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Archive for the ‘Nikon’ Category

MIXING DAYLIGHT AND TUNGSTEN FOR DRAMATIC EFFECT

Friday, August 13th, 2010

I’ve gotten lots of inquiries about this image that was posted on my blog earlier this week so I’ve decided to talk a little about it on this forum. The lighting for this photograph is just a simple twist on my “Twilight Blues” effect discussed in an earlier post. If you haven’t already read that post you should do so now by clicking here.

This image uses the same exact technique…only indoors. As you can see this particular church has large stained glass windows running down both sides of the building. There is also a large expanse of stained glass behind me. Therefore the predominant ambient light in the venue is daylight. I used a Lowel iD light, held by my assistant, 45 degrees to the left of my camera position. My assistant focused the light in a tight spot pattern illuminating the bride’s face and the bodice of her gown. The light was set at an intensity approx. 2 stops brighter than the ambient light. The camera’s white balance was set to tungsten. The exposure was 1/80 sec @ f8 @ ISO 2000 (handheld) and everything outside the area of the Lowel Light’s illumination naturally turns darker and blue. Only a little edge burning was done in Photoshop.

Once again I can’t say enough about the high ISO, low noise capabilities of my Nikon D3 cameras. This image is virtually noise free at ISO 2000 and I haven’t used a tripod once since I started using these cameras. I’ll be reporting to you very soon about the expanded ISO capabilities of the Nikon D3s camera.

Posted in Camera Techniques, Lighting Techniques, Nikon, Photoshop, Video Lights | No Comments »

USING NIKON CAPTURE NX2 FOR BOLD COLOR EFFECTS

Thursday, August 5th, 2010

Some great photographs are the result of being in the right place at the right time but most are the product of a preconceived idea and the forethought necessary to execute that idea with the right tools and timing. I’m going to share one such image here along with the thought and execution processes that made this image a reality.

I spotted this location on the North Fork of Long Island awhile back. The vintage truck, parked in the middle of a cow pasture, looked rather drab at mid day in overcast weather, but I knew that it would have potential to be an extraordinary prop at a later time. I recently had the opportunity to return to this location with one of my wedding couples so I chose a time just before sunset with the low directional late day sunlight falling on the scene.

I positioned my subjects next to the truck so that the falling sun, at a 90 degree angle, would create a dramatic split light on their faces. Using a Nikon D3 camera I mounted a Nikkor 24-70mm f2.8 lens, setting the focal length to 24mm. Keeping my subjects near the center of the frame minimized any distortion of them but created an emphasis on the front of the truck which was framed well to the right in the viewfinder. I made three quick exposures (1/250 sec. @ f9 @ ISO 800) and we were off to the next location.

Back in the studio I opened my RAW file using Nikon’s Capture NX2 software. I already knew exactly how I was going to tweak this image. I set a color control point on the truck and used the incredible u-point technology in this software to increase the brightness and saturation of the truck without affecting any of the other elements in the composition. Sure you could probably spend a lot of time in Photoshop and eventually come up with a similar result but the Nikon Capture NX2 software returned my preconceived bold color vision instantly!

Some final Photoshop image enhancements included some dodging on the front of the bride’s dress, the front of the truck and the ground under the truck followed by the addition of some wispy clouds in the sky using Alien Skin’s Xenofex software. My total investment in time editing this image was about three minutes!

Photoshop, Lightroom, Aperture…all great software solutions. But none of them can leverage the power of a Nikon .NEF RAW image like Capture NX2…Period. I encourage every Nikon RAW shooter out there to add this incredible software product to your arsenal. You can download a trial version from the Nikon USA web site.

Posted in Camera Techniques, Nikon, Photoshop, Retouching and Image Enhancement, Software | No Comments »

COMPLEX MASKING MADE REALLY, REALLY EASY

Thursday, July 15th, 2010

About a week ago I posted this image on Facebook, along with a link to my web site, where my clients along with their friends & family could view some of their wedding images. Emails poured in from photographers asking how this capture was made and enhanced. In this post I am going to share the extraordinary technique, that when coupled with an exceptional software product, enables you to EASILY create dramatic images involving intricate masking.

I captured this image on my Nikon D3 camera equipped with an AF-S Nikkor 24-70mm f2.8G ED lens. My assistant was positioned behind the couple with a radio fired Nikon SB 900 Speedlight. Looking at the before and after versions of this image side-by-side will help you visualize just how exacting the masking had to be in order to achieve the final result. Simply burning down the sky in Photoshop was not an option. To do so would have taken all the detail out of the tops of the trees that lined the path and put them totally into silhouette. I wanted to hold all of the detail in those trees while allowing a magnificent sunset to show through all the openings around the individual leaves.

The first step in creating this image was to darken the sky in Photoshop to create the breathtaking sunset. Simply making a levels adjustment of the RGB channels (Image>Adjustments>Levels) and lowering the mid range slider yielded this image. The sky is amazing…the rest of the image is useless. Save this image under a different file name. It will look something like this:

Now comes the fun part which has been made ever so easy by the folks at Vertustech and their unbelievable software offering “Fluid Mask 3“. I first met Mornee and the crew from Vertus at WPPI in 2008. Fluid Mask Version 2 was being shown at the trade show and was thrilling everyone that witnessed their incredible demos. I purchased this software on the spot. As good as it was then, Version 3 blows it away. I encourage you to visit the Vertustech web site, download a trial version of the software and experiment with a few images. There are extensive video tutorials on their web site showing how to use this product. I’m going to give you a short description of the steps involved but I’ll refer any specific questions on use back to the good folks at Vertus.

Open your original image in Photoshop and choose the Fluid Mask 3 filter from your filter menu (Filter>Vertus>Fluid Mask 3). Your Photoshop window will close to conserve RAM and a dedicated Fluid Mask workspace will open. You will not believe how easy and automatic this software works. Choose the local delete brush and paint a swatch across the sky and Fluid Mask intuitively chooses the areas of the sky that you wish to mask out. Any small spots it misses can be selected by clicking on those areas with smaller sized local delete brush. The image now looks something like this:

Next you will Autofill the areas of the image that you wish to keep by choosing Image>Auto-Fill with Keep. Your workspace will now look something like this:

You must now fine tune your selection mask by using the Blend Exact brush. Your workspace will now look something like this:

Finally, you’ll tweak the most exacting selection masking choices using the patch tool:

When you are happy with your selection mask click to create your cutout and Fluid Mask generates the most precise automatic mask you’ve ever seen. This one looked like this:

Copy this cutout to your clipboard, reopen the image you created with the deep sunset and paste the cutout on top of it. Voila! An amazing composite with awesome detail in the shadows and a saturated deep rich sunset.

The entire process took me about five or six minutes and I don’t use this software very often. The pros at Vertus could probably have effected this composite in under two minutes. With practice you and I could too.

Detailed tutorials on the use of this software product are available on Vertus’ web site. Any technical questions should be directed to the folks at Vertus. Give this great product a try and check out the galleries on the Vertus web site to see how other creative imaging professionals are using this product to handle challenging masking projects.

Posted in Camera Techniques, Compositing Techniques, Lighting Techniques, Masking Techniques, Nikon, Photoshop, Remote Speedlights, Retouching and Image Enhancement, WPPI, Workflow | 1 Comment »

BRIDAL REFLECTIONS

Friday, May 28th, 2010

A week ago I posted this image on Facebook along with an announcement that Elizabeth & Michael’s wedding images could be seen on my blog. Over the next few days emails poured in from other photographers asking many different questions regarding how I made this image. I’ve decided to share, here on The Pro Spot, the techniques I used creating this image.

I want to start by saying I saw this image in my mind’s eye before I ever placed this beautiful bride into position. When I entered the magnificent Garden City Hotel on Long Island my eye immediately went across the lobby to where I saw a wedding gown on display in one of the windows of the myriad boutiques in this world class hotel. I knew right away that I would be posing my bride there for this fashion style image. I wanted to isolate the bridal gown display from the other displays adjacent to it and eliminate, as much as possible, the handrail on the right side of the frame. I chose a Nikkor 70-200mm f2.8 lens for my Nikon D3 camera and positioned myself at a relatively long distance to my subject. The narrow angle of view enabled me to crop the image tight and the long focal length made it easier to keep the vertical lines in the picture straight. When shooting straight into vertical lines (like the ornate frame around this window display) make sure that your camera height is as close to bisecting the vertical plane of the image as possible. This will keep the vertical lines in the picture straight with no skewing inward or outward.

A quick meter reading gave me the proper exposure for the illuminated background of this image. Then a single Lowel iD video light was used to illuminate my subject. There are many different video lights on the market but the Lowel iD light is the most diverse of the offerings giving me three distinct ways to adjust light output to match the ambient light in the scene. For starters the light has an infinitely adjustable dimmer to dial in the right amount of light to match the ambient exposure. The light also has the ability to focus from a wide flood pattern to a more intense concentrated spot. Finally the light output can be adjusted by increasing or decreasing the distance of the light to the subject. True, there are LED based lights on the market that offer a more compact, convenient solution but none of those lights can match the quality, consistency and flexibility of the Lowel iD light.

My assistant positioned herself 90 degrees off camera to the right, focusing the light in a tight spot illuminating the bride’s face and the top half of her gown. I had her dial the light output up to where it was just the right intensity. The bride’s face was turned towards the light to avoid any unsightly shadows on her face. Keeping the bride’s dress perpendicular to the light source insured that all of the detail of her gown would come out. The manual exposure was 1/50th second at f3.2 with my ISO set at 800. The vibration reduction feature in the lens enabled me to confidently hand hold this shot with this long, heavy telephoto zoom lens at a relatively slow shutter speed. Only some minor editing was done in Photoshop to remove a few distracting reflections in the glass and to burn down the lower left corner of the image.

Posted in Camera Techniques, Fundamentals, Lighting Techniques, Nikon, Photoshop, Posing, Video Lights | 1 Comment »

GREAT NEW WEDDING PHOTOGRAPHY BOOK

Wednesday, May 12th, 2010

Hot off the press is another great new book from Author, Bill Hurter and publisher, Amherst Media, Inc. The book is entitled “Wedding Photography: Advanced Techniques for Digital Photographers”. For those of you that don’t know Bill Hurter here is a small portion of his impressive biography:

“Bill Hurter has been involved in the photographic industry for the past thirty years. He is the former editor of Petersen’s PhotoGraphic magazine and currently the editor of both Rangefinder and After Capture magazines. He has authored over thirty books on photography and hundreds of articles on photography and photographic technique. He is a graduate of American University and Brooks Institute of Photography, from which he holds a BFA and Honorary Masters of Science and Masters of Fine Arts degrees”.

Bill has once again used his incredible editorial and authoring skills to compile a book that is a must-have for every wedding photographer. The book is filled with extraordinary images from some of the most highly regarded wedding photographers working today. The list includes Marcus Bell, Joe Buissink, Mike Colón, Jesh de Rox, Dan Doke, Bruce Dorn, Jerry Ghionis, Greg Gibson, Kevin Jairaj, Charles & Jennifer Maring, JB & DeEtte Sallee, Ken Sklute and Yervant Zanazanian. I am truly honored to have my photographic work and techniques showcased in this book alongside some of the finest photographers in the world.

The book is already available on Amazon.com, Amherst Media’s site, Camerabooks.com. and in the online store on the WPPI web site. Be sure to check the archives of my blog for information on other great books from Bill Hurter and Amherst Media. (Search Word: “Book”)

Posted in Books and Publications, Camera Techniques, Customer Relations, Guest Posts and Features, Nikon, Photoshop, Phtographic Education, Sales and Merchandising, WPPI, Workflow | No Comments »

YOUR GUIDE (NUMBER) TO EXQUISITE SUNSET IMAGES

Tuesday, February 9th, 2010

In this post I am going to share a fundamental technique that enables you to create dramatic sunset images in your camera with little or no Photoshop enhancement. To get started you must know the manual guide number of your flash unit and how to use it creatively to achieve predictable results. I have found that nearly all guide number ratings are exaggerated by the manufacturers and suggest that you determine an accurate guide number for your particular flash unit and commit it to memory. A good flash meter is helpful in determining the guide number of your flash, but it is not essential. A few test shots in a darkened room will serve the same purpose.

Start by placing both your camera and flash unit in the manual mode. The guide number of your flash unit, at any given ISO value, is determined by multiplying the flash-to-subject distance by the aperture value required to make the correct exposure. As a simple algebraic equation: Guide Number = f stop X Distance. At ISO 400 my flash unit, a Nikon SB900, delivers a proper exposure of f22 at a distance of 10 feet. The guide number of my flash therefore is 220. It is important for you to understand that in a darkened room, with no ambient light affecting your exposure, your exposure will be f22 at 10 feet regardless of your shutter speed. When I teach Guide Number to my students I demonstrate this by making a series of exposures, in a totally dark room, from 1/8 second to 1/250 second at f22 with my flash 10 feet from the subject. In that darkened room all of the exposures are identical. In manual mode your flash output will be the same on every single shot, and, in the absence of any ambient light, all of your exposures will be identical, regardless of the manual shutter speed chosen.

Now the fun starts. Take your camera and flash out of that darkened room and point them at your subjects who are standing against the sky at sunset. In this image I have my assistant positioned 20 feet from my subjects. My Guide Number tells me that a proper exposure will require an aperture value of f11. Remember, Guide Number = f stop X distance or, in this case, 220 = f11 X 20 feet. (11 X 20 = 220…Simple). In this image I set my camera in aperture priority mode and the camera determined that a proper exposure, based upon the ambient light, would be 1/60 second at f11. The camera returned this image in which the background is properly exposed and accurately rendered. My subjects are properly exposed by my off camera flash unit positioned 20 feet away from them.

Knowing that my subjects will be properly exposed by my flash unit, regardless of the shutter speed, I am free to alter the ambient light in this scene to my liking. I put my Nikon D3 camera in manual exposure mode and select a shutter speed of 1/250 second. The shorter shutter speed underexposes the background by two full f stops while my flash unit still properly exposes my subjects with it’s predictable, constant manual output. This time my camera returns this dramatic image with a deep saturated (underexposed) sky!

I have employed this fundamental technique for more than 30 years. It worked with film and it still works in today’s digital environment. The digital technology we enjoy today has opened up new creative possibilities that we only dreamed of in the past, but they can only be fully exploited by those photographers that have a thorough understanding of the fundamentals. I encourage you to take your cameras and flash units out of the automatic exposure modes and practice some of the basics that will enable you to predictably create stunning imagery on a consistent basis. Guide Number is a great place to start…I’ll be sharing some more “secrets” in future posts.

Posted in Camera Techniques, Fundamentals, Guide Number, Lighting Techniques, Nikon, Photoshop | 18 Comments »

TWILIGHT BLUES

Saturday, January 2nd, 2010

Here’s a very simple lighting technique that produces quite dramatic results. I call it the “Twilight Blues”.

I try to stage these shots shortly after sunset, when the sun is gone but there is still a little bit of light left in the darkening sky. I switch the color balance setting on my Nikon D3 camera to the tungsten setting and illuminate my subjects with a tungsten light source. I personally use the Lowel ID light. This light allows me to adjust the light pattern from a flood pattern to a tight spotlight pattern and also has a dimmer by which the intensity of the light can be varied. My assistant directs the light on my subjects in a tight spotlight pattern and dims the light to a level where it overpowers the ambient light. Exposure is correctly made for the lighted subjects and everything not being lit by the video light turns a deep blue shade due to your use of a tungsten white balance setting in an environment that is essentially still lit by daylight.

I find that the color temperature of the Lowel ID light drops as you dim it. This actually works to your advantage when creating a “Twilight Blues” shot. With the camera set in the standard tungsten white balance mode and the video light dimmed, the images will be much warmer toned than they should be. No problem. Simply make the appropriate color temperature adjustment when you process your RAW images. The flesh tones will come back to where they should be and the blues will get even deeper. I can’t imagine that there are any photographers out there that don’t shoot RAW, but if you don’t you can still employ this technique. You will just have to set up a custom white balance for the dimmed video light to keep the flesh tones looking natural.

Posted in Lighting Techniques, Nikon, Video Lights | 36 Comments »

LITTLE LIGHTS • BIG RESULTS

Sunday, December 27th, 2009

For my first instructional post on this forum I have chosen to share a lighting technique I’m often asked about…How do I achieve that beautiful light painting effect on my detail shots? This one is so simple you’ll go out and get great results the very first time you try it. My assistant carries a Sunpak Readylite 20 in her pocket all day long and we pull it out throughout the wedding day for detail shots of wedding invitations, jewelry, flowers, shoes, menus…almost every little detail we wish to photograph.

Today’s high performance digital SLRs like my Nikon D3 cameras deliver outstanding high ISO/low noise performance. You don’t need a lot of light for these shots. The Sunpak is a twenty watt unit, but I’ve seen photographers get amazing results from small pocket-sized flashlights that you can buy at your local hardware store for 99 cents!

In the image below the Sunpak light is placed flat on the surface, to the right, next to the wedding invitation. It is pointed almost directly at the bride’s engagement ring as evidenced by the direction of the shadow being cast off of the ring. The light, being very close to the setup, simply streams across the invitation creating a swath of light that fades off very quickly on both sides of the beam. No burning or dodging in Photoshop required. This is how it looks right out of the camera.

In the following image my assistant held the Sunpak Readylite above and slightly to the right of the wedding rings. I used a 105mm f2.8 Micro-Nikkor lens on my Nikon D3 camera leveraging the camera’s high ISO/low noise capabilities and the VR (Vibration Reduction) feature in the lens. Shooting at ISO 1600 I was able to make this exposure handheld at 1/1000 second at f32! A little edge burning was done in Photoshop along with a bit of extra sharpening on the wedding rings.

In the next image the Readylite was held far to the left, slightly above the shoes creating deep shadows in the image of the bride’s shoes hanging on the back of her gown. I try to create deep shadows when I make this photograph to keep the designer’s label (inside the shoes) from becoming a focal point in the image. Once again, this image is right out of the camera with no Photoshop enhancement.

In this final image I used the daylight coming through a window above and behind to illuminate the bride’s shoes. I used a daylight white balance and had my assistant point the Readylite at the shoes creating a warm tone on the jeweled heels and casting an interesting shadow on the wall behind the shoes.

So there you have it. Some food for thought on getting big results from little lights. Go out and give it a try. E-mail me pictures and a description of your techniques and I’ll publish some of the best ones on this forum.

Posted in Details, Lighting Techniques, Nikon, Photoshop, Video Lights | 27 Comments »

WELCOME TO THE PRO SPOT

Sunday, December 27th, 2009

I’ll keep this inaugural post short and sweet. We hope you stop by often and take advantage as we endeavor to make this a valuable educational and inspirational resource for the professional wedding and portrait photographer. The Pro Spot has been conceived to evolve more as a forum than a blog. We invite your comments. We welcome your contributions. We want to know what you would like to see featured here and we will strive to make it one of the most informative sites on the web. I will be sharing photographic techniques, image finishing artistry, album design approaches, sales and customer relations philosophies along with any other topics that our readers desire to explore. I will be relying not only on my 30+ years of experience as a professional wedding and portrait photographer but will also be featuring guest posts from some of the finest image makers in our industry.

“The Pro Spot” is a free resource. My sincere thanks go out to some of my preferred vendors who have helped make “The Pro Spot” a reality. Special thanks go out to my colleagues at Nikon USA, Leather Craftsmen, Inc. and Triple Scoop Music. My thanks also go out in advance to the other professional photographers who have pledged their support for this project. To the hundreds of photographers who pre-registered for a subscription to The Pro Spot I, again, thank you for your patience. New visitors are urged to use the e-mail subscription block to receive automatic alerts when new features are added.

Welcome to The Pro Spot.

Posted in Inaugural Pro Spot Post, Leathercraftsmen, Nikon, Triple Scoop Music | 13 Comments »