Tuesday, October 16, 2018

OUTDOOR PORTRAITS AND TOO MUCH LIGHT? TRY SUBTRACTIVE LIGHTING!


It’s easy doing portraits outside near the “magic hour." Here in Idaho we often start up to two hours before sunset and, with proper subject placement, create wonderful natural light portraits with NO reflectors or supplemental flash (Yuck!).

I learned, over 30 years ago, from Leon Kennamer—the Master Photographer that developed subtractive lighting for portraits—that there’s no need for reflectors or supplemental flash if you know how to control natural light with Gobos (Black Flats or flags as we called them in film making). The basic premise being: when you have the light it’s silly, and unnatural looking, to add light! Adding light tends to just create flat light that deletes shadows and without any shadows you lose the three dimensionality in your subject(s).

I’ll start with a worst case lighting scenario.  Here we have a nice little park with a couple of large weeping willow trees, but it’s 9AM and there’s intense light all around us. 
f6.3 @ 1/125 sec., ISO 400; Lens @ 142mm
  • The first step is to get them in the shade of that tree! I trimmed some of the tree’s hanging vines on the right leaving the vines on the left to help in the subtractive process.
  • Then we bring in our Gobo (a 42” Black Flat) to block as much light as we can from the left.
Here’s the scene without the Gobo….
No Gobo
As you can see this single Gobo is most effective on the people closest to it. The single Gobo is very effective for individual portraits where you can bring it in very close to the subject…

f4.5 @ 1/250 sec., Iso 400; Lens @ 185mm
Done at 9:11AM in the same spot as the group portrait you can see the natural looking, three dimensional, effect subtractive lighting creates.

NATURAL GOBOS:

My preferred method of subtractive lighting is to use Large Natural Gobos on locations I use regularly for group portraits. These natural Gobos can be a tree line, rocks, or large bushes to one side of the group.

The Key here is Subject Placement….

f6.3 @ 1/160 sec., ISO 400; Lens @ 105mm
Leon Kennamer taught that, “The Light is at the Edge of the Forrest ”. That means that you place your subject literally at the edge of the tree canopy, but still in the shade. That way we can get good Directional Light from a large patch of sky.

In the above portrait I’ve placed this group so that the tree line on Camera Left is my Gobo creating the Shadows on their faces while a large patch of blue sky on Camera Right is the Key Light.

This portrait was done 2-hours before sunset so that my backlit background is under control. Subtractive lighting is actually a very simple concept; its execution only requires that you be able to see the directional light and the shadows it creates when you have an effective GOBO.  

The concept here is fundamental in the traditional art world; Leonardo da Vince wrote…
The Artist who can make his subject appear to be in relivo (made to appear to have elevation, with depth and dimension) is he who should receive the greatest praise!

Go our and try it!  If you have questions don’t hesitate to ask…’Til next week.

Author: Jerry W. Venz, PPA Master Photographer, Craftsman
Training site: http://www.LightAtTheEdge.com
Client site: http://www.TheStorytellersUsa.com

Tuesday, October 9, 2018

FALL PHOTOGRAPHY TIPS FROM A PROFESSIONAL


First and foremost you’re NOT going to see any backed-off, wide-angle views, of a forrest of fall colors from me. I’ve always found those views pretty, but photographically boring. They’re what the amateurs do with their fixed lens point-n-shoot cameras—usually at the “scenic view” pull-out along side the road! 

I do what photography does best—narrow the view and reveal stunning detail. And, you do that with lenses leaning in the telephoto region of focal length.

That being said, lets move on to lighting.

Back-Lighting for intense detail…


f7.1 @ 1/800 sec., ISO 400; Lens @ 280mm
With this pair of small leaves 200mm was not enough so I installed my 1.4X extender on my 70-200mm f2.8 lens. The large lens hood with careful framing avoided flare (I HATE detail robbing flare!) in the intense backlight here.

Here I used backlighting for mood…

f7.1 @ 1/320 sec., ISO 400, Lens @ 98mm
With my lens at nearly 100mm I’m still only showing a part of this weeping willow tree; I rarely even photograph a whole single tree. In this image I wanted the juxtaposition of the hanging willow leaves over those interesting red bushes—that have lost their leaves.

Front Lighting can be Tricky….

f6.3 @ 1/800 sec., ISO 400; Lens @ 175mm

Direct Sun can easily ruin an image if you’re not very careful with your exposure. Those yellow leaves are prone to Clipping—blowing out your highlights—a loss of detail.

Two things made this image work:
  1. I did this at 5:04pm in November—the sun set at 5:20pm and I chose leaves that had Crossing Light from the left side. That directional light picked-up really nice detail.
  2. In Addition, I used my camera’s meter in Spot Mode—where I usually keep it—measuring the brightest surfaces of my subjects.
Or Front Lighting can be Easy…

f7.1 @ 1/160th sec., ISO 400; Lens @ 200mm
Top lighting here from an overcast sky is super easy to expose. It also creates nice soft colors. If the sun came out in this situation those wet leaves would have clipped like crazy. I cheated with this image and spritzed these leaves with my spray bottle mister until they dripped water—hey What can I say—it wasn’t raining when I needed wet leaves! Besides I don’t like doing photography in the rain.

Fall Colors in Flat Light…

 f8.0 @ 1/160th sec., ISO 800; Lens @ 150mm
This was done in full shade under this tree’s canopy. Since flat light can rob a scene of it’s contrast it’s important to pick a scene with lots of contrast. Here I had some great colors against that black tree trunk, which made these leaves glow with color. I did have to go to 800 ISO to capture this hand-held, but my Canon 5D MKII has no problem at that ISO.

I guess this proves that you can create great fall images in most lighting situations. You just have to pick subjects appropriate for the lighting and be careful with your exposures.

Well, ‘till next week…I’m here if you have questions….

Author:  Jerry W. Venz, PPA Master Photographer, Craftsman
Training Site: http://www.LightAtTheEdge.com
Client Site: http://www.TheStorytellersUsa.com

Tuesday, October 2, 2018

VARIATIONS ON A THEME; POST PROCESSING DIGITAL FILES


I’ve been revisiting my archives back to my early digital files, some as far back as 2000, when I got my first digital camera. What’s nice to see is that those old CD’s (Yes, CD’s!) can still be opened on our new computers and loaded into Photoshop!

I can open these old JPEGs in Camera Raw and do my favorite tweaks I do today with my new DSLR’s RAW files. After that I go to my favorite plug-ins for some artistic interpretations.

Here’s a finished artistic version of a file from 2003…




This image was form my second digital camera—the Fuji FinePix S-2 Pro, which produced jpegs at around 4.0 MB. Not much by todays standards, but we managed, with careful exposes, to produce some outstanding 30x40 images from our S2’s back then.

Black & White Processing Technique:

Step 1—NIK HDR Effects Pro 2 (Single Image Tone Mapping). Used Grannys Attic Preset with my modifications.

Step 2—NIK Silver Effects Pro 2—Used the Antique Plate 2 and modified it to my B&W taste.

Here’s the original file…


f13.0 @ 1/180 sec., ISO 400
This was an old hotel under renovation in Sacramento, California. I thought, with those ripped and tattered window shades, that it had the kind of creepy vibe that I could do something with.

Here’s the Color Interpretation….

I like this version mostly because of that red triangle in the second window (top left). It looks like a broken shard of glass.  I like the rust stains on the paint beneath the windows as well.

Color Processing Technique:

NIK HDR Effects Pro-2 (Single Image Tone Mapping).I used the Granny’s Attic Preset and tweaked it to my taste.

NOTE:  In addition to the obvious artistic changes to the original file a side benefit of processing an image in NIK’s HDR is that the size of the file is increased a lot.  With this image the original file was increased from 3.69MB to 6.06MBs.

However, I think that the Black and White rendition of this scene promotes the creepy vibe I imagined when I saw this building.  What do you guys think—the color or the Black and White?

’Til next week….

Author: Jerry W. Venz, PPA Master Photographer, Craftsman
Training Site:  http://www.LightAtTheEdge.com
Client Site: http://www.TheStorytellersUsa.com