Photographing a silhouette is a great way to capture the dramatic
colors of a sunrise or sunset, and to emphasize the shape of something.
The basic idea with a silhouette is to photograph something that’s
backlit by the Sun (or some other light source), so your subject shows
up completely black in the image. This really helps highlight the shape
of your subject, so silhouettes work great for a variety of subjects:
people, plants, and even big piles of rocks.
Although they’re usually simple-looking images, there’s a few things you should keep in mind when photographing silhouettes:
1. Concentrate on your subject’s shape
Silhouettes are all about emphasizing the shape of your subject, so
when you’re looking for something to photograph as a silhouette,
concentrate on shape: is the subject well balanced? can you tell what it
is just by it’s shape? Sometimes the things that look boring during the
day will make great subjects for silhouettes, so focus on the subject’s
form and structure–that’s what you’re trying to capture with a
silhouette.
2. Find your subject well before sunrise or sunset
Since the colors change so quickly during sunrise and sunset, it’s a
good idea to scout out your subject well ahead of time, so you’re
prepared for the most dramatic colors. Plan on being in place and having
everything set up at least a half hour before sunrise or sunset, and be
prepared to stay at least a half hour after sunrise or sunset. It’s
extremely difficult to predict when the most dramatic colors will occur,
so it’s good to be there for the entire show 🙂
3. Be aware of your surroundings
Although the most dramatic colors usually occur on the horizon where
the Sun is rising or setting, it’s also possible for the best colors to
be at the opposite horizon, or even straight up in the sky! It really
depends on the clouds, so to ensure you capture the best colors, keep
looking around while the Sun is setting or rising and be prepared to
move your camera and tripod in a hurry.
4. Shoot at sunrise to avoid the wind
One of the biggest problems you’ll face when photographing
silhouettes of plants is wind. Since you’ll be shooting in low light, a
slight breeze will shake the plant enough to cause a blurry photo. One
way to prevent this is to shoot at sunrise instead of sunset. The air is
usually much calmer in the morning than in the afternoon.
5. Consider daytime silhouettes too
Most
silhouettes are shot during sunrise or sunset, but it’s also possible
to capture some great silhouettes during the middle of the day.
Remember, all you need is something that’s backlit, so as long as you
can photograph something with the Sun directly behind it, you’ll have an
opportunity to capture a silhouette. People or plants make great
subjects for daytime silhouettes.
What did I miss?
If you have another tip for photographing silhouettes, please share it by leaving a comment below. Thanks!
The first thing I was told to do when I wanted to learn how to
photograph landscapes and cityscapes, was to always shoot during the
sunset. I have always asked myself why, but the answer is actually
pretty easy. You get amazing colors in the sky, dramatic clouds, and
soft light.
You can photograph the most beautiful place in the world and I can
guarantee you, it will look much better during the sunset. The only
problem with this mindset, is that you will never take another image in
the middle of the day. If I find a really cool spot to photograph, but
there won’t be any sunset anytime soon, my go to option is to create a
desaturated long exposure. The second option is to come back another
day.
In this article, I am going to give you some tips on how to shoot
sunsets to get the best results possible. These tips can also be applied
to photographing a sunrise, if you have the energy to wake up at 5am
and go outside.
How to predict the best sunsets
Depending on where you live, the sunset will be different. You can’t
really predict a nice sunset, but there are some signs that can help you
decide wether you should go out and give it a try or not. Of course, I
would recommend going out and photographing all the time, but if you’re a
busy person and do not want to go back home frustrated, then you should
consider these few tips.
There are some areas in the world where sunsets are not vivid, and
you won’t see any colors in the sky. For example, I have lived in the
United Arab Emirates for a year and during that period I have only
witnessed around 10 beautiful sunsets (no joke). However, when I go to
the south of France, there is a dramatic and vivid sunset everyday.
One
of the better sunsets in the United Arab Emirates. This is considered
as an amazing sunset over there, but in reality it is just very average.
An
amazing sunset in the south of France: I was really surprised because I
got the same sunset five
days in a row. and it wasn’t even summer.
There is a simple reason explaining this – clouds make all the
difference. I am talking about patchy white clouds with a blue sky.
These clouds will catch some amazing colors and give you the best
results possible when the sun sets.
There were some patchy clouds in the sky, and during the sunset the colors turned out really nice in
this image.
If there aren’t any clouds, then your sunset will be pretty boring.
You will only have a nice gradient of color going from blue to orange.
Example of a sunset without any clouds.
I usually don’t bother going out when there is an overcast day to
shoot sunsets, because the results are quite disappointing. The clouds
cover the sky and you can’t see it, so you will end up having no colors
at all.
If there is some light rain during the evening, then you can be
pretty sure you will get an amazing sunset. I really can’t explain it,
but trust me, it works all the time.
Planning and patience
Planning is the most important thing, I would recommend going to the
location around 30 minutes before the start of the sunset to compose
your shot, especially if you don’t know the location.
With sunsets, the scene can change very very quickly. I highly
recommend composing your shot, placing your camera on the tripod, and
not moving until the sunset is totally finished.
Sometimes a nice color can appear on a cloud for only two minutes,
and if you’re not ready then you won’t be able to photograph it. There
is an app called Magic Hour which you can download on your mobile device
(for iOS only)
Based on your location, it will give you the time that magic hour
begins, the time of the sunset, and the time it ends. It also does the
same thing for the sunrise the next morning.
With this information, you have the time to look around, try
different compositions, and decide which one works best. I will repeat –
once you find your composition, place your tripod, and do not move it.
It’s better to have one good photo of a sunset then five different
average ones.
You will stay behind your tripod for 30 minutes, taking an image
every time the sunset changes, with the clouds moving and new colors
appearing. It is quite frustrating, but at the end you will have the
best composition possible, with an image of the best clouds, and the
best colors of the whole evening.
I waited in the cold for one hour to photograph this sunset. At first it
looked terrible, but it started developing very well. I ended up having
some nice cotton candy looking clouds.
Lens and composition
I would recommend using a wide angle lens to capture the whole scene,
if you’re going to compose your image to include some foreground,
middle ground and background, which I highly recommend. This enables the
viewer to position himself in the image, and it adds a good sense of
depth. Also, try to make the sky or the foreground at least a third of
the image.
The
trees as the foreground, the Eiffel Tower as the middle ground, and the
sky as the background,
all give nice depth to this image.
If you cannot find that type of composition, then using a long lens can be a good alternative, while using the rule of thirds.
I
could not find a good composition for this shot, so I used a long lens
to compress everything. and
composed it using the rule of thirds.
Composing my shot using the rule of thirds.
Settings and extra gear
A tripod is essential because you will want to shoot with an aperture
between f/8 and f/13 for sharp images, and ISO 100 for the best image
quality. This cuts down the light quite a lot, and you will end up
having a slow shutter speed to compensate. To avoid any shaky images,
use a tripod with a cable release or a two second timer.
I highly recommend exposing your images for the highlights (which
means you are exposing for the sky). The rest of the image will be
underexposed, but if you’re shooting in RAW you will be able to recover
details in the shadows.
Another solution is to use a graduated neutral density filter that will cut down the light on your highlights in the sky, and keep your mid-tones and shadows well exposed.
A graduated filter that you can stack.
I usually leave my white balance on auto, because with RAW files I
can take more time to change it on Lightroom. If you’re shooting JPEG,
the white balance that works the best with sunsets is Shade or Cloudy.
It gives a nice warm magenta color to the image, and makes the vivid
colors in the sky pop more.
Polarizing filters are also a good alternative to recover details in
the sky, and make the colors more saturated without any post-production.
Using manual focus can be useful if it gets too dark and your lens has trouble focusing by itself.
Get creative
For sunsets, in my opinion the best thing to do is to get creative – either do HDR or digital blending.
In both cases, it’s better to take three different exposures to get
the full dynamic range of the scene. Especially because there will be a
lot of contrast between the brights and the darks, it’s difficult to get
all the details. You can merge the exposures automatically with a software, or manually with luminosity masks.
This
sunset looks good, but because I did not shoot three different
exposures you can see in the middle
there are white pixels in the sky
that I could not recover.
You can also get creative by doing long exposures and stretching the clouds. And of course you always have Photoshop and Lightroom to finish your art the way you like it.
This
is an example of a creative sunset: I shot 3 different exposures, a
long exposure of the clouds, a long exposure of the car trails one hour
later, and
merged everything on Photoshop to get the best of both
worlds.
Now it’s your turn. Do you have any other sunset photography tips to
share? Please do so, and share your images as well, in the comments
below. Share this article.
The holy grail of travel photography is a stunning photo looking into
the vast distance taken at sunrise or sunset. It seems to just work as a
blend of color, composition, and light to create something that often
makes the viewer utter that famous word that any photographer wants to
hear, “Wow!”.
But why is it then that so often when you look at your own sunrise or
sunset photos they don’t look so stunning? Here are 5 reasons why your
sunrise or sunset photos don’t live up to your expectations.
#1 – What’s the point?
I remember a picture editor once told me, “This might sound
controversial, but a sunrise or sunset is actually pretty boring.” What
he was referring to was the lack of compelling subject matter in a photo
of a sunrise or sunset like for example an empty beach with just the
setting sun.
While sitting on a beach and seeing a sunset can seem like a
wonderful experience, unfortunately, the camera cannot replicate that.
Most successful photos of sunrises or sunsets have a point of interest
in them, in that there is a subject that is the main story and the sunrise or sunset is providing the light and the atmosphere.
That story doesn’t necessarily have to be a person or an object in
the frame. The story could be the beautiful scenery or the crashing
waves against the coast. But the key point is that there is something
that gets the viewers’ attention. So, don’t just rely on the sunrise or
sunset, try to build your composition using it as an addition rather
than the story.
This photo just isn’t very interesting. There’s a lack of interesting clouds or even water movement.
In this image, the big rock in the foreground, footsteps in the sand and the people all add interest and
context to the photo.
#2 – Clouds or no clouds?
For example, one element that can dramatically improve your sunrise
or sunset photos is some clouds. Take your generic empty beach scenario
from above, but this time add some dramatic clouds that the light can
bounce off and suddenly you’ll go from something mundane to something
that looks fantastic.
The clouds here add drama to the scene.
Of course, you can’t control the elements and no clouds in the sky
means, there’s nothing you can do. In that scenario, you just have to
work harder to frame your shot and give the viewer a point of interest.
While you generally want some clouds in the sky, too much cloud cover
and you will often find the light seems flat and dull and the whole
photo looks uninteresting (unless the sun can set below the clouds and
light them up from underneath). So, in conclusion, while you ideally
want some clouds, it’s important not to have a completely overcast day.
You can, of course, plan your shoots around times when you will have the
best conditions.
#3 – Are your highlights and shadows correct?
One of the big challenges in photographing sunrise or sunsets is the
vast contrast you get between highlights and shadows. Your highlights
are the light areas of your photo (such as the sky for example) and your
shadows are the dark areas in the photo (for example your foreground).
If either is pushed too far you will get completely white areas for
highlights and completely black areas for shadows. This means that these
areas contain no pixel details and is something you want to avoid.
The problem you face when photographing sunsets or sunrises is that your sky will be bright, and your foreground will be dark (a high dynamic range). The way that you can ensure that your highlights and shadows are exposed correctly in this scenario is to use a graduated neutral density filter to balance out the difference in the highlights and shadows.
There are also other techniques such as exposure bracketing
as well that can help you achieve this in post-production and actually
just brightening or darkening these areas in a software like Adobe
Photoshop or Lightroom. But whatever you decide, just make sure that
your highlights and shadows are exposed correctly and fine-tune them if
you need to in post-production.
The blue areas on this photo indicate where the shadows are being clipped (black with no detail).
Here the same image has been adjusted in post-processing to hold more detail in the shadow areas.
#4 – The image isn’t framed correctly
One of the key elements in ensuring the final photo looks great is to frame your composition correctly.
The easiest way to do this and a good starting point for any photographer is the famous Rule of Thirds
where you try to place key points of interest on the intersection of
the lines. But the Rule of Thirds is also worth remembering for your
horizon line. Usually, you will find that placing the horizon either on
the top third or the bottom third will look better than slap bang in the
middle.
Horizon centrally framed.
Using the rule of thirds, the horizon here is on the lower third – off-center.
But try to consider the whole picture when framing your shot. Think
if there are any areas that are just wasted space where you can crop in
tighter. Or if your camera angle is slightly off and you can benefit by just moving a little to either side.
The beauty of photography these days is that you can usually take as
many photos as it takes to get your shot framed right. So, play around
with your composition and capture a few alternatives that you can then
review later in post-production.
Your camera may have the option to display the Rule of Thirds grid when you’re shooting or in
image playback mode.
#5 – You haven’t fixed mistakes
Usually, the first bit of feedback that I often give newbie
photographers when I look at their sunrise or sunset photos is on
elements that could easily be fixed in post-production. Whether you are
an advocate of post-production or not there are certain things that you simply should not forego on any photo.
The two biggest of these are:
Ensuring that your photos are straight, that means the horizon line needs to be dead straight.
Making sure you have the correct white balance for the photo (if you
haven’t already done so when taking the photo). Think about the scene
that you are showing, is it a warm and golden scenario or is it a cool
and crisp setting? Either way, tweak your white balance until it is
correct.
If you do nothing else in post-production, just making sure these two settings are correct will immediately improve your photos.
This image is clearly not straight as can be seen from the horizon line.
Here the image tilt has been corrected.
Sunsets and sunrises are wonderful times in the day to photograph
things. The soft golden light can transform an ordinary scene into an
extraordinary one. When done well, they are often the photos that will
be the “show stoppers” in any portfolio.
But always remember that a sunset and sunrise needs to work in
combination with your composition and subject matter to create a
wonderful photo. Follow these tips and you’ll be on your way to
capturing great photos of sunrise and sunsets.
Now it’s your turn to get involved. Share your great sunrise and sunset photos below. Share this article.
‘No good travel photo album is complete without the token sunrise or sunset picture!’
Many travelers seem to live by this mantra – however most sunset and sunrise photographs that I see are quite disappointing.
They need not be – sunsets and sunrises are not that difficult to photograph!
Tips for Photographing Stunning Sunrises and Sunsets
Think Ahead – While sometimes wonderful sunrise and
sunset shots can be taken spontaneously without any forethought it’s
often the case that the best ones come out of planning. Scope out places
that might be good for sunsets in the day or two before your shoot.
Look for interesting places where you might not only be able to see the
sun track all the way down but where there will be opportunities for
shots that include foreground elements and silhouettes. Sunsets only
take half an hour or so so you want to think about these elements before
they start or you might miss the shots you’re after.
Find out when the sun will set or rise and get there at least half an
hour before hand as it’s often in the lead up to and the time after the
sun appears or disappears that the real magic happens.
Keep an eye on the weather also. There are a variety of different types
of sunsets that produce a range of different types of lights and
patterns in the sky. Don’t just go for clear days for these shots –
while they can produce some wonderful colors it’s usually the times
where there is cloud around that the real action happens! Also be aware
of days when there is dust or smoke in the air as they can produce
amazing results also.
Consider ahead of time what equipment you might need. Include a tripod,
lenses that will give you a range of focal lengths, extra batteries etc.
Composition Techniques
Shoot at a variety of focal lengths – wide angle can
create sweeping landscape shots but if you want the sun itself to be a
feature of the shot you’ll want to be able to zoom right in.
Keep in mind that the sun is just half a degree across so when you
shoot with a wide lens it will only be taking up a reasonably small part
of the photo. If you want it to be a feature of your shot you’ll need
to zoom in on it using anything from a 200mm lens upwards. This will
increase your need for a tripod!
Also be aware that when you look at the sun at the best of times it can
be dangerous but when you look through a magnifying lens it can be quite
dangerous is the sun is still too high in the sky.
Silhouettes as focal points – As with all photos,
sunsets need a point of interest and one of the best ways to add one to a
picture is to try to incorporate some sort of Silhouette into the shot.
This could be something large like a mountain range, something that is
part of the environment like a palm tree or a pier or could even be a
person.
The great things about Silhouettes is that they add mood and context to a
sunset or sunrise shot. I’ll write more on silhouettes in a future
article.
Rule of thirds – Remember the rule of thirds in your
photographing of sunrises and sunsets. While you can always break the
rule it’s often a good idea to place elements like the horizon, sun,
silhouettes etc off centre.
Exposure Techniques
Shoot at a variety of exposures – if you let your
camera decide what shutter length to shoot at you’re likely to get a
shot that doesn’t really capture the beauty of the light. Quite often
the shot will be under exposed because the sky is still reasonably
light.
Instead of relying upon the camera’s auto mode a sunset is an ideal time
to switch your camera into aperture or shutter priority mode and to
take a variety of shots at different exposures.
The great thing about sunsets and sunrises is that there is no one
‘right’ exposure and that you can get stunning results using a variety
of them. Also keep in mind that different exposures (aperture and
shutter speeds) will produce a variety of different results so it’s
worth taking more than just a few shots – the key is to experiment.
I tend to switch into shutter priority mode and start with a relatively
quick shutter speed and then slowly work down to slower ones.
Bracketing – Another technique to try to get the
right exposure is ‘bracketing’ where you look at what the camera
suggests you take the picture at and then take a few shots at both under
and over that mark. ie if your camera says to shoot at 1/60th of a
second at f/8 you would shoot off a shot at 1/60 at f/5.6 and then at
f/11. In doing so you end up with a series of shots at different
exposures which will all give you slightly different results and colors.
Most DSLR’s and some point and shoot digital cameras have a built in
bracketing feature so you don’t need to do this manually – learn how to
use it!
Auto Exposure Lock – Another exposure trick, if you
don’t have a bracketing mode or don’t feel confident in using it is if
your camera has ‘auto exposure lock’ which allows you to point your
camera at a darker place and lock in exposure for that spot (ie you
could point it at the ground in front of you and lock in that exposure)
and then reframe the picture looking at the sunset. This will mean you
get a more over exposed shot.
Take camera out of Auto White balance mode – when you set your
camera to ‘Auto’ in it’s white balance mode you run the risk of losing
some of the warm golden tones of a sunrise or sunset. Instead try
shooting in ‘cloudy’ or ‘shade’ which are usually used in cooler lights
and tell your camera to warm things up a little. Alternatively – if
you’re shooting a sunrise and DO want a cooler moody shot you can
experiment with other white balance settings.
Other Sunset and Sunrise Tips
Tripod
– If you’re shooting at longer shutters speeds and with longer focal
lengths then a tripod or some other way of ensuring your camera is
completely still is essential.
Manual Focus – sometimes when shooting in extreme
lighting conditions some cameras can have trouble focussing. If this is
the case for your camera consider switching to manual focus to ensure
you get nice crisp shots.
Look around you – The wonderful thing about sunsets is
that they not only create wonderful colors in the sky in front of you
but they also can cast a beautiful golden light that is wonderful for
other types of photography. As the sunset progresses keep an eye on
other opportunities for shots around you (not just in front of you). You
might find a great opportunity for a portrait, landscape shot, macro
shot etc behind you in the colden light.
Keep Shooting – A sunset or sunrise constantly changes
over time and can produce great colors well after the sun goes down or
appears so keep shooting at different exposures and focal lengths as
I’ve mentioned above until you’re sure it’s all over.
Outdoor portrait photography involves going outside, and utilizing
the beauty (or the ugliness) of your surroundings. You probably already
know some local beauty spots, and can think of some good places to take
portraits right away. But once you start observing your local area with
the aim of making portraits
in mind, you will begin to see the potential, even in mundane
locations. But how do you find great backgrounds for outdoor portraits?
Here are some ideas to get you started.
1. What lens are you going to use?
This is important because, broadly speaking, there are two different
ways to take portraits. Both involve the use of different types of
lenses.
The first is to to use a wide-angle lens to take an environmental portrait.
This may be documentary in approach, or it may be more fashion or
beauty orientated. Either way, the idea is that you use a wide-angle
lens to take a portrait, and that the setting is as important as the
model.
The second is to use a longer focal length, and shoot with a wide aperture to throw the background out of focus.
In this situation the requirements for the background are different,
because you are looking for something that looks good out of focus.
Also, because longer lenses have a narrower angle of view, you are using
less of the setting in your portrait.
Of course, it is more than likely that you can find opportunities to
take both types of portraits, in the same setting. You may also make up
your mind, once you have scouted a location and assessed its potential.
But it helps immensely if you know what your approach to the shoot will
be, while searching for a spot to shoot.
These two portraits show the differences in the two approaches. The
first was taken with a 40mm lens (on a full-frame camera), and shows the
setting as well as the model. The second was taken with an 85mm lens
(also on a full-frame camera) and shows much less of the setting.
2. Where does the light fall?
Some photographers tend to shoot portraits entirely in natural light;
others use flash to supplement it. Whichever approach you take, it is
still important to assess the quality of the light in your given
location.
Take into account the time of day you plan to do the shoot. To take full advantage of natural light you should aim to shoot in late afternoon or evening, during the golden hour,
when the sun is close to the horizon. For this reason it helps if you
do your scouting at the same time of day, so you can see how the
location looks in this beautiful light.
Another option is to take photos on a bright sunny day, but in the
shade. The light bounces off nearby surfaces, which acts as a giant
reflector. This is another type of natural light with beautiful
qualities.
Alternatively, you might like to shoot on a cloudy day. This means
that time of day is not so important, but it does mean that the light is
most likely to come from above, and may create shadows under your
model’s eyes and chin. In this situation you can use a reflector
or fill-flash to minimize shadows. So think about whether there is room
to set up a light-stand (if using flash) or for somebody to stand and
hold a reflector (if using natural light).
This photo was taken in Wellington Botanical Gardens, and the model
is illuminated by light coming from above, through the tree tops. As she
is in costume, I thought the direction of the light was reminiscent of a
spotlight on a stage, and appropriate to the style of portrait. I used a
short telephoto lens (85mm, full-frame camera) to separate the model from the background.
3. Use a smartphone to take photos
You can use a smartphone to take photos of locations to help you
remember what they look like. Of course, you can do this with any
camera, but the advantage of a smartphone is that most of them have GPS,
and this helps you remember, and find, the exact location again later.
This could be important if you are out in the countryside somewhere.
There is nothing more frustrating than finding a great place to take
some portraits, then not being able to remember where it is.
You could also import the photos into a specific Collection in Lightroom, and go to the Maps module to see the locations displayed on a map.
Here are some types of location you can search for. Remember, it’s important to think about what type of lens you are going to use for your portraits, as well as to assess the quality of light.
Backgrounds by the coast
Any location by the sea is full of potential. The same place can look
very different every day, thanks to changing tides, weather patterns,
and light. If the coastline is rugged, look for locations where you can
use the rocks and cliffs as a background. Each bay or beach has its own
character, so get out and explore. You are likely to find a good variety
of beautiful locations, even in a relatively small area.
This photo was taken on a local beach, which has become one of my
favorite locations for taking portraits, using a 40mm lens on a
full-frame camera. This lens has a slightly wider angle of view than a 50mm standard lens, and allowed me to include a little of the beautiful location, but still make the model the focal point of the photo.
Graffiti backgrounds
It may be bit of a cliche, but there’s no doubt that graffiti or street art, can make an interesting and colorful background.
This photo was taken on a local beach with a graffiti covered,
concrete bunker in the background. I used an 85mm lens (on a full-frame
camera) to include just a little of the artwork in the frame.
Field and forest backgrounds
Fields and woodlands often make good locations for taking portraits,
especially in the spring and summer. Fields of flowers are gorgeous
locations. Try using a telephoto lens, and shooting through the flowers so they are out of focus.
The light in a forest is usually most suitable for portraits on a
cloudy day. The light is soft, and unlike on a sunny day, your camera
can easily cope with the brightness range. The one thing to watch out
for is the direction of light.
It comes from above, through the trees, and is highly directional. You
will have to search for the places where gaps in the trees let light
through. You may have to use a reflector to fill in the shadows created
by the top light, or ask your model to tilt her face toward the light.
On sunny days, try shooting at the end of the day, when the light is softer, and use backlighting.
This portrait was taken on a cloudy day, in a thick forest where not
much light penetrated through the trees. We found a clearing next to a
large tree that we were able to use as a background. I used an 85mm lens
(full-frame camera) to pull the tree in close to the model, and exclude
most of the forest from the frame.
Local buildings for backgrounds
Keep an eye out for local buildings with public access that you can
use for photos. I’m not talking about busy locations, as they are
difficult places to work, unless both you and your model are very
experienced. Let me give you some examples.
Here’s an abandoned boat shed on a lonely beach.
Test shot
This is the portrait we made at that location.
The second example is a graffiti covered concrete bunker left over from WWII.
Test shot.
Here’s a portrait we made there.
In both examples I used a small part of
the building as a background. You can see the same technique in the
other photos in this article. The idea is to make sure the background
complements the model in your portraits, and doesn’t overwhelm her.
The outdoors is a bit like a giant stage
set, just waiting for you and your model to use. Wherever you live, I am
sure that there are plenty of great locations for portrait photography
nearby. It’s just a matter of learning to spot their potential, and
thinking about which lens (or lenses) you will use for your portraits.
Share some of your images from your favorite spots in the comments below.
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Processing a RAW file can allow a photographer to bring out the full range of tones in an image.
Often when I’m looking at photos in forums online, or interacting
with photographers in person, inevitably someone will proudly claim that
the image in questions is “Straight out of the camera”. Almost without
fail, this leads to a huge discussion as to the merits of
post-processing images, with those on the side of
straight-out-of-the-camera images acting as if those photographers who
process their images are somehow in the wrong, or are being deceptive.
There are merits to both sides, to be sure, but what’s amazing is how
staunchly both sides defend their positions. At times the discussion
becomes more heated than “Mac versus PC” or “Canon versus Nikon”. Having
been on both sides of the debate, due to the nature of the work I’ve
done in the past, I can understand both sides. However, I can also say
that both sides can be somewhat misguided in their arguments at times.
Processing? NO!
Photojournalists
covering sports or other news are often advised not to process images,
and some
news agencies outright forbid it.
Those who oppose any post-processing sometimes argue that it is a
crutch, that they don’t need post-production to fix their images,
because they get it right in camera. That said, there are plenty of
reasons why you might not want to process your images, purity of the
image aside.
In the photojournalism world, image manipulation beyond dodging and burning, contrast, and color correction, is a big no-no.
Every few months a story shows up in the photo industry news websites
that tell the sad tale of another photojournalist who lost his job or a
contest because he or she removed or added an element from an image. In
the photojournalism arena, this is understandable. Your job is to tell
the story visually, and removing or adding elements in an image changes
that story. So in that case, it’s best to keep the manipulation to a
minimum. Some news agencies have forbidden their photographers from
using the RAW format at this point, to reduce the chances that the
images have been drastically altered. The goal here is truth, and while
the photographer has already added their spin to it by making important
compositional and exposure decisions at the time of capture, that’s
where it should end.
Editor’s note: long time National Geographic and Magnum photographer Steve McCurry is under fire for this very issue right now. What are your thoughts on that, is he in the wrong or is it a witch hunt?
Event
photographers who shoot thousands of images in the course of a few
hours often choose not to process images due to the amount of time it
takes.
Another time where processing images is probably not a great idea is when you are covering large events.
For instance, in a past life, I owned a studio that specialized in
covering youth sports events, such as soccer and baseball tournaments.
On the average Saturday afternoon, it was quite common for me to capture
several thousand images on my own, and I often had a team of three or
more photographers working for me! Speed is the key at these events, so
it’s important that the images be sellable to the participants and their
parents as soon as they are shot. This means exposure, white balance,
contrast, and saturation must all be good straight from the camera. As
soon as a game ended, those images were loaded immediately onto our
server to be previewed by customers and participants. There was no time
to adjust that many images individually.
Finally, there are those who simply prefer not to do that much work on a computer with their images.
The act of capture satisfies their creative urges, and they are happy
with their images. There is nothing wrong with that. Some might say
that working in this manner ensures their exposures are correct in every
way when the image is made, which is certainly an admirable way of
practicing the art of photography. This philosophy of course, also
allows you to go out and do more photography, and spend less time on a
computer.
Those who choose not to process get their images correct in camera,
because to them there is no post-processing option. It helps them be
better photographers at the time of capture, because they must pay
attention to the details of the exposure, check their histogram, adjust
white balance, and apply the correct picture style.
Post-Processing is Part of the Photographic Process
Landscape
photographers process RAW files in order to pull as many tones as
possible out of the image, preserving shadow and highlight detail.
Often, when I hear the words “I get it right in camera,” it often
sounds to me like “I don’t know how to use Photoshop.” True or not, for
those on the side of post-processing, the photographic process doesn’t
end at the press of the shutter button, in the same way it didn’t end
for those of us who once shot film, then ventured into the darkroom to
develop film and make prints. Those who have never been in the darkroom
will likely never understand exactly how much manipulation could be
achieved in the darkroom, from color and contrast adjustments, dodging
and burning, to masking and photo compositing.
The truth is, there has NEVER been such a thing as a “straight out of the camera” image.
(With possibly the exception of slides, but they can still be altered in the printing stage.)
Even
for those today, who choose to not use Photoshop or other image
processing applications, the image is far from being straight out of the
camera. You’re simply letting your camera do the processing for you.
When you choose a picture style, you’re telling your camera how to
handle color, contrast, tone, and sharpness. You can create your own
styles as well, manipulating color and contrast in camera to your own
liking. Simply because the image wasn’t touched on a computer doesn’t
mean it wasn’t processed, or manipulated. Knowing all of this, doesn’t
it sound foolish to say that an image straight from the camera hasn’t
been processed?
Let’s get this out of the way quickly: Post-processing is not a
crutch. If I look at an image on the back of my camera and say “I’ll fix
it later”, then it’s already a bad image, and no amount of processing
is going to correct it. I am a staunch proponent of shooting RAW, for
many reasons. As an avid landscape photographer, I know full well that
the camera can have problems handling a scene with a lot of dynamic
range, such as a sunset. I use optical filters on my lens to help with
that, but there are still times when the image out of the camera fails
to capture the image I saw with my eyes.
Close attention to the histogram is essential, ensuring that I have
all of the tones I need to work with, careful not to clip highlights and
shadows. This is very similar to Ansel Adams’ zone system. I know where
objects in my scene should register on the histogram, and I adjust my
exposure to ensure that’s what I get when I open Photoshop. As Ansel
Adams once said, “Dodging and burning are steps to take care of mistakes
God made in establishing tonal relationships.” The same is true for
color correction.
This
side-by-side comparison shows what is possible when processing a RAW
file. On the left is the
image straight from the camera, using the
Standard picture style. On the right, the same image
processed in Adobe
Camera RAW.
As a landscape photo artist, I do not consider myself a
documentarian. While I’m not personally a fan of compositing images
together to create the finished piece, I do believe that all darkroom
tools are on the table. This starts with RAW processing, and continues into Photoshop, where I will use adjustment layers, filters, and masks
to bring the most out of my image. My intent is to bring out what I
felt when I was at the scene, capturing the image. Very rarely, for me,
does a camera do that without a little help from me.
This
is the tool palette in Adobe Camera RAW. Each slider is a separate
control over the image, and each tab across the top represents another
set of controls, enabling you to get the most out of the image.
Finally, and this is my biggest reason for shooting RAW when it is
feasible, is the purity of the data. If you are capturing JPEGs straight
out of the camera, the camera has already decided to throw away a good
portion of the data you’ve captured. JPEGs are 8-bit files, across three
color channels. For each of the three color channels (RGB) the camera
is converting your image, at the time of capture, to 256 shades of gray
per color, leaving your image with 16.7 million total possible colors.
In addition, the image is compressed, and redundant data is discarded.
This compression is lossy compression, and every time you open and do
anything to your image, such as removing a dust spot, and then save it
again, you are throwing away more data. Eventually, artifacts will
appear in the image, ruining it and making it unusable.
Today’s RAW files are 14-bit files,
meaning each color channel contains 16,384 shades of gray. This means 4
trillion total colors are available in the image. Issues such as
banding and artifacting, which can arise when using JPEGS, are nearly
nonexistent issues when editing a RAW file. I’ve seen JPEG banding in
portraits where the skin tones change, and I’ve seen it happen in
landscape images where the sky transitions from a vibrant blue to a pale
orange at sunset. It can happen to any image. So even if I plan to do
nothing to my image but remove a dust spot, it’s worth starting with a
RAW file that requires some processing. Even if you oppose
post-processing, it’s quite easy to apply a picture style the same way
the camera does, and export a JPEG.
Portrait
photographers often choose to process images to allow them to create a
feeling about their subject, in addition to allowing them to retouch the
image, and make their subject look their best.
Honestly, there’s no right or wrong way to work with your images.
After all, a photographer’s work is very personal to them, and everyone
chooses to work in their own way. When I can, I prefer processing my
images and getting the most from the file. When the situation calls for
it, I will shoot JPEG, knowing full well I won’t be able to make
adjustments later, so I make sure it’s right when I push the shutter
button.
What do you prefer, and why? Do you process or not? Give us your thoughts
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