Photography News

© Sigma UK

 

SIGMA CEO Kazuto Yamaki is pleased to announce the upcoming launch of SIGMA lenses for the Canon RF Mount system. This will allow photographers to use high-performance SIGMA optics natively on a Canon mirrorless camera. The first six lenses to be announced are designed for crop-sensor cameras (see below).

 

Launch: July 2024

SIGMA 18-50mm F2.8 DC DN | Contemporary Petal Type Lens Hood (LH582-02) supplied

More info here

 

Launch: autumn 2024 onwards

SIGMA 10-18mm F2.8 DC DN | Contemporary Push-on Petal Type Lens Hood (LH706-02) supplied

More info here

 

SIGMA 16mm F1.4 DC DN | Contemporary Petal Type Lens Hood (LH716-01) supplied

More info here

 

SIGMA 23mm F1.4 DC DN | Contemporary Petal Type Lens Hood (LH554-01) supplied

More info here

 

SIGMA 30mm F1.4 DC DN | Contemporary Lens Hood (LH586-01) supplied

More info here

 

SIGMA 56mm F1.4 DC DN | Contemporary Lens Hood (LH582-01) supplied

More info here

 

* These products are developed, manufactured and sold under license from Canon Inc.

 

Lens features

The AF drive and communication speed have been developed and optimised specifically for Canon RF Mount. In addition to delivering very fast AF, the lenses also support AF-C, in-camera aberration correction* and incamera image stabilisation. The mount has a rubber seal to help protect the lens in challenging environments.

* Available on supported cameras only

 

For more information, please visit the Sigma UK's website.

 

1. Why Use A Frame? 

Frames are a great tool for drawing attention to an image. Be it a frame we hang on the wall, one we create on the computer, in-camera or with the elements in the scene we are photographing, frames are a very effective tool that all photographers can use.

 

2. Adding A Frame In-Camera 

Frames created while taking your shots will help lead the eye through the shot, add depth to images and help give a photo context. There's also the added bonus of using frames to hide objects you don't want to appear in the shot and they can make your images generally more interesting. They can also be used to give the viewer more information on the location you've taken the shot in. 

 

 

3. What Can Be Used As Frames? 

Windows and archways are obvious choices for frames but tree branches and leaves can also work well. Frames don't have to cover four sides either - one or two branches curving around part of the image can work just as well. It's also worth considering if you want the frame to be in focus or not. If you're at a party, why not use people as your frame to draw attention to a particular person or group? You can also use frames which are positioned towards the back of the shot to frame foreground interest, too. 
 

4. Frames Don't Always Work

There are times when creating a frame within your image won't add anything to the shot so do think about your composition and if you really do need a frame before hitting the shutter button. You don't want the frame to pull attention away from your main subject either so do make sure it's not too distracting. 

 

 

5. Creating A More Traditional Frame

More traditional style frames can be added during Post Production and ePHOTOzine has various tutorials on adding a variety of frame styles to shots in the technique section of the site.

There's also a third option and that's to add a frame to your image in-camera from one of the various creative filter options cameras offer. Apply built-in frames, use vignettes or why not combine multiple shots in one frame? 

 

You've read the technique now share your related photos for the chance to win prizes: Daily Forum Competition

[COMMENT_IMG]direct|294964|294964_1713084387.jpg[/COMMENT_IMG]

 

The latest winner of our popular daily photography theme which takes place in our forums have been chosen and congratulations go to adrianedwa (Day 14 - Garden Landscapes).

 

Daily Theme Runners-Up

If you didn't win this time, keep uploading your images to the daily competition forum for another chance to win! If you're new to the Daily Theme, you can find out more about it in the Daily Theme Q&A. 

Well done to our latest runners-up, too, whose images you can take a look at below.

  Day 9

Stone Circles

[COMMENT_IMG]portfolio|154993|3760856[/COMMENT_IMG]

  Day 10

Woodland

[COMMENT_IMG]direct|26363|26363_1712743437.jpg[/COMMENT_IMG]

 

Day 11

Creative Flare

[COMMENT_IMG]portfolio|51734|3217288[/COMMENT_IMG]

 

Day 12

Full-Length Portraits

[COMMENT_IMG]direct|294692|294692_1712924887.jpg[/COMMENT_IMG]

 

Day 13

Stained Glass Windows

[COMMENT_IMG]direct|44488|44488_1712999025.jpg[/COMMENT_IMG]

 

You’ll find the Daily Themes, along with other great photo competitions, over in our Forum. Take a look to see the latest daily photo contests. Open to all levels of photographer, you’re sure to find a photography competition to enter. Why not share details of competitions with our community? Join the camaraderie and upload an image to our Gallery.

As many flower varieties are currently in bloom, now's a perfect time to explore the art of flower photography. In this article, we take a closer look at why shade's important to a flower photographer and how, with a simple bit of card, a photographer can improve his or her flower shots without too much fuss or extra cost. If you're looking for tips on what kit is good for flower photography, advice on angles to shoot from etc., have a look at ePHOTOzine's technique section where you'll find a section dedicated to 'Flowers and Plants'. 

  Direct sun   Taken in shade

 

Create Your Own Shade

When it comes to flower photography, it's best to avoid the middle of the day when taking shots of flowers but what do you do if you're in a place you can't return to easily, you see an amazing flower and you look up at the sky and see the sun's too high? Do you shake your head in disappointment and leave the flower behind? No. You get your camera out and create your own shade.

The easiest way to do this is move your body until your shadow's over the flower. But only do this if you're taking a close-up. You don't want a shot of a colourful flowerbed with your shadowy outline sticking right out at you. 

If you're a little more organised and have room in your bag or car to carry some helpful photography props there are a few you can take. Reflectors and diffusers are the obvious choices, but a cheaper option would be a piece of card, cloth or towel. Just remember you need something or someone to hold these up or you could do this yourself and put the camera on a self-timer. Make sure your shade-creator is a neutral colour too otherwise your image will have a slight colour cast.   Left: No shade. Right: With shade.     Create Your Own Backgrounds

If you like shooting blooms on location, you need to consider the background very carefully. Out of focus highlights and objects like fence posts, wheelie bins and people can easily ruin your pictures even with judicious depth-of-field control. Getting around the problem is potentially very simple. Not only that, but you can be creative too.

You can use something purpose-made like a reflector or a store-bought background or create your own from a print or a sheet of card.

Sheets of coloured card work fine but stay away from glossy finishes because there could be reflection problems. Matt, single-coloured card works fine, but you can also be more imaginative and paint or print your own using your photo printer.

To help with keeping the background blurred, produce a blurred background in the first place so you do not have to worry about aperture choice so much when you come to shooting.

Your 'background' does not have to be big either. If you are shooting macro studies, a sheet of A4-size card will do nicely.

 

 

Please do note that this approach will not be welcomed everywhere so please do not roll up to an award-winning garden and start setting up your background system. It's also worth remembering that not all botanic gardens allow the use of tripods or at least have restrictions on use so you need to check this before you head off in search of a potential subject. If you plan on sticking to public gardens, heathlands or even your own garden, you won't have to worry. 

How you work with your background is up to you. With macro work, it is possible to handhold your camera and the card background behind the subject but it is not comfortable, nor is it great technique. You'll also need faster shutter speeds and focusing can be a challenge. As a result, it's much easier to use a tripod so you can hold the background a little way behind the subject much more easily. If you have a spare tripod or a lighting stand, use that to hold the background in place.

When composing your images just make sure the background fills your viewfinder frame – or at least enough of your subject to allow cropping.
 

You've read the technique now share your related photos for the chance to win prizes: Daily Forum Competition

 

This week’s ‘Photo of the Week’ features a breathtaking image of the Common Kingfisher in action, skillfully capturing a fish. This remarkable moment takes center-stage, showcasing the vibrant and dynamic world of wildlife photography.

‘Common Kingfisher’ by Jamie_MacArthur showcases this colourful bird in its natural habitat, with detail as sharp as the bird’s keen eyesight. The clarity is exceptional, making you feel as though you could almost reach out and touch the bird’s glossy plumage. You can sense the anticipation as we wait for the kingfisher to dive for its prey. It’s a truly extraordinary capture.

All of our POTW winners will receive a Samsung 128GB PRO Plus microSDXC memory card with SD adapter offering memory storage across multiple devices. Plus, we will also announce our 'Photo of the Year' winner who'll win a Samsung Portable 1TB SSD T7 Shield in January 2024 courtesy of Samsung.

 

At springtime our thoughts naturally lean towards flower photography, and none more so than bluebells, either as individual subjects or in carpets of blue. Often, but not exclusively found in woodlands, bluebells offer a magnetic attraction to photographers and as almost anything can be used to photograph them, from wide-angles to long telephotos, compact cameras to full-frame DSLRs, it's something photographers of all levels can have a go at. 

 

1. What Type Of Shots Should I Take? 

 

How you treat them photographically depends on how densely-packed they are growing. In a woodland where they provide a carpet of blue flower heads, wide-angles can exemplify the extent of the blooms, and shooting with a small aperture will give a huge depth of field, rendering all the flowers in focus. A macro lens can hone in on details and individual flowers, wait for an insect to land on a bloom to give added interest.

  2. How Can I Focus On Individual Flowers?

 

Telephoto lenses used at wide apertures can also give a narrow band of sharp bluebells amongst a sea of blur, with telephoto compression adding to the effect. This works best from low viewpoints, often only a few inches above the ground. Or your long lens can be well used to isolate individual flowers from their surrounds; often in a mass of bluebells, there will be some rogue colours – the most common being pink and white – focusing on these with a long telephoto at wide aperture will highlight the different colours, making them stand out among a sea of blue.

 

3. How Can I Get Creative? 

 

For a different effect, try experimenting with camera movement, by setting a small aperture to enable a long exposure and panning the camera vertically through the exposure. Try smearing petroleum jelly on an old filter (NOT on the lens itself!) and swirl it round to give an abstract effect. You can also leave a clear patch in the middle to give an area of clarity in the picture, amidst a swirl of colour.

So...no excuses...no special equipment needs, just get out there, find some bluebells and interpret them in countless different ways.
 

You've read the technique now share your related photos for the chance to win prizes: Daily Forum Competition

Image Credit: Panasonic

 

Panasonic has announced a significant firmware update for its full frame mirrorless LUMIX S5II and S5IIX cameras that improves the shooting experience and enhances sharing functionality for both images and videos. Listening to creators needs, S5II Firmware V3.0 and S5IIX Firmware V2.0 delivers efficiency in both production and post-production workflows, providing important time (and therefore cost) saving benefits. In line with LUMIX’s continuous commitment to supporting creators, the firmware will be available to download free of charge from the LUMIX Global Customer Support website on 22nd April 2024.

 

Enhancement of Production Workflows

 

New Native Camera to Cloud Integration with Adobe’s Frame.io

Compatibility with Adobe Camera to Cloud is now supported, enabling images and videos to be automatically uploaded, backed up, shared, and worked on jointly via the cloud. Recorded content is sent to the Frame.io platform through an internet connection via Wi-Fi or USB tethering, enabling seamless sharing of captured photos (JPEG/RAW) and Proxy videos. This empowers creators to receive remote real-time feedback during capture and enables collaborative editing among production teams using their preferred creative software. Frame.io Camera to Cloud streamlines the workflow from shooting to editing, enhancing overall efficiency in the creative process.

 

Proxy Video Recording

This new feature simultaneously records a low bit-rate proxy file when recording video. Recording a proxy file that is linked with the original video recording enables quicker and smoother and data transfer, editing, and other postproduction processes.

 

Improved Basic Perfomance

 

Real-time Auto-focus Recognition (Animal Eye, Car, Motorcycle Recognition)

The improved real-time auto-focus system enhances the highly accurate Phase Hybrid auto focus of the S5II and S5IIX, efficiently recognizing people amongst multiple subjects. It also features an animal eye recognition function, to focus on and follow animal eyes, as well as a car and motorcycle recognition function, which is ideally suited for shooting motorsports.

 

Enhanced E.I.S. Performance

In addition to Standard, High mode is newly added to E-Stabilization (Video) function, which electronically corrects large shakes when shooting on the move. A perspective distortion correction has also been added to correct distortion that tends to occur during video shooting when using a wide-angle lens. Combined with Active I.S. Technology, it is now possible to achieve even more stable footage when shooting on the move.

 

Expanding Creative Options

 

SH Pre-Burst Shooting

The newly introduced SH pre-burst shooting function records bursts before shooting begins. When set to the SH PRE mode, the camera begins burst shooting from the moment the user half presses the shutter button, allowing retroactive burst shooting up to the moment the shutter button is pressed down fully.

 

• Other trademarks and trade names are those of their respective owners.
• All functions may not be available depending on the situation.
• Design and specifications are subject to change without notice.
• Frame.io, the Frame.io logo, and Camera to Cloud are either registered trademarks or trademarks of Adobe in the United States and/or other countries.

 

For more information, visit the Panasonic's website.

 

When you think of flower photography your first thoughts will usually be of shots of a single head taken from an overhead angle or a cropped in shot that focuses on the shapes and colours of the flower. There's nothing wrong with these shots as they do work well but for something different, take a look underneath the flower head.

 

What Gear Do I Need? 

Any camera with a close-up mode will be fine. If you're using a DSLR you'll need a good macro lens and consider using a tripod if you have a model that'll allow you to adjust the centre column and legs so you can work from low angles more easily. 
 

Which Flower?

Flowers, where the petals are translucent, will produce better results and if you have a flowerbed that's sheltered from the breeze head for it as if you're working in the open, even the tiniest of breezes can create blur in your final shot. If you don't have any beds hidden behind walls or hedges try using a piece of card to shield the flower from the wind or use a PLAMP to keep it still.
 

Exposure Tips

If you're shooting against a blue sky you'll usually need to allow for at least one stop extra exposure otherwise the flower will appear as a silhouette. If you're working against a dark background, such as a hedge, you won't need to do this as the camera shouldn't have any problems getting the exposure correct. Make sure you use the smallest aperture you can too to prevent blur creeping into the edges of your shot.
 

You've read the technique now share your related photos for the chance to win prizes: Daily Forum Competition

 

This is something everyone can have a go it. It doesn't matter if you live in a mansion or a flat or usually shoot landscapes or portraits as this will give you the chance to think out of the box a little and really help you improve your photography.

Of course, if you live on the coast or in the Highlands or Lakes, you have got it slightly easier than some. But there are pictures to be captured everywhere, you just have to get out there and find them!

If you really don't fancy shooting near your home pick a location you love or know well and see how only having a few meters to work in will make you think differently.

  Gear Suggestions

 

If you're not travelling far you can set out your full array of lenses on your side and return to pick up what you need although your standard zoom will do a perfectly good job.

If you do have a variety of lenses to pick from your macro lens will be good for giving the ordinary a unique twist while a longer telephoto will get you close to birds in the garden without having to be sat on the branch next to them. If you're out in the garden you may need a tripod when using a longer lens but otherwise working hand-held will be fine.

 

What To Shoot?

 

Look at everyday objects differently. See how a fork, TV remote or even a shoelace look close up through a macro lens. Or try setting yourself a little challenge: shoot household objects, certain packets or how about items beginning with a particular letter or number? Try shooting candids of neighbours or how about limiting the number of pictures you take?

You can go on a mini safari in your garden, photograph birds from your window or shoot the flowers that are now decorating our beds. Have a go at photographing micro landscapes on dull days or how about capturing raindrops as they fall down your windows or land on plants? If you don't mind early starts, you can shoot some photos of morning dew or spend some time with your pets, photographing their antics.

 

As the months warm-up you'll be able to spot Ladybirds to photograph but while the weather's still chilly, why not stay indoors and shoot some still life work: kitchen utensils, cutlery and food.
 

You've read the technique now share your related photos for the chance to win prizes: Daily Forum Competition

 

 

1. What Gear Will I Need? 

• Telephoto zoom lens – Gets you close to the window without having to climb a ladder
• Wide-angle lens – Useful for when the window's particularly large
• Tripod – In dark churches you need a sturdy tripod
• Remote release – minimise shake

 

2. Support

When you walk through the doors of a church you instantly notice how dark the interior is and as flash is banned from most historical buildings you'll be relying on long exposures to get your shot. As a result, a tripod and remote release are essential pieces of kit but if you're out for the day with the family and didn't plan on stumbling across a stained glass window you just had to photograph you need to look for a wall you can put your camera on or find a pillar you can rest against while you take your shot. Just remember to keep your arms tucked into your body and hold your breath while you fire the shutter to minimise shake.

 

Not all churches will allow photographers to use tripods or if they do there may be a fee so it's best to double-check before you start taking your shots.
 

3. Position

In an ideal world, you'd be able to use a ladder or even scaffolding to get you directly in line with the window to minimise distortion but as people would be a little upset if you started erecting poles in the middle of a church, you need to find a spot further back from the window and use a longer lens to zoom into the stained glass. If you can't find a position that lines you up with the centre of the window take the shot anyway as you can edit this as well as problems with converging verticals once you're back home.
 

4. Size

Some stained glass windows are so big that even with a wide-angle lens you can't get the whole window in-frame. You can take several shots of the window and stitch the images together when you're back home or you could forget about the big picture and focus in on the colourful detail.

Due to the size of the window and as you'll be looking up at them you will probably need a small aperture to ensure everything from the bottom to the top of the window is in focus.
 

5. Exposure

A bright window surrounded by dark interiors will confuse the camera's exposure system and you'll either get a shot where the window is too bright as the camera has compensated for the surroundings or a shot of a perfectly exposed window with black surroundings as the camera has taken its reading from the window light. One way to solve this problem is to take two shots, one exposed for the window and the other for the surroundings, then once you're back home you combine them to make one perfectly exposed shot. You must use a tripod and ensure the camera doesn't move if you do this as the slightest of nudges will mean the final shots don't line up correctly.

If you don't want to include any of the building's structure in the shot you can usually rely on the camera to meter correctly unless it's a really sunny day then you'll need to use exposure compensation.

 

You've read the technique now share your related photos for the chance to win prizes: Daily Forum Competition

Make the most of the flowers currently in bloom and have a go at a bit of creative flower photography. Below you'll find links to flower photography tutorials with advice on using macro lenses, dealing with messy backgrounds, working on a budget and for when the weather turns, tips on photographing flowers indoors. Each feature also has a picture-perfect flower shot next to it for inspiration - enjoy!  

 

1. Backlighting Flowers For Photography

 

2. Four Ways To Shoot More 'Arty' Themed Flower Images

 

3. Flowers - An Alternative Approach

 

4. Six Outdoor Flower Photography Tips Every Compact User Needs

 

5. 3 Top Tips To Improve Bluebell Photography

 

6. Abstract Flower Photography Tips

 

 

7. 10 Top Tips On Photographing Daffodils

 

8. Take Better Photos Of Public Gardens With These 5 Tips

 

 

9. Eight Techniques To Improve Your Garden Photos

 

10. 4 Essential Tips On Photographing Snowdrops

 

You've read the technique now share your related photos for the chance to win prizes: Daily Forum Competition

 

Portrait photography is a very popular subject and with so many ways you can capture a brilliant photo of a person, it's easy to see why it's one of the most uploaded genres to the ePHOTOzine Gallery. From capturing images outdoors with natural light to indoor shoots with a full lighting set-up, close-ups, candids and professional model shoots, there are plenty of themes and methods to keep a photographer occupied!

To get you off on the right path, we've put together 10 top tips all on portrait photography and, please, if you have any top tips of your own, we'd love to see them in the comments below. 

[HOOK]position_1[/HOOK] 

1. Look Your Subject In The Eye

Make sure the eyes are sharp and breathe more life into your shot by adding catchlights into the eyes.

If you're photographing children get down to their eye level. This leads to a more natural posture as they don't have to look up. The shot will also be more personal and intimate, particularly if you crop in close so they're looking directly out of the frame.

2. Simple Backgrounds

Take a good look around your shot before you hit the shutter button. Make sure there are no lampposts growing out of your subject's head and that cars or rubbish bins aren't stealing your attention. Plain backgrounds will always work best, as they help place emphasis on your subject, however you can't always find a plain wall to take your shots against so make use of your camera's wider apertures and throw the distracting background out of focus.

 

3. Use Flash Outside

Bright sunlight will create ugly shadows on your subject's face so use a pop of flash to eliminate them. Try using the flash from the side as this will give the image more dimension. While on cloudy days you can leave your flash in your camera bag as the soft, diffused light the clouds help create is perfect for portraiture work.

For more tips on using flash outdoors take a look at our previous article – flash outdoors.

 

 

4. Play With Backlight

By placing the sun, window or studio light behind your subject you'll be able to create hair/rim light that lights the edge of your subject. This can really make your subject 'pop' out of the image as the outline of light acts as an extra layer keeping your subject separate from the background.

 

5. Be A Director

Most people won't know what pose works best or what light works where so make sure you talk to them, giving direction when needed. If you make the effort to have a conversion they'll become more relaxed in front of the camera too.

 

6. Don't Centre Everything

Standing centre stage may work for an actor but off the boards and in a photo that's not cropped you want your subject to be slightly to the left or right of the shot. This gives the shot a more pleasing perspective and interest. If your subject's not looking directly into the lens give your subject room to look into and if they're moving through the shot make sure there's space for them to step, run or cycle into.

Imagine a rule of thirds board that looks similar to a naughts and crosses board sat over your scene can help with composition. Take a look at our rule of thirds advice.
 

 

 

7. Create Candids

Candids are shots of people who aren't posed. This could be children playing with their toys, a groom chatting to his new bride quietly in a corner or your mum making a cup of tea. The key to candids is not taking your shot straight away. Wait until the person you're photographing has forgotten about the camera so they're focused on their activity before you take your shot. If you're out on a planned shoot try taking a few photos while you're on a break as your subject won't feel as self-conscious and you'll be able to capture a few natural-looking shots.

If you're working with children make sure they're having fun because the minute they get bored they'll turn unco-operative. Don't forget the odd prop such as balls and sweets. They'll rarely get turned down and they'll soon have them so occupied they'll have forgotten you're there with your camera.

8. Make A Frame

When something gets in the way of your shot the first thing you think to do is move but this isn't always necessary. Finding spots where branches, walls, fences, flowers and other objects can add colour and interest to your composition by creating a frame. Just remember to use a longer focal length to blur your frame so all focus still falls on your subject.

 

9. Get Closer To Your Subject

Using longer zoom lenses will let you crop tighter on your subject without distortion or having to invade their personal space. This bit of extra space will leave your sitter more relaxed and as a result, you'll end up with a more pleasant portrait. As well as having a pleasing perspective your shot's background will be nicely thrown out of focus, even if you're using a smallish aperture and your backdrops only a few feet behind your subject.

Filling the frame with your subject will create a shot that has more impact, is more intimate and if you're using a longer lens, it will help flatter their features for a more pleasing shot.

10. Shoot Reflections And Silhouettes

Your subject's reflection will give you an image that's more visually interesting. For example, getting your subject to place their hands and head on a table with a reflective surface will add depth to a shot. Be creative with the surfaces you use and look for walls and objects that are reflective as well as using the more obvious reflective surfaces such as puddles and glass.
 

All photos by Joshua Waller.
 

 

You've read the technique now share your related photos for the chance to win prizes: Photo Month Daily Competition

    Wonky horizons are the bane of many landscape and cityscape photographers as a horizon that's slightly off-tilt can spoil what's otherwise a perfectly good shot. Of course, there will be times when holding your camera at an angle so the horizon line is deliberately not straight but if you do want to do this, make sure it's really obvious as otherwise, it'll just look like you forgot to check your frame before hitting the shutter button.   How To Straighten Horizons    1. Line it up with the bottom or top of your frame   The easiest way to ensure you have horizontal horizons is to line it up with the bottom or top of your frame, either in your viewfinder or on the LCD screen. Some cameras also have a digital spirit level feature which will indicate to you when the camera is level  - both on the horizontal and vertical planes. It can be displayed in the viewfinder or on the back monitor when using Live View, along with all your other settings. When the marker is in the middle of the gauge and turns green, you know you're level.     2. Rule of thirds grid  If you don't have a digital spirit level, have a look in your camera's menu options to see if there's a rule of thirds grid. We know this isn't designed for this purpose but the grid will have horizontal lines on it that can be a handy guide when you're looking for a quick way to check the horizon.          3. Use a spirit level Another option is to purchase a spirit level that sits on your camera's hot shoe and to use a tripod as you're more likely to move / not hold the camera straight when you shooting hand-held.      4. Post Production  Of course, you can always straighten your images in whatever editing software you use as well but it's good practise to get it right in-camera whenever possible.    

You've read the technique now share your related photos for the chance to win prizes: Daily Forum Competition

 

If you've ever taken photographs with the sun in front of you, you're likely to have experience flare, which probably spoilt your photograph. However, there are several things you can do to remove it or if you're feeling creative, you can use it in your shots to add a little romanticism, mystery and warmth to your work.

[HOOK]position_1[/HOOK] 

1. What Is Flare?

Flare is caused by direct light entering the lens, which then bounces around the glass elements causing a reduction in the photograph's contrast. Sometimes this will just make the picture look washed out and lacking vibrant colours, but often you would also see a series of coloured shapes across the photo. The shape is an image of the lens' aperture or diaphragm and will often be hexagonal. This is joined with streaks of coloured light crossing the picture. Modern lenses have multicoated lens elements and are designed to reduce flare but even with the most expensive products, it can still occur.
 

2. How Can I Stop It?

The easy way to prevent flare is to shoot with your back to the sun - a method that was always suggested in camera manuals before multicoated optics. The trouble with this suggestion is that there are many occasions when you cannot control where the sun is in relation to your subject. It's easy, for example, to ask a person to turn direction or change the angle that you shoot a flower from, but try shooting a castle on a hilltop or boat out at sea and you're usually stuck with no other choice than to face the sun.

Fortunately, there are things that can be done. First, make sure the sun is at least out of the frame. If this is not possible to adjust the position so that a nearby building or tree shields the sun from the camera position. Alternatively, shield the lens from the sun using your hand or a piece of card. Take care to avoid this creeping into the frame. Better still, use a lens hood.

 

3. What If I Want To Use Flare In My Shot?

 

It's easier to get flare with less expensive lenses and be prepared to work lower to the ground, laying down if it's needed to get the sun in the right position. Remember, you're trying to get the camera to do something it's designed not to do so work in manual and trust your own judgement as your camera will keep telling you your shot is blown out. Position yourself so you're shooting into the sun, just before it starts setting and remember to adjust your exposure so your subject doesn't come out as a silhouette. Don't be afraid to use overexposed backgrounds as this will add to the effect and switch to manual focus if your lens keeps searching for a focus point, which it might do as the background will be the lightest part of your shot so it probably won't want to focus on your subject. If you want to shoot some indoor portraits this technique works just as well with your subject positioned against a window or patio doors.

 

You've read the technique now share your related photos for the chance to win prizes: Daily Forum Competition

 

What Is Mood?

Mood essentially relates to the lighting in a shot. Giving something mood usually means we are trying to make it dark and brooding – making it moody. But mood can relate to any lighting situation, to give your photo any mood/feeling.

For landscape photography, mood usually relates to the weather. A cloudy, unsettled day will create mood in a way most of us expect it to be - dark and brooding. Although the opposite, where streaks of the sun break through the cloud to shine light on parts of the green landscape is equally as good, it's just the mood/feeling is different. 

 

Gear Choices

To take good moody landscapes, you're going to need a tripod as dark days may be good for the style of shot you're trying to create but the lack of light can lead to slower shutter speeds and working without a tripod can result in shake. 

 

 

Be Patient

This type of photography requires patience. To get the best shots, you need to wait until there is a break in the weather to get some really interesting lighting effects from the turbulent sky. Of course, mood doesn't have to be cloudy, but with landscapes, it's more of a challenge to portray mood on bright, sunny, cloudless days. 

When the right light does arrive, work quickly as it can be gone again before you know it. The key to this is always to be ready, having your gear out and framing in-mind before the right light does show its face. 
 

Be Prepared

Check the weather forecast the night before as there's no point heading out if you find the weather isn't going to be right. You also need to have the right type of location as you'll find some subjects will work better in dark, moody shots than others. 

 

 

Convert Your Shots

Black and white is another way to create mood in your photography. Taking photos of a gnarly tree, for example, in black and white will look so much more foreboding than a shot in colour. You can shoot black and white in-camera although, if you shoot in colour, you can convert your shots to black and white in your chosen editing software, giving you more control over the tones, highlights and shadows in the shot.

 

You've read the technique now share your related photos for the chance to win prizes: Daily Forum Competition

Today, we thought we'd take a look at some photography tutorials members can have a go at while enjoying the outdoors, plus with these particular tutorials, you probably won't have to venture far from home with your camera to capture some top shots.

As we're taking a walk in the woods, trees are an obvious subject but don't forget to look for small details such as leaves and then later in the year, fungi and berries can make interesting photos. If you're not too noisy, you might spot wildlife with a wide variety of birds making woodland areas their homes along with squirrels and, of course, you might see a friendly dog out for a walk with its owner, too. 

 

[HOOK]position_1[/HOOK] 

1. Photographing Trees 

 

It's an obvious one we know but as you'll be surrounded by them, it makes sense to pick up some tips on how you can photograph trees a little differently.

Here are three of ePHOTOzine's top tutorials on this subject: 

• Ten Top Ways To Photograph Trees
• Tree And Leaf Photography
• Photographing Long Lines Of Trees

 

2. Drag Landscapes

 

Why not give your woodland shots an abstract twist and shoot a drag landscape? This can be done in-camera or if you prefer, shoot your 'normal' image and then apply the drag effect in Photoshop. 

 

 

3. Capture Sunbeams Through Trees

 

Capturing sunbeams bursting through a treeline will add an extra level of interest and an almost magical/fairytale feel to your woodland shots. However, for the shot to work, you need a few elements to come together at the right time and you can find out what these are in this tutorial: How To Shoot Sunbeams Through Trees

 

4. Have A Go At Macro Photography 

 

From fungi to insects or close-up shots of bark, wooded areas are full of macro photography opportunities. Have a look at these macro photography tutorials for inspiration:

• Dew Drops On Spider Webs
• How To Photograph Lichen
• Photographing Fungi
• Photographing Bees And Other Insects

 

5. Photograph Wildlife

 

If you're patient and don't mind sitting still for a while a spot of bird or even squirrel photography could be something you want to try. Just don't forget your long lens and wrap up warm if heading out early as mornings can still have a bite to them at this time of year. For more tips, have a read of these tutorials:

• 10 Quick Tips On Photographing Garden Birds
• Photographing Red Squirrels

 

You've read the technique now share your related photos for the chance to win prizes: Daily Competition

 

Quick Verdict

The Retouch4me Heal plug-in works as promised. It is quick and effective, so it has the potential to save time, which is an invaluable benefit. Furthermore, it goes about its business in a restrained manner, producing superior results compared with the original but without giving an over-processed plastic look. 

+ Pros

• Easy to use 
• Fast
• Produces smooth flesh tones
• Works as a standalone app
• Works as a plug-in through Photoshop, Lightroom and Capture One
• Batch processing through Photoshop actions
• Mac and Windows compatible
• Free updates
• Keys for three devices
• Optional cloud editing at extra cost

- Cons

• The maximum flesh-enhancing effect might not be enough for some
• Each Retouch4me plug-in has a very specific purpose, so if you want greater functionality, cost is a potential issue

 

Retouch4me is a recent arrival on the image editing market, offering a range of plug-ins powered by AI. The plug-ins are targeted at people photographers who want improved results quickly but without the over-sculpted, plastic look that some portrait dedicated software can produce. For this review, we tried the Heal app.

To check out what’s on offer and to download free demo versions, go to http://retouch4.me.

 

Retouch4me Features

Seventeen plug-ins are on offer with improving people photographs the main aim. Three are free and the remaining 14 cost from $124: Dust, Heal, Eye Vessels, Eye Brilliance, Portrait Volumes, Skin Tone, White Teeth, Fabric, Skin Mask, Mattifier and Color Match cost $124 each. Clean Backdrop and Dodge & Burn cost $149 each. The three free apps are the Photoshop panel, Frequency Separation and Color Match.

All are available for Windows and macOS as free demo versions. Once purchased, you get three keys for different devices and free updates.

Each app has a specific role in improving people photographs and is summed up on the Retouch4me website, but their names are quite explanatory. White Teeth detects teeth and makes them whiter and brighter, and Mattifier finds glossy, oily areas of skin and restores them to give a more natural colour. Dodge & Burn needs more explanation and does not give contrast control as you might expect, but evens out bumpy skin, veiny hands and feet.

All of these are people picture-adjusting skills, but there are apps for inanimate objects as well. Fabric irons out creases and wrinkles in clothes, and Clean Backdrop removes dirt even more than a studio background.

The key thing with each plug-in is that they perform automatically, and while you can fine-tune results, you may not need to. 

Each plug-in can be used on a device, or there is the option of Cloud Retouch.

With Cloud Retouch, you get a full suite of 10 apps with free updates and buy the package that best suits your needs. The Basic package costs $20 a month with 200 credits, and the Pro package is 500 credits for $35 a month. The top of the line is the Business package, which is $90 a month with 1500 credits.

Once you have created an account, this is the page for buying and downloading the Retouch4me apps.

 

Retouch4me Heal Key Features

For this review, I picked the Retouch4me Heal app, a blemish retouching software. This plug-in automatically detects problem skin areas and resolves them to give results with a natural skin appearance, which is a key selling point of the Heal app. Some portrait editing apps can give an unreal look, but Heal is written to give professional results with a single click.

The app installation is straightforward, and it can be used as a standalone program, a Photoshop plug-in under its filter menu, or an external Raw processor in Adobe Lightroom and Capture One. 

For Photoshop, Retouch4me offers a free downloadable panel that shows all apps so they can be quickly brought into play. Batch processing is available using Photoshop’s Action feature. The Retouch4me website offers plenty of support, including how to record a Photoshop Action to enable batch work.

The Retouch4me apps have a similar look and functionality.

 

Retouch4me Heal Ease Of Use & Performance

I used Heal as a standalone program, through Photoshop via the free panel and the filters drop-down menu, and in Lightroom as an external editor. Of course, the final result is the same in each case, but the respective journeys are slightly different.

With Photoshop open and the image to be worked in view on show, the Retouch4me panel is on view. Use this, and all you have to do is hit the play next to the app’s name or use the Retouch button. A few seconds later, the image is retouched with the changes sitting above the background image on a separate layer. Check out the original and worked-on image by clicking on the layer’s eye icon next to this layer. Taking this route means there’s no option to adjust the mask or the filter’s output level.

With the brush tool active or when you adjust the Heal’s sensitivity slider, the red mask appears. Here, the white areas indicate the areas that will be retouched at level 50.

 

Push the Heal slider to 100, and you'll see that the active white areas have grown, as you’d expect.

 

For more control in Photoshop, take the Filter drop-down menu option, but before you call up the filter, duplicate the Background layer. Now, the plug-in’s interface opens with the active image on show and by clicking and dragging the interface’s bottom right corner for a bigger view. 

Use the app directly, and images can be opened via the app’s interface, or you can click and drop the image into the interface.

The Sensitivity slider, which ranges from 0 to 100, lets you decide at which point the plug-in starts to work. The higher the value, the greater its effect. When you use the slider, the image turns red with white areas indicating where the app identified problem areas. You can magnify the image by up to 300% to check the app’s effect in close detail.

Hit the Brush at the top left, and a red mask appears with white areas showing where the app has identified areas that need help. If you move the slider either way, you can see the degree of the plug-in’s effect in real time.

In Auto human scale detection mode, the app works out whether the picture is a full-length shot, half-length portrait or a close-up head and shoulders picture. If you’re not happy with the auto setting, try the other settings and the app refreshes the active image almost instantly.

The top left of the interface has tools that let you adjust the mask, which again turns transparent red with white active areas. If the plug-in has worked on an area you prefer to be left untouched, just use the Eraser to fine-tune the mask. The size of the Eraser can be adjusted with the square bracket keys.

Once you are happy with the look you’ve achieved, hit Apply, and the actual retouching process takes a second or so with the repaired areas showing on the background copy later. If you prefer, clicking on the Make Mask option top right of the interface means the corrections are applied on the background copy layer and overwrite the image. Turn off the background in the layers palette and you can see the retouched areas.

Keeping the document with the background copy layer obviously means a significantly larger file size. The test image here was taken on the Canon EOS R5 and the full-size 8-bit TIF was 134MB, and the retouched file with layer was 214MB.

In Lightroom, you need to set up Heal as an external editor by going to Preferences>External Editing. With that done, with the appropriate image selected, go to Photo>Edit In Retouch4me. Lightroom prepares the image for editing and opens it in the app interface. From there, the procedure is as detailed above.

 

Taking a closer look at what Retouch4me Heal can do

 

Full-frame image

 

Original Image shown at 100%

 

Treated with Retouch4me Heal at level 50.

 

Treated with Retouch4me Heal at 100.

 

The Retouch4me Heal did a decent job on my sample image. Model Caitlyn has a very good complexion, but no-one has perfect skin when enlarged to 100% on a high res monitor. You can see that Retouch4me Heal at 100 produced a very good result with a level of 50 not making too much of a difference in this example. The key thing is that the app has cleaned up the complexion while keeping the skin looking natural. 

That said, while the result looked great at 100 having the potential of a stronger look might be handy in some situations.

 

Value For Money

The Retouch4me Heal app costs $124, so it is a significant investment for an app with a very specific role in retouching workflow. If your need is for a more detailed people photography workflow then you’ll need to think of adding a few more Retouch4me apps to your armoury. This is where costs will escalate quickly, so think carefully about which ones to buy and try the demo versions first.

 

Retouch4me Heal Verdict

Retouch4me Heal showed itself to be a good performer producing smoother-looking, cleaner flesh tones without an artificial look. It does so quickly and saves the chore of manually resolving skin issues. Working each image is quick and if you’ve a great many pictures to edit, there is the option of creating an action in Photoshop for batch processing.

If people photography is your main interest and you spend a lot of time retouching pictures, the Retouch4me portfolio of editing apps is worth a close look, as the Heal app shows.

Retouch4me Heal Pros

• Easy to use 
• Fast
• Produces smooth flesh tones
• Works as a standalone app
• Works as a plug-in through Photoshop, Lightroom and Capture One
• Batch processing through Photoshop actions
• Mac and Windows compatible
• Free updates
• Keys for three devices
• Optional cloud editing at extra cost

Retouch4me Heal Cons

• The maximum flesh-enhancing effect might not be enough for some
• Each Retouch4me plug-in has a very specific purpose, so if you want greater functionality, cost is a potential issue

 

[REVIEW_FOOTER]R_features=4|R_handling=4|R_performance=4.5|R_value=4|R_overall=4|E_id=7837[/REVIEW_FOOTER]

 

ePhotozine readers save 20% off Retouch4me Heal

You’ve read the review; now try the power of Retouch4me Heal for yourself. Go to https://retouch4.me and download the demo version. If you love it (as we know you will) you can save 20% off the usual $124 price by clicking the button below.

Save 20% off on Retouch4me Heal

 

 

Due to the size of the UK, we're usually not a million miles from the coast where you'll find fishing boats and tourist boats galore to photograph. Further inland, there are rivers with boats, canal and inland waterways or even water-sports centre where you can capture action-packed images as well as shots of pedalos and canoes.

 

1. What Kit Should I Choose? 

For most boat photography a standard zoom of the 35-80mm range is fine. It's usually wide enough to get the whole boat in shot and long enough to crop in on sails, hull, lifebuoy on the side or other finer detail. You may prefer a longer lens 80-200mm if the boat is further away or to shoot small detail like mini flags, portraits of crew etc. and a lens with a close focus ability is good for detail in ropes, paintwork etc. when the boat is moored.

A polarising filter is a must to ensure reflections are reduced on the paintwork and to deepen a blue sky and cut down on reflections in the water. A graduated filter is useful if the boats are set against a bright sky, although watch for darkening of the mast and upper sails on yachts and such like.

If you plan on shooting panoramic photos of harbours and marinas, pack your tripod. 

 

2. Head To A Harbour 

Harbours conjure up picturesque scenes with colourful boats offset against beautiful blue skies, reflected in the waters below.  To get this sort of picture you need a sunny day with still waters. Use a polarising filter to make the colours more saturated and choose viewpoints without too much clutter. A single boat in the foreground makes a more impressive shot than one where several boats are fighting for your attention.

 

 

3. Wait For The Tide 

As the tide goes out you can photograph moored boats grounded in mud, or on the beach. Use the mooring ropes as a lead-in up through the photo. A small aperture is needed to ensure everything from the front of the rope to the distant boat is sharp. Shots will be more dramatic if you shoot from a low angle and include a brooding sky. Use a graduated grey or ND filter to darken the sky.

 

4. Walk Along A River Bank 

If you aren't near a coastal location you may have a river running nearby that has boats on it. You may get sailing boats, small cargo boats, river authority working boats or even barges. There will usually be speed limits of around 5mph which means that you don't need to worry about panning skills or the need for ultra-fast shutter speeds to shoot boats on rivers. For more impact shoot from a low angle (at the side of the river on a low bank point is best). Try to include interesting landmarks in the background, trees or the odd building at the edge of the frame to hold the viewer inside that frame and focused on the boat.

If there's a bridge find a position where you can use that as a frame as the boat passes under, but watch the exposure. The light under the bridge will be lower than the outside so it's easy to underexpose if your meter picks up the brighter area as the important part. Switch to spot metering where possible and take a meter reading from the sidewall of the bridge and use that as the starting point.

 

 

5. Make A Canal Your Focus

Canals run through many countries too. With these, you not only have boats to photograph but also the activities surrounding them. Barges are usually hand-painted and are very colourful. They often have matching watering cans or flower pots that are crying out to be photographed.  Shoot with a telephoto and wide aperture to blur the background. Focus on small areas of paintwork for patterns and interesting window displays. Find a spot where there's a lock and then you can photograph the activity as the barge is taken to the next water level.

 

6. Interested In Watersports? 

For those who prefer a little more action consider a day out at a water-sports centre. These locations are usually on man-made lakes around the country and offer sports enthusiasts opportunities to sail, water-ski or jet-ski. It's at these locations where you can shoot the speed. For the best results, it helps if you pan with the craft.

Experiment with the shutter speed to get the right amount of motion. Follow the boats and shoot as it reaches a central point of your pan. This will blur the background but if you are keeping at the same speed as the boat as you pan it will be sharp. Try to avoid moving the camera up or down as you pan.

Some have rapids for canoeing. here a fast shutter speed can be used to get the water droplets frozen as they splash around the canoe. Take shots as the canoeist comes up from a 360 roll water will be dripping off his face and he's likely to have a great air gasping expression.

 

 

You've read the technique now share your related photos for the chance to win prizes: Daily Forum Competition