D images at particular distances for artistic effects. The ILLUM allows the "refocus-able" and "Focus Spreadable" range to be selected using the optical focus and zoom rings on the lens. The ILLUM also features "focus bracketing" to extend the refocusable range by capturing 3 or 5 consecutive images at different depths.
  
    2) Speed: Because there is less need to focus the lens before taking a picture, a light field camera can capture images more quickly than conventional point-and-shoot digital cameras. This is an advantage in sports photography, for example, where many pictures are lost because the cameras auto-focus system cannot be kept pointed precisely at a fast moving subject.
   
    3) Low-light sensitivity: The ability to adjust focus in post-processing allows the use of larger apertures than are feasible on conventional cameras, thus enabling photography in low-light environments.
   
    4) 3D images: Since a plenoptic camera records depth information, stereo images can be constructed in software from a single plenoptic image capture.

Wedding side by side, image from PetaPixel

 I have recently started using a Lytro Illum camera myself and I like the camera a great deal. Is it perfect for every situation, probably not, but one of the nice aspects of the camera is if you are shooting sports, you can shoot faster with the Lytro Illum as you don’t have to worry about whether or not the AF can keep up. Since the images can be re-focused in the camera or Lytro’s Desktop processing software, you can just shoot away at a football game and then put the images in proper focus later. Some wedding photographers have begun to embrace the Lytro camera as they can take one shot of a bride and groom like this sample image and shift the focus from him to her in a single shot and then export both versions for print.

I have had my Lytro Illum for a few weeks now and I can say that the camera is certainly worth a try, I have captured some really fantastic images with it. Is the Lytro Illlum for everyone? Of course not, but if you have the extra $350 to spend and want to take your creativity to the next level, go ahead and give it a try!



Comments/Questions

New Third Party Manufacturer

This week I wanted to write and make everyone aware of a new third party builder for photography accessories, YONGNUO.

Some of you may have heard of them before and some of you may not, but YONGNUO has been around for a few years now and they started out making knock-offs of Canon and Nikon’s Speedlites.

If you are familiar with them, their first generation of Speedlites had issues with getting hot while using them or failing after short periods of time, but lately their quality has improved dramatically, to the point where now many Pros are buying their Speedlites and using them full time. Their newer YN560 Mark IV Speedlite is as good as the Canon 580 EX Mark II and has all the same features, (I Know because I own both Canon’s and YONGNUO’s models). And their newer YN600EX-RT is giving Canon’s new 600EX-RT a run for it’s money.

Photography is an expensive business to get into and anywhere you can save some money, you are doing well. YONGNUO’s YN560 Mark IV costs $69.00 compared to Canon’s 580EX Mark II’s $449 and the YN600EX-RT is $119 compared to Canon’s 600EX-RT at $499.

But in the last 2 years, YONGNUO has started making knock-off lenses as well to compete with Canon, Nikon, Tamron and Sigma. The first lens that YONGNUO offered was a total knock-off of Canon’s EF 50mm F/1.8 “Nifty Fifty”. Not only does the YONGNUO model look identical to Canon’s but in reviews, it shoots about 98% as good as Canon’s. The difference, Canon’s is $130 and the YONGNUO 50mm F/1.8 runs $56!

And now YONGNUO has released their own 35mm F/2 prime lens for both Canon and Nikon. The YN35mm F/2 looks identical to the Canon 35mm F/2 but where the Canon model runs $599, the YONGNUO model runs $94. I read a LOT of positive reviews of the YN35mm so this week I bought one myself and it arrived on Saturday and I took a couple of quick test images with it and was VERY impressed myself! I also discovered when processing in Lightroom that even though Lightroom doesn’t recognize the lens by default, the Canon EF 35mm F/2 lens profile works perfectly!

So, for those of you looking to save money, especially while attending AI, you have save a ton with YONGNUO Speedlites and lenses! Now I mentioned that I would show you how well the YN35mm F/2 lens works, well here are a couple images I shot with mine.

Comments/Questions

Focus Screen Part 2

In my last blog post I talked about the Focus Screen on your camera and what it does. This week I am writing part two of this article on how to replace or clean your Focus Screen properly so that you can always have a clear viewfinder to look through.

To remove your Focus Screen for cleaning or replacement, you need a Focus Screen tool. This is a special, plastic, tweezer-like tool that can grab the Focus Screen by it’s little tab and remove it safely. If you take off your lens and lay the camera on it’s back, look at the top of the lens opening and you will see a small metal tab. Flip that down carefully with your finger or tweezers and that releases the frame, and there the Focus Screen is.

Focus Screen release tab is circled in white.

Once you have flipped the Focus Screen frame switch, the frame drops down on it’s own and you can see the Focus Screen. Using the Focus Screen tool, grab the Focus Screen by the tab and gently lift it out of the camera.

New Focus Screen and grabber tool in the plastic box

 To clean the Focus Screen, Canon recommends you use a Rocket Blower first to see if you can blow any of the particles off the Focus Screen. You can then re-insert it with the tool, close the frame and look through your viewfinder to see if you were successful. If not, remove the Focus Screen again and you can try cleaning it with soap and water.

Prepare some warm water in a small dish or cup, you can use Distilled water but it’s not required. Add a small amount of dish soap like Dawn or whatever you have in your kitchen. Put the Focus Screen in the solution and let it soak for a bit, remove it from the solution and gently brush it with a horsehair brush, like a small paint brush, new of course, that people use to paint models.

Next, use your Rocket Blower and blow the Focus Screen dry, never use your breath. You can use compressed air, but make sure you don’t freeze the Focus Screen by blowing it too closely with the compressed air. Once you feel it’s clean, and dry, put it back into the frame and snap the frame back into place. Never touch the Focus Screen with your fingers, other than by the side edges as the oils in your skin will make a mess of the Focus Screen and that oil is pretty much impossible to get off again according to Canon.

Rocket Blower for cleaning sensor and Focus Screen

Check your viewfinder again, if it’s clear, you are good to go! I sometimes try to clean my Focus Screens, but I have bought used cameras and had the Focus Screen just so incredibly dirty that I just replaced it. You can buy new Focus Screens from Canon, Nikon (if you are a Nikon shooter), B&H, Adorama, or Amazon. When you order a new one they come in a nice plastic tray assembly with a snap close lid and the tool comes with it. After I remove my old one and swap it out, I put the old one in the tray and store it in a drawer just in case I need an emergency spare.

Now, if you don’t have the stomach to clean the Focus Screen, you can easily just replace it yourself or take your camera to a camera shop to do it for you. I will warn you that depending on where you live, it can cost you upwards of $200 to have it changed. If you are a CPS member, Canon will clean it for free along with your sensor once a year, but you have to ship it to them and be without your camera for a few days.



Comments/Questions

Focus Screen Part 1

This week’s blog post I wanted to write about a specific part of the camera system that you may or may not be familiar with, the Focus Screen.

The Focus Screen is a small piece of flat, translucent material, either ground glass or a fresnel lens. It is located inside the front of your camera where the lens mounts and help you acquire focus and frame your shot through your camera’s viewfinder.

Canon Eg-A Focus Screen

 There are various types of Focus Screens for most cameras and they can be either etched or non-etched. There are even Focus Screens which are made specifically for using low light lenses.

Some cameras have plain Focus Screens and others have etched ones that denote the focus points and even have a grid for maintaining your “Rule of Thirds”. Many of the newest mid-range and professional DSLRs have a plain Focus Screen with a monochromatic LCD overlay that reveals the focus points when you depress the shutter button halfway.

One of the interesting things about your Focus Screen, aside from the fact that many people do not realize their camera has one, or that it’s easily replaced, is the fact that if the Focus Screen picks up dirt, many photographers think it’s their sensor that’s dirty when that is not the case. If you are someone like myself that has an OCD thing about even the smallest spec of dust in my field of vision, the Focus Screen can be a source of annoyance.

Image of a dirty Focus Screen, courtesy of Ken Rockwell

Have you ever looked through your viewfinder and noticed little black specs or even tiny black strings? Well, chances are if you have seen this, it is your Focus Screen that is the culprit and not your sensor. Especially if you see the dirt, but it does not show up in your photos.

Cross Section of a DSLR, Number 5 is the Focus Screen

Focus Screens can be a pain to clean and there are specific methods to do so, which I will go into in my next post. For now, either try to ignore the dirt in your field of view if you can, or go on-line and order another Focus Screen and replace your old one. You can generally buy new ones for around $20-$35 a piece, but look up which model your camera came with originally and buy the same one. Most all Canon cameras come with what’s called the Precision Matte “Eg-A” Focus Screen and the new one will come with a special tool to remove the old one and put in the new one. Whatever you do, do not touch the Focus Screen with your fingers. My next post will be on how to remove and replace your Focus Screen as well as how to clean it PROPERLY.



Comments/Questions

Great Plugins

One of the items that can come in handy for your Post-Production is plugins or add-on software for your Photoshop and Lightroom. These can be handy little programs that can give your images a little extra “pop” to make them really stand out.

The ones I want to talk about today are the Creative Kit 2016 pack by Macphun software. Macphun makes software for Macs only and their plugins are very good and can really take your images to the next level.

Creative Kit 2016 comes with six programs, which are Intensify, Tonality, Snapheal, FX Photo, Focus and Noiseless.

Intensify will help with powerful Structure, Sharpness and Details using Pro contrast and comes with dozens of built in image presets.

Tonality is a Black & White photo editor, which allows you to reimagine your monochrome image editing with hundreds of presets, layers,unique digital controls, authentic grain effects and more.

Snapheal allows you to remove unwanted objects and strangers from your photos. You can cut any odd or excessive details. It also features a Clone & Stamp tool to help you replace them with something nice. I like this one as I think it does a better job at removing objects than Photoshop alone.

FX Photo Studio allows you to experiment with styles and looks for your images. Use the large selection of filters to create customized, unique images, you can combine or apply them selectively for some really “special” images.

Focus allows you to add Pro lens effects without the expensive gear. Use smart blur controls and powerful lens effects, including adding your own bokeh in Post Production.

Noiseless will get rid of digital noise and preserve details in your structure and save your night shots by turning them into crispy & clear images. Have Noiseless work on your images pixel by pixel to make them smooth and vibrant instead of deleting them because of noise.

You can buy the entire Creative Kit 2016 on sale for $129.99, marked down from $339 and you can buy it in installments of $25 over 5 monthly payments. If you search the web you might be able to find it even cheaper, I got a deal through Stack Social and I paid only $53 for the entire kit and the nice thing is you can install it on as many Macs as you want with one license.

One final note, some people Love the new “Photos” app in OS X that replaced Aperture, some people hate it and want Aperture back. I prefer Aperture myself and bought it years ago so I will always have it. But if you do like using the “Photos” app for even minor post production, Macphun has updated Creative Kit 2016 so their plugins will even work in “Photos” as “Extensions” or plugins in the Apple world.

All of these plugins will install into Aperture, Photos, Lightroom, Photoshop and Photoshop Elements so you can use them on whichever of these programs is your favorite.






Comments/Questions

Another Way to Improve Post Processing Performance

This week I want to write another article on ways to improve your post processing workflow from a performance standpoint. You'll remember I wrote a blog post about tweaks for Lightroom, well today's post will not only speed up Lightroom, but also Photoshop and anything else you are using for Post Production. How can I be certain this will enhance EVERYTHING you say, well because for my day job, I am an I.T. Professional of 25 years.

Some of you may or may not have heard of SSD's also know as Solid State Disks or Solid State Hard Drives, but you may not be sure what they are or how they can benefit you as a photographer. Well an SSD, unlike a conventional hard drive has no moving parts, there are no metal platters inside and no head that reads them similar to an old record player.

Crucial 500GB SSD MX 200 series

 A Solid State Drive is basically a giant memory card, so it can read and write data insanely fast compared to a conventional hard drive which can only read and write at the speed that it's platters spin at. When SSD's first came out 5-10 years ago they were extremely expensive as most anything in electronics or computers, but over time, they become more and more cost effective in comparison to their platter counter-parts.

How will an SSD speed up your Post Processing and workflow? Well, the latest SSD's are capable of reading and writing data at 6GB/s, that's 6 Gigabits per second compared to platter drive which can only write at upwards of 15,000 Bits per second and that's only if you buy the expensive SAS drives, which are usually used more in servers than home computers.

I went this weekend and bought a used Mac Mini Server as a second computer and bought a 2012 model as it is the last year Apple made them user upgradeable, allow you to add more RAM and to easily swap out the hard drive from the old style platter model that only ran at 5,200 RPMs. I then went to Microcenter and bought a nice Crucial MX200 series 500GB SSD in 2.5 inch form factor. The Crucial is the best in SSDs and they have been one of the leading makers of system memory for decades, so it only stands to reason that they would also make the best SSD's since, again, an SSD is nothing more than a massive memory card that plugs into the hard drive ports on your computer and doesn't erase when the system is rebooted or powered off like RAM does. The model I bought it 500GB @ only $149 and will allow either a Windows or Mac based system to boot from cold start to the desktop in 7-15 seconds!

Crucial 500GB SSD plugged into a Windows PC

An SSD will also allow your applications to load hundreds of times faster such as Lightroom, Photoshop, or even Apple Final Cut Pro X video editing software which I use for my DJI Phantom 3 Professional videos. Ever seen that dreaded hourglass or spinning beach ball in Window or Mac? Well kiss them goodbye with an SSD as those kinds of things never happen again. Even though your Windows machine will still need to be defragmented now and then, image your Defrag only taking minutes instead of hours.

Now I am sure a lot of you are thinking, "How can I get this in my current system?" Well if you are handy with a screwdriver, most people can replace a hard drive themselves and then just restore your Operating System and applications from backups or do a clean install. A Windows 10 install that can take an hour or more on a conventional hard drive can be installed on an SSD in 15-20 minutes! If you don't have the stomach for this work yourself, find a local computer shop that will swap out the drives for you for a reasonable fee. If you do decide to tackle it yourself, Google how to do it as many videos exist on YouTube that will show you step by step how to do it yourself.

Trust me, once you've gone to SSD, you'll never go back to an old style hard drive again and you'll certainly appreciate the boot in speed when doing your Post Production.

Comments/Questions

Drones and Your Photography Business

So this past week PPA (Professional Photographers of America) sent out an email that the FAA has released it's new rules on drones for business. According to the new FAA rules, the estimated out-of-pocket cost for an individual to become certified as a remote pilot with a small UAS rating is $150. This will cover the testing fee.

My Phantom 3 Professional hovering in my front yard.

The required aeronautical knowledge test will cover the following subject areas:

- Regulations applicable to small UAS operations

Airspace classification and operating requirements, maintenance and inspection procedures, and flight restrictions affecting small unmanned aircraft operation
Official sources of weather and effects of weather on small unmanned aircraft performance
Small UAS loading and performance
Emergency procedures
Crew resource management
Radio communication procedures
Determining the performance of small unmanned aircraft
Physiological effects of drugs and alcohol
Aeronautical decision-making and judgment
Airport operations.

You'll be able to take the test at more than 700 FAA-approved testing centers. Get more information from the FAA on certification here!

A shot of my cul-de-sac from my Phantom 3 Professional

 There are also some new changes in the rules that will becoming out in August 2016, so you may want to wait a few more weeks to actually start the licensing process. Remember, you are ultimately responsible to make sure you are legal to fly your drone for your business and getting caught without a proper pilot's license will result in hefty fines and possible jail time!

Comments/Questions

Are Drones Dangerous?

As I am sure you and most everyone is aware by now, drones are becoming more and more mainstream, especially professional drones. No I am not talking about the Reapers that Uncle Sam uses to rain down Hellfire missiles on terrorists, I am talking about photography and videography drones.

I personally own the DJI Phantom 3 Professional drone and love it! But many people are nervous or even scared of drones after all of the negative coverage on the news, especially on TV. They hear stories about drones falling on people or crashing into objects and wreaking havoc on innocent people.

People are afraid of many things, and thanks to all the negative press, many people are afraid of drones. They are paranoid that someone is using a drone to film them in the shower, or in some other "Peeping Tom" fashion, or that a drone will fall out of the sky and hit them or their children in the head.

Still from video I shot in Barnesville, Ga with my Phantom 3

The truth is drones are no more dangerous that anything else and safer than cars, yet you drive your car all over town every day and never give another thought about it. The incidents of drones crashing are the exception, not the norm as a general rule, anyone like myself that has spent considerable money on a professional grade drone will take the time to learn everything they can about it to fly it as safely as possible. I watched hundreds of videos on the Phantom 3 and drones in general to try and make myself as knowledgeable as possible on the subject of drones and safe drone flying.

Additionally, the better, professional drones like mine come equipped with a "Safe Mode", which prevents the drone from flying more than a certain distance away from it's GPS "home point" and it also doesn't allow you to fly more than so many meters off the ground. The manufacturers
put these safety features into their software to help prevent people from making serious mistakes and hurting people or property. Once you have mastered your drone and honed your piloting skills, you can take it out of "Safe Mode" and then you can fly mine up to 2 miles from the take off point and fly to the maximum legal altitude which is 400 feet in the U.S.

The point I am making is that drones, like many other items are just another tool in a professional photographer's bag. A drone can be dangerous, but why live in fear of something happening when the chances are Slim to None and Slim is out of town. I personally have practiced with mine a lot while nowhere near people or property, I also use and recommend an app call UAV Forecast, which uses your GPS location to tell you if the weather is suitable for flying or not.

Railcar I shot in Barnesville, Ga with my Phantom 3

Most anyone that is a serious drone photographer or videographer is going to spend considerable time learning everything they can about their new gear before they ever use it out near people or objects that it could cause harm to, no one want to pose a risk to the health and well-being of others on purpose and most of us also buy special drone insurance just in case something does go wrong. Many of you probably don't even realize that a lot of your favorite TV shows and movies now use professional drones with professional "pilots" flying them to film.

With the enormous cost in making a block-buster movie these days, studios look to save money any way they can and a $1,000-$5,000 drone that be used over and over again is way more cost effective than say a $60,000 a day camera boom truck. Just as many of you might not be aware, but the GoPro action camera is also used by many studios for shooting TV shows and movies because again a few $300-$400 GoPros mounted on car bumpers for chase scenes are way cheaper and the GoPro is capable of extremely high-quality video and stills with it's 12MP camera capable of 1080p or even 4k HD video as the new model is capable of and so is my drone.

If there is one thing I want you the reader to take away from this week's post is that drones are nothing more than another camera "body" and most of them are being flown by professionals who take flying and filming with them as seriously as any other photographer using any other conventional camera body and lens combination. So, next time you are out at a skate park or some vacation spot like a beach in Florida and see someone flying one of these professional drones, instead of being afraid of the drone, walk over and strike up a conversation with them.
I have people walk up to me and ask me about mine all the time and many times they ask me to shoot some footage or stills of them.

Keep in mine that the media loves to blow things out of proportion as they are looking for ratings and sensationalism and less about sharing the truth on a subject. Now get out there and check out some drone photographers, or rent one and try it out for yourself!

Comments/Questions

Don't Let Social Media Stifle Your Creativity

Social media sites like Twitter, Instagram, Facebook, 500px.com and others can be a great way to share you work as a photographer, but they are not the end all be all. Many times photographers get discouraged with the results they find on these sites, especially if they don't receive a large amount of "Likes" or "Shares" or "Favorites".

These responses are not an accurate gauge of your creativity or ability as a photographer, they are more the results of Social Media popularity contests. I have talked to and see so many photographers become discouraged with these platforms because they don't gets tons of "Likes" or "Shares", they think their work is not good enough or that no one likes they creative flare.

When it comes to your art and your work, you have to be the one true judge of your creativity and always strive to try new things and think outside the box. I can personally tell you from experience that I have posted photos on 500px.com and even on Facebook that got very little attention, but that same photo on EyeEm.com and Getty Images is selling like hotcakes.

Tybee Island Sunrise - Not liked at all of Social Media, sold 50 copies on Getty Images

 On the other hand, images I have posted that got scored really high or gotten lots of "Likes" and "Shares" didn't sell at all even though they were fantastic images and very creative and visually pleasing. The point is you are the best one to determine your best work and you can also get a more professional, objective opinion from your professors while you are still in college or from other professionals you are friends with or network with in the real world.

Social Media sites and platforms can be great for getting your work out there and noticed by a wider audience of people and perspective clients, but if you go into Social Media with the wrong mind-set, it can also suck the life out of you creatively. I find that a good way aside from the ones I mentioned a moment ago to have your photos honestly critiqued is to join some of the larger photography groups on Facebook that have been around for a while and have a large number of pros and seasoned hobbyists that are very active on there.

I personally created a Photography Twitter account that is totally separate from my personal one and have picked up quite a few professional photographers as followers and some of them are even nice enough to talk to me on there via Direct Message on a regular basis and are even kind enough to give me honest feedback on my work that I post there all the time. Some of your more famous photographers like Chase Jarvis and Zack Arias won't give you the time of day on there and most of them won't even answer emails either but there are still some pros out there that are more than happy to talk to you and even critique your work, such as Jared Polin from FroKnowsPhoto.com, Josh Schmidt from PhotoTipsHQ.com, Ken Rockwell from www.kenrockwell.com and Leigh from www.snapchick.com.

Wall of Light - Got tons of Likes and Shares, was used by AI for publications, never sold a copy

 I have also had personal exchanges by email with David Hobby and Scott Kelby as well, but they are a bit harder to catch up with as they are always so busy and get so much email, and I have never felt like bother either one of them for a photo or portfolio review/critique.

The point I am trying to make is you cannot let these sites pull you down and make you second guess your abilities or creative abilities as a photographer or artist. Take most of the response you get on Social Media with a grain of salt, I don't even let myself get overly excited when people gush over my work posted on there, but I do make sure I always thank them for their comments.

Comments/Questions

Street Photography

This week I want to talk about a subject that probably makes many of you nervous, Street Photography. Many new photographers cringe at the thought of shooting street, but if you are a photography student, then I am sure you have had a professor or three tell you that you need to learn to start shooting outside your comfort zone.

College student taking a catnap on the steps in Centennial Olympic Park downtown ATL

 Street Photography doesn’t have to be scary and there are some tips I am going to share with you this week to hopefully make you more successful at it. The key to doing Street Photography is being discreet. You don’t want to be out there with your biggest telephoto lens, trying to avoid human contact because you will make your subjects nervous. Take your camera body and a prime lens like a 35mm or 50mm, these lenses will require you to get more up close and personal, but that is the whole idea. Don’t take a flash with you or anything else that will be intrusive or invasive to your subjects, for Street Photography you want to be a minimalist.

Woman walking and texting on her way to bus stop

 Mirrorless is a good camera to use for Street Photography as most of these models are extremely small and light weight, yet make amazing images. Get up close to your subjects and interact with them, talk to them, get a little bit of their story, build some rapport and you will find that Street Photography is not so hard to pull off.

If you are someone like myself who is fairly sociable to begin with and can build an instant rapport with people, then Street Photography will be easier for you. If you don’t have this natural knack, then take it slowly and don’t try to force the issue with your subject. Be respectful of them and their personal space, you don’t want to drastically interfere with their routine or whatever they are doing, but you do need to interact with them enough to make this process easier. Talk to them about the weather, the local sports team, how terrible the traffic is (especially if you live in Atlanta), or anything else that strikes your fancy. Stay away from HOT topics like politics or religion, I don’t want you getting into a hostile debate or getting attacked by some nut.

As you get more and more experienced at shooting Street Photography and become more comfortable, you may find that you really enjoy shooting it. I know I did during the last two years I worked in downtown Atlanta. Also when you become more confident, some people will actually approach you and ask to be shot as part of whatever you are shooting for, I have had this happen numerous times and it can be a lot of fun!

Rodney here is one of the many people that have stopped me and asked to pose for a street portrait

 The important things I want you take away from this week’s blog post is that Street Photography doesn’t need to be scary. If you keep your gear to the bare minimum and take the time to talk to your subjects you will find that this style of photography is not nearly as frightening as you originally thought.

Comments/Questions

Understanding Aperture

There are three key components of the “exposure triangle”, Aperture, ISO and Shutter Speed, and today we will be talking about Aperture.

An easy way to think of the Aperture of your lens is to think in terms of the human eye. Since your camera’s sensor “sees” things much as your eye does and then records those images in a physical form, we can think of Aperture the same way.

Every lens is made of a a group of glass elements and also a group of Aperture blades. The blades are what limits the amount of light passing into the lens and onto your sensor. These mechanical blades work the same way your pupil works, when in a low light situation, your pupils open up larger to allow more light in so that you can see better and when you are out in bright sunlight, they shrink down to tiny dots to reduce the amount of light coming in.

My Canon EF 50mm F/1.4 USM wide open at F/1.4

Aperture blades do the exact same thing, only mechanically and you control them. So a wide Aperture lens like my Canon EF 50mm F/1.4 USM when set at 1.4 is wide open, like your pupil is in low light and I can shoot better indoors at say a concert.

When I am shooting outdoors in sunlight, I will generally set my Aperture to say F/5.6 to F/8 and the blade will reduce the size of the hole in the center of my lens allowing less light into my sensor like the image below of the Canon EF 50mm F/1.8 II. The process of engaging the blades in your lens is known as stopping down as you are reducing the amount of light getting through the lens to your sensor.

Stock image of Canon EF 50mm F/1.8 II with the blades closed all the way

 Aperture is measured in stops and you will see it marked on your lens in the following values. Let’s say you have a standard kit lens of 18-55mm. That lens generally has an Aperture of F/3.5-F/5.6, which means at 18mm it can open as wide as F/3.5 but at 55mm it can only open to a width of F/5.6.

If you are looking at the popular 70-200mm lenses, they generally come in two varieties, F/2.8 and F/4. The F/2.8 model will allow more light, in this case one stop more, than it’s F/4 counterpart.

Aperture also directly impacts your Depth of Field in your images, especially in longer focal length lenses. We all strive to achieve that creamy background blur and bokeh, and using a low Aperture with a longer focal length lens is how that is accomplished. This is one of the reasons wedding photographers will generally shoot with the 135mm F/2 or the 70-200mm F/2.8 lenses. How your bokeh looks in your images depends on how many blades your lens has. A five blade lens will not be able to make perfect circles, but then again, some people like their bokeh to be more angular, where I prefer mine to be as close to perfectly rounds balls of light. When shooting landscapes, by stepping down the Aperture, you can keep more of the scene in focus and get that beautiful wide shot where everything looks fantastic!

Notice the creamy Bokeh in this shot I took in Monroe, Ga.

 Another thing to keep in mind is that every lens has a “Sweet Spot”, which means the Aperture at which the lens shoots at it’s sharpest. You will need to test your lenses for yourself to find that “Sweet Spot” area, but on most lenses, it’s the area between F/5.6 and F/9.

Janice Mcgregor shot this one with the Canon EF 28-135mm check out that blurry background!

 Understanding Aperture is crucial to become a successful photographer and once you master this aspect of your lenses you will becomes more skilled and intuitive at fine tuning your photography.



Comments/Questions

How to Make Your Camera Battery Last Longer

Most cameras these days can take quite a few photos on a single charge, but this week I am going to share some tips for getting more life and more shots out of the camera’s battery.

1.) GPS - This is a unique feature that a lot of new cameras have these days, but unless you need to tag your location during a shoot, keep this item off. In the course of a day, GPS can drain up to 20% on your battery.

2.) WiFi - Again this is another neat feature to have on a newer model camera, but unless you need to actually use it, keep it off. The last thing you need your camera doing during a shoot is constantly hunting for WiFi networks.

 3.) Sleep Mode - This is a nice item that is on most camera’s menus. Setting the sleep mode to the lowest time possible will allow your camera to save battery life in between shots and the camera wakes pretty much instantly when you press a button. Turning your camera on and off all the time doesn’t really extend the battery life any more than Sleep Mode but it takes a bit to boot back up and you could miss a shot.

4.) Review Time - If you are skilled at using your camera, you can set the lowest possible review time. I personally don’t use the Review at all on my cameras, and most Pros don’t either.

5.) Continuous Focus - Don’t use this if you don’t need it. It can make shooting harder if you need to recompose, but if you are shooting objects that are not moving, it just drives the focus motor constantly and drains the battery.

6.) Image Stabilization - This feature is very handy at have in your camera system at times, but if shooting on a tripod, it can actually impose movement where there should be none.

7.) Live View - Live view is one of the biggest battery drains on a camera system. The viewfinder is there for a reason, photographers got by for centuries without Live View.

8.) Silent Mode - If you don’t need it for the shooting you are doing, turn it off. My EOS 6D has two silent shooting modes and I love to use them when photographing wildlife as even the newest cameras have some clacking when taking photos. If I am shooting a car show or portraits, I turn it off to save battery life.

9.) Built-in Flash - I am not even sure why any cameras come with this these days because they are a huge battery hog, their performance is crap, so why bother put them on cameras to begin with?

10.) In Camera Post Processing - Again, not sure why cameras even have this as you can do a way better job with Lightroom or Photoshop.

11.) Focus Beep - It does not consume a huge amount of battery life but adds up over time and the beeps are annoying anyways.

12.) Light Optimizer and Noise Reduction - Again, not sure why either of these are in cameras to begin with and you can do a better job in your post production software.

13.) RAW + JPG - I know some people like having this ability but you are writing double images every time you press the shutter so you know this is sucking up memory.

Once you’ve turned these all off, you should see anywhere from a 20% even upwards of 40% increase in battery life and total shots you can take per charge.

Comments/Questions