I have always looked forward to photo session days while simultaneously dreading the thought of retouching on the back end. In today's fast-paced world, who has time for that? It shouldn't be too much to ask for a solid workhorse that does everything well and requires little to no editing.
I have always looked forward to photo session days while simultaneously dreading the thought of retouching on the back end. In today's fast-paced world, who has time for that? It shouldn't be too much to ask for a solid workhorse that does everything well and requires little to no editing.
There are filters that help cut down on light pollution in big cities and in the wild. But believe it or not, you don't necessarily need them. They can always surely help when trying to photograph the night sky; however, you still might end up working in post-production anyway to darken certain areas of the sky.
There are times when you look at a photo and wonder why the colors are all weird. And if you're a beginner, then you're probably sitting there and taking the photo again and again to fix the problem.
There are times when you look at a photo and wonder why the colors are all weird. And if you're a beginner, then you're probably sitting there and taking the photo again and again to fix the problem.
When you think of daylight white balance, we're positive that most of you couldn't totally figure it out. You're probably shooting in auto white balance. And if you had to take an educated guess, you'd think that it would be a warm-toned balance.
Ask yourself: have you ever felt so good about an image that it didn't need post-production? Trust me, there's no better feeling. In the past few years, I've given in. I've become so incredibly sick of staring at a camera screen to then stare at a computer screen.
Oof! Sony, what did you do? The world's most innovative photography company made two flashes. Also being announced today is the Sony HVL-F60RM 2. Both flashes aren't anything very special. Their biggest updates are the metering with skin tones, the ambient white balance, and build quality at the hot shoe foot.
There are still photographers out there who hate electronic viewfinders (EVFs). They just can't get used to them. But sometimes, I genuinely think that it's part of just not adapting and embracing what's possible with them.
This post is motivated by watching a YouTuber with a Mamiya RB67 photograph folks with darker skin like mine. But nothing was done about the all-natural lighting. And as a result, there were no details in the person being photographed at all.
There is nothing like the look of film. Some people think they know what it looks like using presets. But the truth is that you're better off doing it in the camera. Luckily, a few companies have really started to recognize this.
Of course, it depends on what generation you belong to. But the Blade Runner look is still something often copied. Folks love it! And we admit too that it's entertaining. And there are two variations of the look.
I think that every photographer somehow or another loves to photograph cities at night. They become a magical place that suddenly come alive and have specific lighting set so carefully. And they're gorgeous.
Fact: most photographers shoot in auto-white balance and deal with all the problems with skin tones and color later on. But it can be pretty tricky at times. So today, we're showing you how to get better skin tones and master perfect white balance at the same time.
We get it: you want to photograph a moment just the way you see it! Many photographers who shoot portraits at night are really the ones who eventually start to understand how lighting works once they get enough experience.
White balance is one of the crucial elements you have to work with to ensure accurate colors in your photos. To be able to do this, you have to know how to use the color temperature scale. Whether you're just discovering color temperature in photography or looking into getting a better understanding of it, we're sure this infographic by Digital Camera World will serve as a quick reference for you.
The next time you go on a photo walk, I encourage every single one of you to turn off all the automatic modes and shoot completely manual. While this may sound like something lots of folks do, I'm sure that you all know in the deepest darkest parts of your hearts that you're not doing this.
If you're a photographer who shoots in auto white balance, stop. Can you fix it in post? Yes. Will it really, truly help you? No, not really. I've been very much of the opinion and idea that photographers should go into shooting with a creative vision of some sort to help them create images that are more unique to them, and a customized white balance is only the start of this--and it's bound to help you create images that someone else shooting the exact same thing most likely won't get.
One of the reasons why I use specific white balances like Daylight when shooting photos is because it tends to take the guesswork out of editing and colors. Daylight white balance is balanced to be fairly warm and to counteract the already very cool light that daylight is.
There is absolutely no reason why you shouldn't care about white balance in the same way that you care about manual control over the exposure of the image. The way that color is rendered in a photo can completely change the way that it appears and in order to get the absolute best color, you should use manual control over your white balance in the same way that you manually control the ISO, aperture and shutter speeds.
Gels are bound to scare away most portrait photographers and strobists simply because they don't understand how to really use them. But one of the coolest things that you can do as a photographer is learn how to use gels to tell a different story in your portraits and overall in your photography.
P for Professional: that's the mantra that has been preached amongst photographer after photographer simply to make fun of the idea. It's been taken so seriously that the Home Shopping network has said it at times with complete seriousness.
Lots of photographers everywhere tend to want what's called the "Blade Runner" look in their images, and what they don't realize is just how incredibly simple it is to do within the camera and not even worry about post-production at all.
I'm going to share with you a little bit of insight that the cinema industry has known for years but that the photo industry still sort of rejects in favor of innovation: and that's that Canon has been getting skin tones perfectly, absolutely right for years and that they still do.
Don't listen to anyone that tells you that wonderful portraiture can't be created during anytime of the day or night. There are great ways to shoot equally great portraits during the day or night and they don't always involve the use of a flash.
If you've been a strobist for a while, you've probably considered working with gels in some way or another. Gels are little pieces of plastic that go onto the front of your camera flash or strobe and add some sort of extra color to the output.
For the past year or so, I've been doing a special experiment with the way that I shoot photos: I've been working almost exclusively with Daylight White Balance. Crazy, right? Especially when these days the auto white balance setting seems to do such a great job.
When you're shooting during the Golden Hour, you'll probably see that one of the more challenging things to do is golden hour landscape photography. But indeed, it really isn't that difficult if you just understand how light works.
I'm going to let you in on some knowledge that cinematographers have known for years, but that photographers have greatly underutilized for a while--and it has to do with a simple white balance trick.
When is the last time you really thought about what is going on inside of your digital camera when you are taking a picture? I'm not talking about the exposure or direct photographic processes but beyond that, into the physics and other scientific processes? If you are like me, that answer is probably never, if ever.
As more and more photographers start going from digital to analog, we wanted to teach everyone about a big part of how you not only see light, but also color. Note that most film is balanced to daylight, so if you go about shooting with it in various situations, you'll probably like the results or you won't.
One of the best things that you can do as a portrait photographer is find a way to really make your subject look like they're popping off of the screen at your viewer (technically speaking of course!) With modern lenses it's very simple to do, but even if you don't have those or the latest and greatest software it's still also quite possible if you just take a few careful steps.
Quite obviously, the best way to create an image that looks like film is to shoot film to start out with; but if you don't have a film camera or aren't ready to take that dip yet, there is a basic fundamental principle that you should know.
Something that I enjoy doing for fun is looking for a way to make my images emulate the look of film straight out of camera. Though I know that it's never going to be perfect, I like to see just how close I can come.
Spring is here; it's a time for golden hour portraits and photographers to get excited about chasing the light in the creation of the killer photo. Many photographers love shooting during the Golden Hour especially due to its ability to deliver soft, golden light and to make a person's skin tones look fantastic.
There is something (and call this a rant as much as you want) that's been bothering me for a while now. Photographers on Facebook, Flickr, Instagram, etc. use all these various filters and genuinely believe that their photos look like actual film.
Understanding how your white balance settings affect your images will prevent unnatural color casts and you can also use them for creative effect. The post White balance in photography | The essential guide appeared first on 500px.