Learn these Two Techniques for Dramatic Light-Painted Photos

By: Rick Ohnsman  

“Wherever there is light, one can photograph.” – Alfred Steiglitz

You will find many quotes from famous photographers about light.  They know it is the very essence of photography.  The word is from the Latin roots, “phos” for light, and “graphe” for drawing or painting.  So, photography is quite literally, drawing or painting with light. In this article, you’ll learn two techniques for dramatic light-painted photos.

A single-exposure light painting. This “Autumn Apples Still Life” is in the style of the Dutch 

Master’s paintings.

Typically, we open the camera shutter for a slice of time, and whatever light exists in the scene creates an image on the sensor (or perhaps the film if that’s the medium you’re still using). The quality, quantity, and color of the light are recorded. Where there is no light, nothing is captured.
There is a basic difference in light painting photography. Rather than simply capturing the existing light during the exposure, you, as the photographer, will use light to “paint” the scene. Use more on the portions of the scene you want highlighting, less or even none on those places you want subduing.
Think of it as painting on a black canvas. Where you apply paint (light in the case of photography), an image will result — no paint (light), no image. And, of course, there are all kinds of quantities in-between.

You can later add some other touches in editing to go even more in a painterly direction.

Two approaches

There are two basic techniques for dramatic light-painted photos:

1. Single exposure

Here you determine how long you will leave the shutter open. This will often be multiple seconds or even longer. While the shutter is open, you “paint” the subject with your light, emphasizing the portions of the scene you want to bring out, leaving in shadow those you want subdued.
Your working time will be the shutter duration, and you will make your entire image during that single exposure.

2. Multiple exposure

This technique is somewhat like the previous one in that you paint a portion of the subject with light during what will often be a multi-second exposure.
The difference is that you will take multiple shots of the subject, each time painting just a portion of the scene. Then in the edit, you combine these multiple images, much like pieces of a jigsaw puzzle, into the final composite image.

“Goin’ Down in the Mine” – This is a single exposure light painting with some additional light 

from the lantern.

Single exposure technique

Scene considerations

What you decide to make the subject of your light painted photo is strictly up to you. Favorite subjects of mine are still-life images in the style of the old Dutch Master’s paintings. These use simple, static scenes. There is an emphasis on very directional lighting with portions of the image well-lit while other portions may be in deep shadow.
It is easy to find a few simple items and create a nice still-life scene. Perhaps put up a backdrop to simplify the shot, turn off the lights and let your flashlight be your sole source of light as you make the shot.
When starting to learn this technique, this can be a great place to start.

“Doc Brown Makes a House Call” – Thematic scenes which tell a story can make nice subjects for 

still life light paintings.

I also like to make these kinds of light paintings with items in the shot which show a theme or tell a story. I was fortunate to initially learn light painting in a workshop put on by area photographer, Caryn Esplin. Espin not only taught our group the technique but also had various thematic sets we could photograph.
Several of the images in this article, I made during that workshop.

Motion types – light trails

Most of what we cover here will use a light to “paint” the subject.
A different kind of light painting is where the light IS the subject. It too, uses a long exposure, and when the light moves during that exposure, it creates light “trails.”
Sometimes this will be the lights of moving objects, such as the streaks of light created by moving vehicles or other illuminated objects. Other times, the photographer, or perhaps an assistant, will “draw” with a light source, creating the image with the light.

“Rush Hour – Boise, Idaho” – Lights that move during a long exposure will create light trails. This 

is a type of light painting, just not the kind we’ll discuss in this article.

There are many variations of this style of light painting, and the light used may not always be a flashlight. Special light “wands,” some even programmable, can be purchased for all manner of amazing effects. Steel wool spinning where an ignited piece of steel wool is spun, throwing sparks, and creating light trails is another example.

If a light moves during a long exposure, you will get light trails.

Any moving object which emits light will create light trails during a long exposure. While that is a fun technique and one I’d encourage you to try as well, it’s just not the type which is the subject of this article.
Instead, we concentrate on using a light source, typically a flashlight (aka a “torch”), to paint our subject with light.

Single exposure: step-by-step

Location – Total darkness

You will be using a flashlight to make your image during a long exposure and want to be able to control exactly where that light does and does not fall. Ambient light is not what you want.
Try to work in a location that is quite dark. You can check if it is dark enough by making a shot with the exposure setting you intend to use, but not lighting it. You should get a black frame or at least only see a faint background of objects you might want to include.

“The Thousand-Yard-Stare.” You can light paint portraits, but your subject will need to sit very 

still during the long exposure.

Equipment

Most cameras will work for this if they go into full manual mode. You will need to be able to control the ISO, aperture, and shutter speed manually. Plus, you’ll need to focus and lock the focus manually.
If you will be shooting longer than the camera’s longest shutter speed (often 30-seconds), you will also need to be able to go into Bulb mode. This will allow you to keep the shutter open as long as you like. Usually, 30 seconds or less will be fine, but that depends on the subject, your light source, distance from the camera, and other exposure factors.
If you find your exposure will be longer than 30 seconds, you will also need a shutter release so you can hold the shutter open longer in bulb mode. There are very affordable corded releases.
If you need to be working further from your camera so you can both light the scene and trigger the shutter, a remote cordless shutter release can be a great way to go.

Single Exposure Technique. 10 Seconds, f/16, ISO 100 with Canon 6D and  

Canon EF 24-105 f/4 IS Lens at 58mm.

Lens selection will depend on your proximity to the subject.  For tabletop still life shots where you’ll usually be just a couple of feet from your subject, a 50mm prime can be just right.  The “nifty-fifty” (Canon EF 50mm f/1.8 STM Lens) on my Canon camera is sharp and a perfect lens for this kind of work.
Pick your sharpest lens and an appropriate focal length to fill the frame with your subject.
A tripod is practically a must for this kind of long-exposure photography.
The camera must not move during the exposure. Whatever way you have of doing that will work, but I personally believe any photographer worth their salt owns a good, stable tripod.  Have a good tripod and use it.

Light

Here is the U.S., we call it a flashlight. In other places, it’s called a torch. What we’re talking about is a battery-powered portable light source that you can direct onto your subject.
Some will have focusable beams, which can be a nice feature. Some might have multiple intensity settings, which is also useful. If you can find one that has a neutral-white (about 4500-5000K) output, that’s even better.
Standard incandescent bulb flashlights will tend to have a warmer, yellowish color light while most LED bulbs are blueish in color.

The Zanflare F2 which can be purchased with a 4500-500K bulb is a nice and inexpensive light 

for light painting.

A nice light for table-top light painting is the Zanflare F2 which can be had with a 4500-5000K bulb.  It has two power output settings and can usually be purchased for under $10.00 US.
Another very affordable light I recently purchased for longer range outdoor light painting is the Energizer ENPMHH62. It’s under $15.00 US. You can pay a lot for fancy “tactical” flashlights, but I’m not sure they will improve your light painting photography unless perhaps you need to light something very far away.

Camera settings

If you’re working inside where you can turn the room light off and on, set up your shot with the lights on. Focus on the subject, then turn off the autofocus, so the focus stays locked at that spot. Failure to do this will have your camera hunting for focus in the dark, and that will certainly ruin your shot.
If you’re outside and it’s already dark, use your flashlight to help set up the shot and get good focus. Turn off autofocus and lock it in once you have it.
Put your camera in full manual mode. Set the ISO as low as you can for the lighting conditions, remembering that a lower ISO setting will help reduce noise in your shot. Because you can make the shutter speed as long as you need to, you can often get away with ISO 100. Try that and adjust it later if you need to.
See if you can work with the “sweet spot” – the sharpest aperture for your given lens – usually about f/8 to f/11. This should also help give you an adequate depth of field. Stop down to f/16 or even f/22 if you really need the depth of field. However, realize smaller apertures significantly increase the amount of light, and the time of the exposure you’ll need to make a proper exposure.
As for the shutter speed, that depends on how much light you’re working with, the proximity of your light to your subject, the brightness of the subject itself, and how long you need to properly paint your subject for the look you desire. There is no “right” answer to this.
Start with good average settings – something like ISO 100, f/8 for 20 seconds. Once you make a shot and evaluate it, you can make adjustments for subsequent shots.

Ready, set, paint!

With everything ready to go, set the 2-second timer to trip the shutter (or use the remote), trip the shutter and start painting your subject with the light.  Here are some things to keep in mind when doing so:

• You will probably want to direct your light from the side, above, or maybe behind the subject.  Lighting from the front, the same position as the camera view, will result in an image that looks flat and uninteresting.
• Shadows are every bit as important as the light.  You are not going for an image that is evenly lit, looks like it was taken in ambient light or was done with a flash.  Deep shadows, light on parts of the subject you want to draw attention to and shadows elsewhere will add to the drama you’re seeking.  Again, look at the still life Dutch Master’s painting style for clues on how to light your subject.  Less can really be more here. Caryn Esplin, the photographer I mentioned earlier, uses the expression “Reveal and Conceal.”
• Use your light like a paintbrush, moving it in circular motions.
• Do not allow the beam of light to point at the camera or you will create light trails on the image.
• To be able to pinpoint smaller areas of your subject, consider “snooting” the flashlight, that is, putting a piece of tape, a cone, or something else on it to reduce the size of the beam.
• Brighter objects in the scene will need less light, darker objects more.  You will also want to leave some portions of the scene dark to better emulate the painters’ style and add drama.

Simple subjects can make good light paintings. The cross-lighting brings out the texture and the 

deep shadows add drama in this “Pigskin Portrait.”

• Shoot, chimp, evaluate and adjust, and shoot again.  Adjust your camera settings as necessary for the best exposure.  Look at your image and think about what you might do differently.  You might get lucky and nail the shot on your first try. However, it’s more typical to make lots of images, trying different things and later choosing the best.  Digital film is cheap.  Don’t be afraid to make LOTS of shots.

“Patriotic Pickup.” Put it on an Australian flag and you can call it a “Land Down Under Ute.”

Multiple-exposure technique

This is the second of the techniques for dramatic light-painted photos. While in the previous technique, the photo is made and the subject painted all in one long exposure, this technique involves making multiple exposures. Then you combine them like the pieces of a puzzle into the final image.
Making each of the individual exposures is essentially identical to techniques used in the prior method, but instead of having to light paint the entire scene in one shot, smaller pieces of the scene are done individually.
For example, say you wanted to make a light-painted photo of an old truck at night with the Milky Way overhead in the sky. You could make the background shot of the stars first, then using your flashlight, make a shot lighting just the front tire. Then light the grill, hood, or perhaps the interior. Add some light from the side, back, and on the grass in the foreground. Each of the individually lit shots would be a piece of your puzzle.
That’s exactly the technique used by Richard Tatti, the guy whose online Youtube tutorials taught me this method. The only difference is that he, being an Australian photographer, calls what I would describe as a pickup truck a “ute.” (Editor note: As an Aussie, we also call them “you-beaut utes!” Total slang, of course.)

One image was made for the sky and mountains, followed by about 10 other shots, each lighting a 

different location in the scene. This uses the multiple-exposure technique.

Richard does a nice job describing the light painting and photographing of a scene, as well as how to edit and combine the individual images into one in this tutorial. So I will suggest you view that for the step-by-step how-to. 
I will simply list the steps you’ll be taking.

In Lightroom

After making the individual shots, Lightroom is a good tool for preparing, sorting, and perhaps doing some minor editing to them. Be sure to sync them, so they are all the same size before the next step. The next step is where you select the individual images you will use and then use the “Open as Layers in Photoshop” command to export them into Photoshop. To do this, go to Photo->Edit In->Open as Layers in Photoshop.

Decide which of your images you want to use as “pieces in your puzzle,” select them all, and then 

send them out using “Open as Layers in Photoshop.”

In Photoshop

This might take some time, especially if you have lots of layers, but when done, you will see the individual photos all lined up in a Photoshop layers stack.
Find what you would consider your “base” or bottom layer in Photoshop, and if it is not already in the bottom position, click, hold and drag it to that spot in the stack.

Aligning

If you shot on a tripod and the camera didn’t move during the series of exposures (which is what you need to do), this step might not be necessary. However, if the camera moved even a tiny bit, you will want to align the images. It’s not a bad idea to do anyway; it just takes a little more time.
Click the top layer, hold down Shift, and click the bottom layer, so all are selected. Then click the Edit->Auto Align Layers->Auto->OK. Let it work; it’ll take a bit.
Once done, if you see any white edges, crop the image to eliminate those.

Lighten Blending Mode

At first, you will see just the top layer in the stack. Let’s turn the lights on.
Click the top layer in the stack to select it. Then hold down Shift and click the next to last layer, so all but the bottom layer is selected. Then click the Lighten blending mode.
Presto! The lighted portions of your image will all appear, much as if you’ve turned on all those individually lit portions of the image. Cool huh?

Selecting the layers and then applying the “Lighten” blending mode will turn the lights on!

Use the Eyeball

The little icon to the left of each layer is an eyeball. If you click it on any individual layer, you can toggle that layer, making it visible or invisible. In this case, if you click it to make it invisible, the “lights” on that layer will be turned off.
Think of the eyeballs as light switches. Click them on and off on each layer, and it’s like individually switching the lights on each portion of the shot. It’s a great way to see the effect of that layer on the entire shot.
Sometimes after viewing what a given layer is doing, you may not choose to use that layer at all. If not, leave the eyeball off for that layer.

Work a layer at a time using masking layers and a brush set to black to rub out pieces you don’t 

want or perhaps want to reduce the opacity.

Fine-tuning with masks

If you’ve not worked with layers and masks in Photoshop before, this part can seem intimidating.  It need not be.  You will simply use a layer mask and the paintbrush tool set to black to, as Richard calls it, “rub out” any parts of the lighting layers you don’t want to appear.  You can also adjust the opacity of a brush or of the layer itself to control how much impact that layer has on the overall image.
For more on using layer masks, read this article.

This is the same scene as before, but with a different camera angle and different choices about how 

I used each lit layer.

Go let your light shine!

Light painting is a lot of fun and a great way to produce some nice images. Because of the nature of how you move the light over a subject, no two images will be the same, and what you create will be uniquely yours.
The single exposure method is a great place to start, and if you are a beginner photographer, using the manual settings of your camera will be a good lesson. You will quickly learn the relationships of light and the camera controls; ISO, aperture, and shutter speed, for adjusting your exposure.
The multiple exposure method is a great way to work in larger settings. You can light a tree here and another way across the field if you want as you’re not restricted to making the image all in one click of the shutter. Blending the individual images in Photoshop will also teach you a lot about layers and masks, something that can sometimes be a challenge to learn.
If you make some nice images, post them in the comments so we can see what you’ve created. Also, if you have problems or questions, post something in the comments, and I’ll see if I can help you.
Now, grab your camera, tripod, flashlight/torch, and try these techniques for dramatic light-painted photos. And go let your light shine!
Author’s Note – Just as this article was being submitted, I held a light-painting workshop for my fellow members of the Boise (Idaho) Camera Club.  Have a look at their work here.

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DarrylT: How to Get the Most Out of Photographing at Golden...: How to Get the Most Out of Photographing at Golden Hour By: Anabel DFlux  The infamous golden hour is a pho...

How to Get the Most Out of Photographing at Golden Hour

By: Anabel DFlux 

The infamous golden hour is a photographer’s dream. That one key period of time that could make even the most stringent artist swoon with inspiration. The sun will dance across your viewfinder, and an endless array of possibilities will present themselves. Regardless of whether your photographic style is vibrant, monochrome, gentle, or contrasted, the golden hour will grant you the ultimate canvas upon which to paint your vision.

So, what is golden hour exactly?

The golden hours include the first hour after sunrise and the last hour of light before sunset. Predicting this short window of time depends upon your geographical location and the current season. What makes this lighting situation so ideal for photography is the sun’s positioning relative to what you are photographing.
Due to the sun beginning its speedy rise or setting in the sky, the light source is now closer in relation to your subject. It is also going through more of the earth’s atmosphere at this low angle. When this occurs, soft diffused light is produced.
Generally speaking, soft light is considered the best canvas for a photographer. It does not create harsh shadows and tends to be very dynamic-range-friendly, as your images will not feature harsh shadows or blown-out highlights. The golden hour casts a warm color temperature as well, which can be enhanced upon or corrected via post-processing. This warm color cast lends itself to being a flattering illumination upon any subject of your choosing.

Five key lighting situations at golden hour

Any type of photography, from portraits to landscapes to action, can benefit from the use of the golden hour. There are five key lighting situations you can create during this time:

Front-Lighting

This is when your subject faces the sun directly. During the golden hour, this lighting gives a very warm feel to images. Because the sun is not directly above them, in many cases, your subject will not have to suffer the intensely bright light and need to squint. This lighting situation is very easy to photograph in and will make a lasting impression.

An example of front-lighting at golden hour.

Back-Lighting

Back-lighting occurs when the sun is behind your subject. During the golden hour, this lighting situation creates a soft, warm, hazy, glowing effect. Be sure to expose for your subject’s proper tones, and enjoy the masterpiece that you create.

An example of back-lighting.

Rim Lighting:

Rim lighting is when the sun is positioned in such a way to create a halo around your subject. This halo is especially prevalent when placed against a dark background. The sun doesn’t need to be directly behind your subject to achieve this effect, though, as long as the background is dark. You will have to move around to find the sweet spot to achieve this effect, but a good way to start is by shooting from a lower camera angle.

Sun Flare

A sun flare occurs when light hits your lens. Different lenses render different types of flares, so this effect is very fun to try with different types of equipment. To achieve a flare, just move your lens around until you see the light hit it through the viewfinder.
During the golden hour, the sun is at its optimal height for this exact outcome. A simple way to achieve a flare is to move your camera and lens so that your subject is only partially covering the sun. Move around (sometimes you only need to move an inch or two left or right) to find the angle that best creates a sun flare. Another way to achieve a flare is to position your lens and camera so the sun is just out of the frame.
Read more on sun flares: How to Photograph Sun Flares: 14 Tips for Beginners

An example of a sun flare.

A different type of sun flare.

Silhouette

A silhouette is created when your subject is completely black without detail, against a bright background. When the sun is near the end of the golden hour, it becomes fairly easy to achieve a silhouette. Photograph your subject directly against the light, and add some contrast in post-processing.

An example of a silhouette at golden hour.

There are several tips to truly take advantage of the golden hour. Here are a few to help you:

1. Observe the sky the day before

The best way to figure out when the golden hour will be at its peak is by observation! Peek out of the window the day before your photo session, and see how the sun moves and how the light changes. This will allow you to get a better idea of what the lighting situation will be like on the day of your shoot.

2. Plan your photo session around golden hour

No one wants to feel stressed, anxious or rushed when doing photography, so be sure to plan well ahead of time! It is a good idea to begin setting up for your photo session an hour before the golden hour. That way you have plenty of time to ensure that your subject and equipment are ready for that perfect moment.

Anani Inaru with Trinket photographed at golden hour.

3. Watch out for clouds!

Depending on the level of cloud coverage in the sky, your golden hour can change (or not appear at all!). Clouds can enhance the brilliant sunrise or sunset, or they can block your view.

4. Set your White Balance to Cloudy

By changing your White Balance setting, you ensure that the images you produce hold true to the colors you want to appear. This allows you to get the warm look the golden hour is famous for – choose Cloudy or Shade to add even more warmth and golden hues to your images.

5. Shoot with a wide aperture

How the light dances during this brilliant hour can make for an incredible bokeh (the aesthetic quality of the out-of-focus parts of a photograph). The dazzling yellows, reds, oranges, and golds make a rather exceptional backdrop.

Golden hour bokeh.

6. Keep photographing, because the light will change every couple of minutes!

The sun moves faster than you may expect, so keep shooting and don’t stop! Every position of the sun will create a brand new image for you to take.

7. Try different angles and positions.

The sun flares, colors, and intensity of the light in your image are all affected by how you angle your lens. Experiment and try as many different positions as humanly possible! The best way to get the absolute most out of the golden hour is to take advantage of how easy it is to manipulate this unique lighting situation.

8. Underexpose a bit to add more vibrancy

You can always lighten up your subject(s) in post-processing, but it is harder to darken an overexposed image. Underexpose just a bit to bring out the beautiful vibrancy of the sunset or sunrise.

9. Explore the use of HDR

Photograph multiple exposures and then layer them on top of one another in post-processing, and see how many incredible lighting details you can achieve. Read more on HDR: Step by Step How to Use HDR Merge in Lightroom

10. Play with post-processing

What colors can you bring out in your image? Use post-processing to really enhance the colors that you capture. You will be surprised at what colors you can see when the sky has a few clouds in it.

Conclusion

The golden hour is full of limitless possibilities, and no two photographs will look the same. Experimentation is key, explore the light. How do you use golden hour for your photography? Share your thoughts and images below.

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5 Tips for Gorgeous Nature Photography Lighting

By: Jaymes Dempsey

In this article, I’m going to show you how to use light to create nature photography masterpieces.
And I can guarantee that they work.
Why? Because they’re the tricks that I use myself. All the time.
In fact, these nature photography lighting tips can be your photography secret weapon. They’ll get you creative, original photos, no doubt about it.
You just have to be willing to try them out!
Let’s dive right in.

Wait until last light for a breathtaking sky

Nature photographers love to shoot during the so-called “golden hours,” the hours just after sunrise and just before sunset, when the low sun casts a beautiful golden glow over the landscape.
And it’s true. The golden hours are a great time for nature photography.

But if you want truly stunning nature photos, I recommend you go beyond the golden hours.
Instead, focus on shooting at the very last light, when the sun is touching the horizon.
This is the time when the sky often goes brilliant with colors. This is when you get a sunset sky, one that can absolutely blow your mind.
And this “last light” makes for truly breathtaking nature photography shots.
If you’re a landscape photographer, this probably seems obvious. Nearly all landscape photographers shoot at sunset.
But even if you’re not a landscape photographer, I encourage you to shoot at this time. Because sunsets aren’t just good for landscape photos. They also make for beautiful backgrounds in macro photography, bird photography, and flower photography.

So here’s what I recommend:
Get out to shoot during the golden hours. Take some nice shots. But then stick around until the sun is touching the horizon. And start incorporating some stunning sunset colors into your images.
Note that you don’t have to stop when the sun goes down. The colors remain deeply photogenic.
So feel free to keep shooting until you no longer have the light to capture photos!

Photograph in inclement weather for moody images

While golden light is great for nature photography, it’s not the only type of lighting that works.
In fact, one of my favorite types of lighting is the opposite of golden light:
Dark, cloudy lighting. Or lighting in bad weather.

At first glance, this type of lighting seems questionable. After all, during bad weather the light gets low, and it’s often hard to have enough light for good exposures.
But here’s the thing:
Bad weather creates a mood. It creates an atmosphere. And it can give your nature photography something that’s hard to find under other circumstances:
Drama.
For instance, if you photograph when the skies are stormy, you can produce dramatic, breathtaking landscapes.
And if you photograph in rain or snow, you can create a sense of isolation and solitude that can absolutely take your photos to the next level.

Which is exactly what you want.

Use the broken backlighting technique for stunning bokeh

The broken backlighting technique is one of my favorite ways to create beautiful nature photography backgrounds.
Backgrounds like this:

If you look at the photo above, you’ll notice how the out-of-focus areas are intensely blurred. But they don’t look disjointed; instead, they look creamy and smooth.
How do you create such an effect?
By using the light.
Here’s how it works:
Go out on a day when the skies are clear, but the sun is low in the sky. Then find something on the skyline that can come between you and the light. (In other words, find something that breaks the light.)
Trees work especially well, but any type of vegetation will give you some good shots.
Finally, find a subject that’s between you and the “broken” background. Use a wide aperture on your camera, and take some shots.
You’ll end up with beautiful backgrounds.

That’s the power of the broken backlighting technique. You see, the broken backlight will be rendered as blurred pinpricks of light. And those pinpricks are just what you want for the best possible background bokeh.
You can use this for intimate landscape scenes. You can use this for bird photography. And you can use this for macro photography.
It’ll work every time.

Find backlit subjects for stunning silhouettes

Backlit photography isn’t all that common in nature photography.
But it should be.
You see, backlighting can add a lot of drama to your photos. This is often at the cost of color intensity, because the heavier the backlighting, the more underexposed your main subject becomes.
This can be a problem unless you’re willing to embrace it. By increasing the exposure, you can blow out the background but capture a beautiful foreground.
Or, even more dramatically, you can let the main subject become a silhouette.

Here’s how it works:
Wait until the end (or the very beginning) of the day, when the sun is low in the sky. Position your main subject so that it’s between you and the sun. You don’t want the sun itself to be featured in the frame, so you can cover it with your main subject, or keep it just outside the shot.
You also want to make sure that your main subject doesn’t intersect with anything. Ideally, the subject should be framed against the sky, so you have powerful dark-light contrast.
Then switch your camera over to manual exposure. Choose an aperture like you normally would, but dial in a very fast shutter speed. You want your main subject to be underexposed.
And then…
Shoot. Take a number of shots, experimenting with different shutter speeds. You want to capture a beautiful background, but with a completely dark foreground. It may take a bit of testing before you arrive at the perfect shutter speed, and that’s okay.
I also want to emphasize that you can capture beautiful silhouettes of any subject. Trees, flowers, birds, and leaves all look great.

You just have to make sure you get the right backlighting and a carefully positioned subject.
And your shots will look stunning.

Use dreary clouds for beautiful intentional camera movement photos

I’ve already talked about the value of dark, cloudy light. It can add mood and drama to your photos.
But I like dreary days for another reason:
They offer very little light. Which is perfect for capturing long, artistic exposures. And it makes them look incredible because the diffused light results in saturated colors.
Of course, when it comes to doing long-exposure photography, you need a tripod for tack-sharp images.
But in this case, you don’t want tack-sharp images. Instead, you want to capture a beautiful blur, like this:

This is sometimes referred to as ICM or Intentional Camera Movement photography. Low light is perfect for this type of shot because it allows you to keep your aperture wide while still creating blur. This results in especially artistic, abstract images.
Here’s what you do:
Start by finding a subject that’s nice and colorful. The deeper the colors, the better, though the cloudy light will help bring out the hues regardless.
Then set your camera into Manual mode. Choose a shutter speed in the area of 1s to 1/10s. And choose an aperture that will give you a good exposure, while keeping the ISO down as low as possible.
Take some photos while moving your camera up and down, and left and right. Different motions will result in differently-styled photos. So I recommend you experiment with as many options as possible!
One tip is to move your camera along lines in the scene. So if you’re photographing trees, move your camera so that it follows the trunks downward.
Note that you shouldn’t feel constrained to landscape subjects. Yes, ICM photography is often done by landscape photographers. But you can create beautiful ICM shots photographing macro subjects, flowers, and even birds.
So feel free to photograph the subjects you love!

5 Tips for gorgeous lighting in your nature photography: Conclusion

While it can be difficult to use lighting to your advantage in nature photography, it’s not impossible.
And if you use these tips, you’ll be able to capture nature shots that look just stunning!
So have fun shooting and good luck!

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We’re Still Making Cameras! Olympus Refutes Online Rumors of Imminent Division Closure

By Kehl Bayern 

We reported a little while back that there were some rumors circulating around the Internet that famed camera manufacturer Olympus was getting out of the market for good.

Pixabay from Pexels.

Well, not only did it stir some passions here for the storied brand, but it also got Olympus’ attention and they’ve responded to the collective worry that they are about to leave the space behind in 2020.

Basically, they say that reports of their imminent closure of the camera division have no merit.
Or do they? When asked by the media to provide a comment on the recent rumors, Olympus not only denied that they were closing their camera division but also said that they would never consider such a move given how important their imaging division is for their medical products.
Those of us that can read between the lines have noticed that this does not mean that the company will continue to make consumer cameras forever.
In fact, rationality would dictate that the opposite is likely true given that forever is a long time to be in a business with shrinking margins and cut-throat competition.
In a statement to Photo Focus, the company said that, “Olympus Imaging products play an important role as technology drivers for all Olympus business lines, including the advanced digital technologies used in Olympus’ Medical, Industrial and Scientific businesses. Olympus does indeed plan to continue to develop its imaging product lines, bringing products to life that embody Olympus’ core benefits, including system compactness and superior lens optics.”
Where consumer-grade cameras would fit in with a strategy of optimizing and focusing on their profitable medical imaging division remains to be seen.
If you have any ideas, we would love to hear them in the comments below.

3 Key Poses for Portrait Photography

Portrait Photography

By JasenkaG
Finding basic portrait photography poses that work for the majority of models can be quite challenging, especially if you’re not an experienced portraitist. However, the secrets of proper posing aren’t too complicated.  You should learn a couple of basic poses and then introduce a certain variety by changing the perspective or asking your models to reposition their hands and legs. You can also introduce simple props such as stools and chairs in order to have more options to explore with your models.
In this article, we’ll cover 3 basic poses that work great when it comes to both studio and outdoor photoshoots. These poses are quite universal and you can use them when you photograph women, men, children, couples, and even families.

Vlad Deep

1.   Hands On The Waist Pose

This is one of the most suitable poses if you want to emphasize the upper half of your model’s body.
You have certainly seen this pose many times in fashion editorials or in movie posters –  it exudes power and confidence. This pose doesn’t have to be overly masculine – a female model can look stunning with her hands on their waist because this pose makes the waist appear thin.
 You can derive a few additional poses from this basic hands on the waist pose. Just ask your model to change the position of the body (twist it slightly to the left or to the right) or turn the head. 
Hands on the waist pose can be used in full-body shots, three-quarter shots or medium shots (from the waist up). Bear in mind that if you want to use this pose in full-body shots your model should position the legs properly – they should be slightly apart to suggest stability.

Averie Woodard

2. Seated Pose

There are numberless variations of a seated pose – depending on the scope of your photoshoot, you should choose more traditional or more spontaneous variations of a seated pose. If you plan to shoot your model in a studio, using a simple stool and a solid color backdrop can work wonders!
Seated poses are quite universal and they can depict various emotions – strength, calmness, playfulness and even vulnerability. They usually work best with full-body shots.
Even though you can photograph your seated model from a face-on front view, it can be more visually engaging to ask your model to turn 45 degrees aside and put the arm closest to the camera on a hip. This flattering pose will make your model's body and legs slimmer and longer.
If you want to introduce a dash of playfulness to seated poses,  ask your model to rest their head on hands. This works best if the model is seated at the table.

Andi Whiskey

3. Movement Pose

Photos taken in motion look rather refreshing, lively and creative.  They shouldn’t be reserved only for kids and teenagers – any model can run, walk, jump or twirl around and look fabulous.
 Capturing a movement can be a somewhat complicated process because it requires a certain effort from both a model and a photographer. Luckily, the final result is usually worth it!
The simplest movement pose can be achieved by asking your model to works towards you or walk away from you while turning their head towards you. If you’re up for something more adventurous, you can suggest your model twirl around  – this can look gorgeous if your model is wearing a flowing dress or a long scarf. 
Movement poses, because of their playfulness, can work with any kind of shots – from full-body shots to close-ups.

Mehrdad Haghighi

Following these simple tips will help you achieve more flattering poses in portrait photographs and avoid those awkward moments when you don’t know what pose to suggest to your model. Once you master these simple poses,  you can use your imagination to expand your posing routine and offer something truly unique.

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