Low Key Photography for Beginners – Enter the Dark Side

By JasenkaG 
 


Low key photography is a terrific challenge for both the novice and the experienced. It is a very simple technique that brings instant drama to an image but could take a lifetime to master. Like most other forms of photography, it is all about illumination and elimination.
A low key image is one that contains predominantly dark tones and colours. Like high key images, low key photography conveys atmosphere and mood. But where a high-key image feels airy and light, a low-key is usually dramatic and full of mystery. And where high-key lighting over-lights the subject to reduce contrast, low key lighting creates striking contrasts through reduced lighting. Shadows are now the primary element of the composition.

 Sam Moqadam


You don’t need any elaborate equipment to shoot amazing low key images. To create a low key image, all you need is your camera and one light source. Depending on the results you are looking for, you might also make use of a fill light or reflector. If you are lucky enough to have your own photo studio – fabulous! This will give you a reason to use it. If you don't, no worries, you definitely don't need one.
Now we’re going to cover a couple of parameters you need to understand in order to capture low key images you’ll be proud of!

Xuan Nguyen

Gear For Low Key Photography

The gear you’ll need for low key photography is quite basic:

• Full-frame camera and fast lens
• Tripod (optional)
• Light source such as flash
• Dark background if you’re in a studio
• Light modifier (such an umbrella or softbox)

Even though you can shoot low key images with any kind of lens (even the cheapest one!), you should know that the maximum aperture of a standard kit lens is somewhere around f/3.5. This aperture won’t let in enough light for optimal results and you’ll need to rely on flash every time you decide to shoot in low light.
Buying an affordable yet effective prime lens will solve this issue. Prime lenses with a maximum aperture of f/1.8 are ideal for low key images because setting your lens to stop at f/1.8  lets in 4 times more light than f/3.5, which is a significant difference.
Some of the commonly used prime lenses for low key photography are:

• Canon 50mm f/1.8
• Canon 85mm f/1.8 
• Sigma 50mm f/1.4
• Tamron 45mm f/1.8 
• Nikon 50mm f/1.8
• Sony 35mm f/1.4
• Sony 55mm f/1.8

James Pond

It’s also useful to know that using a full-frame camera will help capture scenes with less noise, which is important in low light photography. This means that you’ll be able to increase the ISO to capture more light without compromising the image quality.
Sometimes you’ll need to use an external flash for low key photography so you should make sure to learn how to use it properly.  It’s best to bounce the light off of a wall or ceiling or to use a diffuser to make it less harsh, especially when you shoot low key portraits in the studio. 
When it comes to ideal camera settings for low key photography, you should try to keep your ISO low and aperture wide open. You can start by setting your ISO to 100 or as low as possible on your camera.  This is quite important because low ISO will make your image dark and noise-free. Once you’re satisfied with your choice of ISO, you can adjust your shutter speed and aperture and achieve the desired effect for the light you've chosen.
You can set the aperture by starting with the smallest f-number, such as f/1.4 or f/1.8. This will allow you to take in the most light and adjust from there. You will be able to use a relatively fast shutter speed if you stick to the widest aperture, but you will surely have to adjust your shutter speed depending on the light source you’re working with.

Vinicius Amano

You can also use an auto-exposure mode and apply negative exposure compensation when shooting low key images. If you decide on using an auto-exposure mode with exposure compensation, you should switch the camera's metering mode to spot metering. Spot metering only uses a small area to calculate the exposure which means the camera won't take the dark background into account when calculating the exposure, but only your subject – that’s exactly what you’re looking for.  

Ashton Mullins

Lighting For Low Key Photography

Using low key lighting is ideal for dramatic portraits. It can add a certain depth and mystery to the subject and composition. Dark shadows and strong contrast can easily alter the mood of the entire scene and make it more alluring.
A choice of light and its strength and direction is up to the photographer. The only rule you should follow when shooting low key is to never allow light to reach your background. In addition to that, most photographers also try to avoid casting dark shadows on the faces of their subjects. Even though low key portraiture is dramatic, it should be flattering for your subject.  

Wadi Lissa

If you have a  studio, you can use a butterfly or Rembrandt lighting pattern in your low key portraits. These two types of lighting are often used in studio portrait photography and it’s not complicated to achieve them – you need just a light and a reflector, or perhaps two lights if you want more elaborate results.

Keeping The Background Dark

No matter what lighting pattern you choose to experiment with, you should make sure that the background is dark enough. In case your background seems light and distracting, you should move the model and the light evenly away from the wall. If you do that, you’ll notice the light on the model stays the same, but the background gets darker – and that’s exactly what you need!
Another way to make the background darker is by moving the light to the side. In this scenario, the background will darken even more and your portrait will look more dramatic, which is great if you’re looking to achieve something really bold.
In case you have a grid in your studio, you can control the light even more by using this handy light modifier. The grid restricts the light to whatever is in front of the light only, which means the light won’t spill on the background.

Ali Marel

Even if you don't have a studio, you can still shoot amazing low key images. A popular way to do this is to use two separate rooms. Block off all light in one room so that if the door is closed, you could see nothing. Use the adjoining room as the light source. You can use the door to help control the incoming light. Try to keep the light from hitting the camera or the background!

Lucas Filipe

Using Torches Or Candles

Another great (and affordable!) way to use low key lighting is by experimenting with candles or torches. This type of lighting can be ideal if you want to elicit a gothic or romantic feel. Both candles and torches are easy to use and definitely cheap.
In order to make your candlelight photography truly great, you should use a tripod and make sure to spread your candles evenly. Using a single candle or positioning multiple candles closely together will result in harsh shadows! While this may be what you’re looking for, in most cases you’ll want an evenly spread light.

ActionVance

Low Key Outdoor Photography

What’s really great about low key photography is the fact that you can create low-key images any time of day. You can do it in the midday sun if you are indoors or outdoors on a dull, overcast day – you don’t have to wait for dusk! For instance, an overcast day and an industrial, urban scene provide a perfect backdrop for capturing something dark and ominous.
Low key landscapes are maybe not as popular as low key portraiture, but you should give them a try especially if you enjoy unusual landscape photography. Make sure to capture clouds – they make the sky less bright, but they also create dynamic light patterns on the ground. 
You will need a tripod in case you decide to shoot low key landscapes since you probably won’t use the widest aperture for landscapes (you need a deeper depth of field!) and your shutter speed won’t be really fast. Low key landscapes often look really stunning when converted to b&w, so make sure to explore various b&w options while post-processing these images, such as color filters in b&w photography.

Karsten Wurth

In addition to low key landscapes, you can also shoot wildlife in low key. Such photographs are quite uncommon, but they can look very elegant and painterly, almost as if they were shot it a studio. A low key approach to wildlife and bird photography gives a totally different perspective and it works wonderfully for animals with lightly colored fur or feathers. Using reflections can make such images even more magical – for instance, you can try to photograph a swan pond in low key.
In case you want to shoot low key images of wildlife at night, all you need is your camera and one light source that will create directional light. Depending on your location, this directional light can be produced via flash or with a hand-held spotlight from a nearby vehicle.

Fabio Jock

Low Key Macro Photography

Macro photography is another genre of photography that can look stunning in low key. With a simple set-up consisting of just a camera attached to a tripod with a single flashgun, you can create gorgeous close-ups which resemble studio shots.
Typical subjects for low-key close-up photography tend to be small enough to be illuminated by a single flash, which is really great – you don’t have to rely on a complicated setup!
When it comes to settings, you should make sure to underexposure the image (remove all natural light!) and then use your flash to illuminate your subject. The best way to achieve this is by switching your camera to manual mode and selecting the lowest ISO and narrow aperture (such as f/18 or f/22). When it comes to shutter speed, you can use the normal speed for flash synchronization (such as 1/180 – 1/250 sec).

Timothy Dykes  

 You have certainly seen many gorgeous product photographs with a perfectly dark background and well-lit product itself. Low key lighting is very popular in product photography because it adds a certain aura of luxury – it works really good with jewellery, watches and various gadgets such as cell phones and tablets.

Low key lighting coming from the top and from the bottom of the product is a great choice and it can create a bold look – bright core of the image and dimly lit space around it! In order to achieve such look, you need to use two lights, mount them on both sides of the object and tilt them down to control the light spill-off. 

Rohit Choudhari

Editing Low Key Photography

You can do wonders for your low key images if you know how to edit them properly.  Follow these steps in order to make your images even more alluring with skilful editing!

1. Brighten Your Subject

Your subject is probably the only bright part of your low key photo. You may need to brighten your subject a bit more especially if you didn’t use a flash! To do this, you should adjust the Exposure, Highlights and Whites in Lightroom.

2. Adjust White Balance

White balance in low key images often tends to be off  – if you’re using a flash it might be too cool and if you’re using indoor lighting it might be too warm. Because of this, make sure to check and adjust white balance during post-processing. 

3. Reduce Noise

Noise is one of the typical issues in low key photography. Even though we should keep our ISO low, sometimes it’s impossible to avoid cranking it up. Bear in mind that noise reduction should be used carefully because it blurs the photo. Use it only when it’s truly necessary.

Sam Moqadam

4. Play With The Colors  

If your image contains both cool and warm tones, you can play with the colors by using the HSL panel in Lightroom. Feel free to shift the colors and create a bold and playful contrast between cool and warm parts of your image. 

5. Add A Vignette

Low key photographs, especially portraits, are ideal for experimenting with vignettes. You can use the Radial Filter in Lightroom to create vignettes –  it actually works better than the Vignette Tool because this filter allows you to easily control where your vignette should be placed. 

6. Fix Backdrop Pleats Or Wrinkles

If you’re shooting in a studio, you probably want your black background to be impeccable and wrinkle-free.  In order to achieve such a uniform background, you will need to adjust the Shadows and Blacks sliders until you get a wrinkle-free black background. Bear in mind that these two are global adjustments and that they will affect the subject too – you might need to use the Adjustment Brush to bring back some details.

Rainier Ridao

Ultimately a low key image is just one that contains predominantly dark tones. There are many ways to achieve that – always feel free to experiment!
In closing, I'll add that although we are trying to capture darkness, it is the application and control of the light that makes a great low-key image. The lack of light puts all focus on what light is allowed to stay. All your lighting decisions will show in your image so although it can be fun and whimsical, really good low key photography requires a good knowledge of light, shadow and tone. Precise lighting is required in order to control the very important shadow detail.
Manipulate your lighting and placement of subject until the shadows fall exactly as you want them. It's that easy. And difficult. If you want to go even further and start printing your low key photographs, then take a look at our guide to the best photo printer for the job.
See you on the dark side.
If you want to learn more about low key photography, check out the following links!

 
https://resources.digital-photography-school.com/ref/937/

Further Resources For Low Key Photography:

1. Essentials To Getting Started With Low-Light And Night Photography
2. How To Master Low Light Landscape Photography
3. How To Get Low-Key Lighting And Exposure Right Every Time
4. How to Use High Key, Low Key and Moderate Adjustments
5. Mastering Low Light Portraits
6. Getting Started With Low Key Portraiture  
   

 

 

 

 

 

 

 

 

 

 

 

 

Getting Started With Low Key Portraiture

By Dzvonko Petrovski 

#photographyeveryday #photographyislife #photographylover


Most people take low key for granted, and think that one just needs to underexpose and all is set. The reality, however, is quite different. First of all, when it comes to low key photography, especially for portraiture, knowing light is essential. It is not just about whether you will use harsh or soft light, or one or multiple sources. It is often more complicated than that.

Light and Distance

Before everything, you need to be able to anticipate how much light is lost over distance, therefore you’ll be able to work out light placement in order to achieve black background. There is something called inverse square law of light. The simple way of understanding it is to get that illumination decreases by the square of the distance. Intensity = 1/Distance Squared. Therefore for 2 meters, you have ¼ of the initial light output. For 3 meters you have 1/9 of the initial light output. For 10 meters you have 1/100 of the initial light output and so on. Not so complicated, right?
This is particularly useful when it comes to positioning the light sources and the subject relatively to the background. Simply put, the further the background is the less light it will receive. Remember that.

 j3ffm4n

Different Materials Reflect Light Differently

However, there are other variables in play, such as reflection. Different materials and different colors reflect different amount of light. For example, if you were to place a light in a room with dark walls, you’ll need shorter distance for black background when compared to a room with white walls, per se. This also applies for reflective surfaces, such as windows, some types of glossy wall paint, also some textile, such as silk, which have reflection factors which bounce more light around hence making it harder to be controlled.

Ambient Light and Lighting Considerations

Now comes the matter of ambient light. Usually it is easier just to filter it out using fast shutter speeds and lower f-stop. But that doesn't mean you can’t utilize it. Ambient light in low key photography is usually avoided due to the fact that you’ll probably need higher ISO in order to capture what you need and that brings some noise to the image. With flash you can stick to 100 ISO (or even lower with some cameras) to get that clean image.

Photo by seanmcgrathOnce you have most of the physics figured out, it is time to move on to the practical uses.
First of all, it is wise to point the light away from the background and then use a flag to stop stray light to reach the background in order to keep it black.
If you are starting out in low key photography, especially in portraiture you’ll probably be best off recreating Rembrandt style of light, since it usually requires only one light source. It is easier to control it having one light and you can learn how to manipulate it easily. When you feel confident enough, toss in another light, or a reflector. With low key you usually don’t need many light sources, however everybody has a different creative process.

Camera Settings

Remember, use the lowest ISO possible, your aperture controls the flash power, while your shutter speed controls the ambient light. Your aperture also affects the ambient light, but the shutter speed doesn't affect the amount of flash.

Photo Extremist

So it is wise to stick to the fastest shutter speed possible (usually 1/200 with most common flashes and flash triggers), and then tone down the aperture until there is no visible ambient light. Then set your flash power on your flash if possible, if not use the aperture to compensate.
Be careful though, you’ll need to hit the exposure spot on. Overexpose and you’ll be stuck in Photoshop for hours correcting the exposure levels in order to fix all the light leaks that might create. Underexpose and battle noise when you will recover the exposure in Photoshop afterwards.
I know many people that practically fake the effect in Photoshop by dodging and burning, or completely painting the background black, but you can easily tell that it has been post processed since the light would not feel right. Of course there will be some pictures where you can pull off post processed low key, but there aren't many such scenarios. So get it right in camera if you want the safest way to go.
Got some low key work done? Feel free to share it in the comments below.

Share this article.

This weeks Free Photography Ebook. Enjoy!




Get your FREE copy here:
https://photzy.com/download/bird-photography-keeping-it-stable-free-quick-guide/

A Guide to Photographing Birds and Wildlife in a Wetland Area

A Post By: David Shaw

A short drive from my home north of Fairbanks, Alaska lies a small wetland. It’s a bog-like mosaic of ponds and water-filled inlets lined with cattails and thickly growing willows. Though much of the year, here in the sub-arctic, the ponds are frozen with a thick layer of ice, during our brief summers the wetland comes alive with birds.
From mid-May until late June, I try to stop by for an hour or so each morning, camera in hand. In reality, an hour is not enough for photographing birds and wildlife, but I know the place well, and can quickly move into the most promising locations. Knowing a place is actually one of the best tools a wildlife photographer can have at their disposal. But there is more to it.

This is one of my most-published bird photos. Rusty Blackbirds are a species of conservation 

concern, and they are common breeders at my local wetland. Images of them in their 

breeding plumage are relatively rare, so this photo has been in demand. Know your area 

and the species that live there!

Photographing birds and wildlife

Bird photography has exploded in popularity in recent years. As high-quality, super telephoto lenses have become more affordable, wildlife photography has grown approachable. No longer is it limited to pros or wealthy amateurs who could afford the $10,000 USD price tag on the big lenses by Canon and Nikon.
Whether you are shooting with an f/4 bazooka, or a more manageable, compact telephoto lens, field technique, and composition will play the most important role in your success. Here are a few tips for your next visit to your local lake, pond or wetland for photographing birds and wildlife.

Ethics

Pectoral Sandpiper on its way to the Arctic to breed.

First, the most important rule of wildlife photography is – don’t harm your subject! If you are approaching a duck on a pond, and the duck moves away from you, you’ve come too close, too quickly. Back up and try again, this time approaching more slowly.
If the bird flushes, you’ve screwed up badly. You’ve wrecked any opportunity for photos and stressed the bird unnecessarily. Don’t approach birds on nests, they are particularly vulnerable.
In short, be aware of the impact of your actions, and remember that the well-being of the animals you are photographing is more important than the images.

Equipment

Lenses

While a monster 500mm or 600mm f/4 lens is not a necessary piece of equipment for quality bird and wildlife photography, a decent telephoto is definitely an important part of any wildlife photographer’s kit.
There are advantages and disadvantages to different types of telephotos. Big, fast lenses like the aforementioned 500-600mm f/4 options, allow faster shutter speeds at lower ISOs, have exquisite sharpness, and a wonderful, shallow depth of field for isolating your subject. But they are large, cumbersome, heavy, hard to use hand-held, and cost more than a good used automobile.
Smaller lenses, like the increasingly popular telephoto zooms, are more compact, easier to carry and have optics that are improving with every generation. Canon’s 100-400mm and Nikon’s 80-400mm and 200-500mm, are good options. Third party manufacturers have also joined this race in a big way with high-quality 150-600mm lenses coming from both Sigma and Tamron. These lenses still aren’t cheap, but you probably won’t have to take out a second mortgage to afford one.

My choice: For years, I used and relished in using a big Canon 500mm F4. This big white lens was sharp with a beautiful, dreamy bokeh, and its enormous size had great snob-appeal. But as I have begun focusing my efforts on remote areas, the size and weight became a serious hindrance, and more often than not, I found I was leaving it behind in exchange for something smaller.
This winter, even though it broke my heart a little bit, I sold it and the rest of my Canon gear. I now shoot two systems, Sony mirrorless for landscape and night photography, and the Panasonic Lumix system for wildlife and most travel photography.
The micro four-thirds sensor on the Lumix buys me a built-in 2x crop factor. I’m using the Lumix G9 with an Olympus 300mm f4 (600mm equivalent) which, in my opinion, is easily comparable in sharpness to the big Canon lens. So far, I don’t miss the bazooka even a little bit.

Camera Settings for Wetland Wildlife

Fast shutter speeds are very important for creating sharp images of wildlife with long telephotos. In bird and wildlife photography, particularly in wetland environments, the subjects are in constant motion. I am almost always shooting above 1/1000th of a second, and often much faster.
The aperture serves two purposes, allowing in more light (and thus faster shutter speeds), and controlling the depth of field. Very often in bird photography, you want to isolate your subject from a cluttered backdrop. So shooting wide open, or nearly wide open is important.
Some lenses have a notable loss of sharpness with a wide aperture, so be aware of your own equipment and its limitations. With my own gear, whether it was the Canon 500mm F4 of my previous life or my current Olympus 300mm F4, I find I’m comfortable shooting wide open, or nearly so. Play with your own equipment and see what works for you.

An f/4 aperture on my Olympus 300mm allowed me to isolate this singing Swainson’s Thrush 

from its forest environment.

Use the ISO to balance your previous settings. As most cameras on the market these days can easily handle ISO settings of 800, 1600 or above, feel free to crank it up a bit.
Focus settings are also important. When shooting wildlife I almost always use single point focus (so I can grab the subject’s eye), and AI Servo, continuous or tracking focus mode. If the animal moves, I want my camera to automatically stay focused where I want, and not have to constantly be pressing and re-pressing my focus button.
Use a high frames per second shooting rate, and set your camera for burst mode. While my Lumix G9 is capable of nearly 30 fps with the electronic shutter, I rarely go that high. Instead, I opt for a standard high-speed shutter of about 9 frames per second. That is more than enough to assure a fast burst, without cluttering up my memory cards with hundreds of unnecessary shots. A frame rate of anywhere from 5-12 frames per second is sufficient.

Field Techniques

Getting Close

The first, and most important, skill for getting close to wild birds is really a non-technique, technique. It’s called “patience”. When I have the time to dedicate to a shoot, I will frequently take a small waterproof pad, plop it down on the waterline of my local pond, spritz myself with a generous dose of insect repellent, put the camera on a tripod, and sit down. There, I will remain, sometimes for hours.
In time, the local birds relax after my initial appearance and go back to doing what they do. Often, they will paddle close, forgetting (or not caring) that I’m sitting there, clicking away. Wearing neutral colors will help you blend in. Or if you are really into it (or your subject is very skittish), you can make a “blanket blind” by taking a piece of camouflage cloth, cutting lens holes into it, and throwing it over yourself after you sit down. This simple type of blind will help mask your fidgety movements and obscure your human-outline.

The other even simpler technique for getting close is to go shoot somewhere the wildlife is accustomed to people. At popular birding areas, wildlife refuges, and national parks, wildlife is frequently used to people being around. The animals will be much less shy, allowing a closer approach.
Regardless of where you shoot, move in slowly, a few steps at a time, pause for a minute, and then move in a bit further. When you see the animal show signs of stress, stop and wait for them relax before approaching again.
Your goal as a bird and wildlife photographer should always be to photograph animals exhibiting their natural behavior. A stressed-out bird, flying or swimming away, will be inherently less interesting than one that is relaxed, or interacting with other animals.

Get Low

I was laying on my stomach for this shot, my lens just inches from the ground.

The biggest mistake I see wildlife photographers make is shooting from too high a perspective. When standing upright, you will be aiming down on wetland birds that are sitting on the water. This is never the best angle.
Instead, kneel, crouch, sit or even lay down on the ground. The low angle will provide a better separation between your subject and its surroundings, and can create a pleasing blur of foreground and background.

Focus Carefully

Always focus on the eye. While it’s a general rule, with plenty of exceptions, when your subject’s eye is not in focus, you’ve missed the shot. Using a single focus point, select the animal’s eye, focus, and then click the shutter.

Find a Good Background

In the cluttered habitat of a local wetland, it can be hard to find a place where you can isolate the subject from the background. Distance helps. When the bird is well away from its background (this is where getting down low comes in) the backdrop will fade to a nice blur, which is frequently exactly what you will want.

There was no cropping out this tangle of branches surrounding this White-crowned Sparrow, so 

I just used them to emphasize the new, green buds and tell a little story about the time of year I 

made the shot.

Sometimes, particularly when photographing songbirds in the pond-side brush, there is a chaos of branches that disrupt the scene. Shooting with a wide open aperture helps narrow the depth of the field providing some separation. But sometimes showing the habitat becomes a necessary part of the shot. Compose carefully, don’t center the bird, and let it blend in with the scene.

You Don’t Have to Be Close

Sometimes a full-frame portrait isn’t what you want. Some of my favorite wildlife shots show some context and tell a bigger story about the place where the animal lives. In this type of shot, good compositions are vital. You need to show the scene in a pleasing way, and avoid distractions.

I wasn’t particularly close to this Horned Grebe when I made this photo, but the nice reflections 

and good light provided an interesting setting.

When your subject is too far away for a portrait, think about how it is interacting with its surroundings, and find a way to place it in the broader scene. Think of these as landscape shots that include a wildlife element.

Wildlife photography can try one’s patience. I’ve spent many hours, sitting still, being devoured by mosquitoes, watching, waiting, and taking zero pictures. On such days, I can leave utterly dejected and frustrated. On other days, that patience pays off, with a wild animal in beautiful light, or with some fascinating or humorous behavior.
Wildlife photography is a lot more than just using a long lens. It’s about understanding the animals and the place. It’s about knowing how to compose, to get low, to hide, and being patient. And your local wetland, like mine, is the best place to practice, and maybe the best place to get something remarkable.
Sometimes, you’ll just get something meme-worthy! The two images below, of a beaver at my local wetland, I made within seconds of one another. In the first, he’s blowing a raspberry at me, in the second, he’s laughing at me. What a jerk! (Never underestimate the power of humor in your images).

Share this article.

Stunning Capture of Kingfisher Catching a Fish – Behind The Shot

A Post By: Caz Nowaczyk

Do you want to know how to photograph a Kingfisher catching a fish? Then read on!

About this stunning capture of Kingfisher catching a fish

Photographer: Janet Smith
Camera Settings: 80mm focal distance, auto ISO, f5.6, 1/1200th. Camera set to manual and continuous silent shooting.
Camera equipment: Canon 5D mark IV, Canon 70-200mm f2.8, Neweer remote trigger, Manfrotto tripod, and black bin bag as a rain cover.

Where and when was the shot taken?

Shropshire Photography hides, Market Drayton near Shropshire and Staffordshire borders, 6 July 2019, around 3:30 pm.

What is the background behind getting the shot?

This is my bucket list shot – a shot that I thought I’d never be able to take because I could not afford to buy a fast lens which I was told is required in this type of shot.
Then almost a year ago, Brendan Van Son gifted me his old Canon 70-200mm f2.8 lens after learning I’ve wanted one but could not afford it. Having the lens opened up a whole new world for me. I saved and booked a hide day at Shropshire Photography Hides that got canceled three times because of bad weather and Minks decimating the Kingfisher nest and killing all the birds.
On the 6th of July, I finally managed to get to the hide. The day was overcast, drizzly, and windy. I set up the camera at water level and wrapped in a black bin bag to keep it dry. Then I set the camera to manual, f5.6, auto ISO and 1/1200th, set up the remote trigger and waited.
It took nearly six hours of waiting and shooting before I got this shot. I could not get the timing right, and this bird was super-fast. The light was also very low, and the drizzle persisted.
I ended up with more misses than hits, but it was well worth it. One thing I learned is patience and determination pays off. And maybe nicer weather would have helped as well.

What method or technique did you use to achieve the shot?

I prefocused on the area where the bird was likely to enter the water with the camera set on silent continuous shooting to minimize noise.

Describe any post-processing, including tools and techniques used

There was very minimal post-processing. I did a close crop to show more of the water movement and the bird. Also, I lightened-up the shadows +25 on the photoshop slider, pulled up the vibrance to +15, and exposure to +5.

What are your tips for others wanting to achieve a shot like this?

My tip is to be patient, ask for advice from seasoned bird photographers and observe the bird’s behavior. I learned that this bird would move three paces either left or right and bob it’s head down before diving. As soon as it does that, I pressed the remote and continue pressing until it was back on the branch.

Share this article.

How to Photograph Lightning (With Awesome Examples)

By Rob Wood  
  
Probably one of the most common questions we get at Light Stalking is how to photography lightning and get those spectacular shots you see in magazines. But photographing lightning can be a damn tricky thing to attempt. Besides the obvious safety concerns, the photographic variables are difficult to overcome and the conditions don’t usually make for easy shooting. Even so, as the shots below show, good preparation and knowledge of how to photograph lightning properly can lead to some incredible photography!
photo by Brandon Morgan

photo by Emil Jarfelt

Camera Equipment for Photographing Lightning

It’s important to get your setup right and this is something you have a little while to think about (unlike the actual process of shooting lightning which can be quite adrenalin-filled). Here’s some of the stuff you will need as part of your quest:

• camera capable of letting you set the shutter speed manually (usually you’ll need to use the B setting for shutter speed so a Mirroless or DSLR is probably what you will need).
• cable or remote shutter release
• sturdy tripod (the heavier the better as wind can move it around)
• if you're a film shooter, ISO 100 film or equivalent digital setting (ISO 200 is also acceptable and even preferable for certain situations explained below)

A quick thing to remember is that it is likely that you will be in a spot where you and your equipment are getting rained on! I always carry a poncho in my camera kit for such occasions, but have also been known to take along a very hefty umbrella for when things get really nasty. To be honest, I have never found the perfect solution for shooting in the wind and rain so if you have some advice, leave it in the comments! Each place you're likely to be shooting from will be different from the last, so take shelter as best you can – there is no easy solution for storm photographers.
photo by Skeeze on Pixabay

The Technique for Photographing Lightning

The Simple Explanation
In a perfect scenario, learning the technique and settinhs for how to photograph lightning at night should be quite simple.
Just make sure the camera is on a tripod and you have a cable or remote shutter release. Set the focus to infinity, the ISO to 100 or 200 (on DSLRs) and choose the aperture accordant to the intensity of the lightning. Then open the shutter until the lightning goes off and then shut it just after you get a flash of lightning. This is obviously a lot easier in situations where there is a lot of lightning and you can try multiple times. If you really want to get things right, then it's probably a good idea for you to study the ways that landscape photographers assure themselves of getting sharp images – while you probably won't be able to match the sharpness of a landscape taken in perfect conditions due to the usual stormy nature of lightning photography, the general technique will still serve you well (just be aware that your aperture settings might need to be different depending on the intensity of the lightning strikes which we will talk about below).
While it is not necessary to do any more than above, there are also a lot of devices on the market that can detect lightning and fire the shutter of the camera at the ideal time. While not specifically necessary, these types of devices can make life easier for a lightning photographer. There is no real need to get them, but they are useful. 
photo by Jeremy Bishop

How to Choose the Correct Aperture for Lightning Photos
This is going to take a little bit of judgement on your part and largely relies on how intense the lightning is and how far away it is. This table is a guide to what you’ll probably need to shoot at. It is not set in stone. The top row refers to the brightness of the lightning and the first column refers to how far away the lightning is.

	Blinding	Average	Dull
Close Lightning	ISO 100 @ f/16-22	ISO 100 @ f/5.6-11	ISO 100 @ f/5.6
Mid-distance	ISO 100 @ f/11	ISO 100 @ f/5.6	ISO 200 @ f/4-5.6
Distant Lightning	ISO 200 @ f/4	ISO 200 @ f/2.8	ISO 200 @ f/2.8

Note: Unless you are a hard core storm chaser, most of the time you are going to be photographing distant lightning so you will probably need a wide aperture.

photo by Lucy Chian

How to Photograph Lightning With Good Composition

When you are intent on photographing one component of a scene, it is very easy to get caught up in just that one thing. It's easy to forget that lightning is simply one aspect of your overall composition.
What this means is that you need to be thinking of the overall scene of your photography. Look at the images on this page for example – the most effective ones would have been reasonable shots even without the lightning. It is imperative that you think of the components of a good composition in order to achieve the most effect lightning images. Check out our article on 7 composition tips for landscape photography to give you a start on that.

Storm Safety

Storms are dangerous things and when learning how to photograph lightning it is important to remember than safety is far more important than any photograph. Photographing lightning might sound exciting, but it’s also quite dangerous. Remember that if a storm is nearby and you are on a hill, on top of a building, near a tree, in an open field, on the phone or near a power pole or fence, then you are already in danger. Be sensible. Check out this lightning safety page before you do anything and when you have finished reading it, read this one too.
A few of the tips from their fact sheet include:

• Lightning is likely to strike the tallest objects in a given area—you should not be the tallest object.
• Avoid isolated tall trees, hilltops, utility poles, cell phone towers, cranes, large equipment, ladders, scaffolding, or rooftops.
• Avoid open areas, such as fields. Never lie flat on the ground.
• Retreat to dense areas of smaller trees that are surrounded by larger trees, or retreat to lowlying areas (e.g., valleys, ditches) but watch for flooding.
• Avoid water, and immediately get out of and away from bodies of water (e.g., pools, lakes).

photo by Sebastian Voortman

Patience

Outdoor photography is all about finding the light, finding the composition and being patient. It is one of the ultimate tests of a photographer, but adding lightning to an image takes things to a whole new level with the amount of patience required. It takes a lot of practice to get a good shot of lightning. Be patient. Expect that most of your shots won’t work out. But remember that when one does work out it will be worth the wait.

Share this article.

How to Get Amazing Photos When the Weather is Awful

By Jason Row 


#photographyeveryday #photographyislife #photographylover


Are you a fair-weather photographer? Let’s be honest, when the rain is tipping down or the wind bending trees to 90 degrees, it can be difficult to garner motivation to shoot. However it is often a very good time for some great shots. Bad weather can give us some of the most dramatic images we will ever shoot. Equally the transition from bad weather to better weather gives us the juxtaposition of the dark and foreboding with the light and inspiring. Today we are going to look at what to shoot, how to shoot it and importantly how to protect yourself in the bad weather.

Types of Bad Weather

The main types of bad weather are heavy rain, strong wind, snow, and mist and fog. Each has its own unique challenges but all are capable of providing stunning shots.

Rainy days are great for colour contrast, especially on dark dank days. The ambient light tends to be very blue, yet artificial light from cars, offices and shops will contrast that blue with bright warm yellows and reds. High shutter speeds can freeze the raindrops as they fall. By dropping to a slower shutter speed you can blur the rain as it falls. You don’t even have to be outside, shooting through a rain splattered window lends itself to very enigmatic images. Of course rain lends itself to great reflections too, not only in puddles but in any wet and shiny such as a cobbled street.

Photo by Ron W

Rain can lead to some lovely images.

Wind is tough to shoot in but perfect for slow exposures. Leaves become a soft blur, water a foaming cauldron. Waves look majestic, crashing against a coastline or man made structures. A sturdy tripod and very sheltered place are the order of the day, especially if you plan to shoot slow shutter speeds. Hanging your camera bag underneath the tripod can add extra need weight and stability in high winds.

Photo by Maximabdulin

Windy days lend themselves to the abstract.

Mist and fog provide such beautiful images that we have written an entire article about it. Fog can add drama and intrigue to an image, hinting at what is in the background. Mist adds patches of low contrast and clarity giving a very ethereal feel to an image. With both, your main issues will be focus and exposure. Autofocus may hunt in low contrast scenes such as fog. Switch over to manual to get the best results. Exposure meters may well underexpose, so either bracket or add some exposure compensation. Plus one stop is a good starting point.

 Photo by Steve Wilson 

Overcome the technical problems with mist and fog and you can create stunning images.

Snow is perhaps the most challenging. The cold does not sit well with modern batteries. Turning small controls with cold or gloved hands can be tricky. The rewards can be great though. Freshly lain snow looks magical, pure white covering the landscape. Snowy days are low contrast and flat but this serves to make any colour in the scene pop.  Exposure and autofocus are again likely to be your main issues.

Photo by Joseph

Snow is also challenging but allows for beautiful images.

Of course one thing a lot of bad weather has in common is a dramatic cloudscape. Dark brooding skies give depth and drama to our images. Take along some graduated ND filters to really punch the clouds out whilst maintaining a good exposure on the ground.

Protecting Yourself and Your Equipment

With bad weather always think safety first. Shoot any weather event from an area of relative shelter and have a plan to get under cover if needed. Kit yourself out with good quality rain jacket, shoes and gloves. Make sure your equipment is protected in a waterproof camera bag, many are not.
To shooting in rain, look at investing in dedicated rain covers for your camera. These are inexpensive plastic bags in which you seal the camera and lens.

Photo by Gordon Tarpley

Don't rely solely on your camera's weather proofing.

Make sure all your lenses are protected with a UV filter. In the cold take plenty of fully charged batteries. A large memory card is useful too, negating the need to swap cards in the inclement weather. Also check to see if your insurance will cover weather issues. Many higher end cameras and lenses are weather sealed but don’t rely on this. Add the extra protection mentioned above to give yourself more assurance.
Bad weather does not mean bad photographs. With a little forethought and planning, bad weather can give us some incredible pictures. The most important aspect of shooting in poor conditions is to protect yourself and protect your equipment, if you have that covered, you are on the way to spectacular images.
Note: Bad weather can also be the perfect time to get powerful long exposure photographs.

https://resources.digital-photography-school.com/ref/937/