Archives For photography tips

Lanai Kai, Oahu, Hawaii (HI), USA

After shooting in salt water and sand during our trip to Hawaii, our tripods were badly in need of cleaning. Since it’s important to clean your tripod now and then, we thought we’d share the process on our blog. We try to clean our tripods about twice a year – more often if we’ve been shooting in sand, salt water, or swamps. Grains of sand can work their way into the grooves and threads of your tripod – you’ll know they’re in there if you hear a grinding or grating sound as you turn the knobs or make adjustments to the tripod. (Cringe!) Salt water can corrode some metals – so you should rinse your tripod after shooting at the beach. And swamp water – well, the bacteria that grows in swamps can climb right into your tripod legs and just hang out there… multiplying happily until you open your tripod and discover that it really stinks! Cleaning the tripod isn’t particularly difficult… though it can take some time. Jay and I usually clean both tripods at once, so we set aside a morning to do it. We’ve done it many times, so we’ve got it down to a science, and we can complete the task quickly.

The first step is to take the tripod apart. Each tripod will be different – Jay and I both have Induro’s CT113 Carbon Fiber Tripod. The important thing is to keep track of where all those little pieces go, so that you can put it all back together when youree done. If you’re worried about putting it all back together, take some photos for reference as you work. You may find that there are more pieces than you expected. Here is a video that show you how we clean our tripods:

The frequency with which you’ll need to clean your tripod depends upon how you use it. If it never leaves the house, you probably don’t need to clean it at all. If you are shooting on the grass or a muddy path – just rinse the feet when necessary and you’re good to go. Rain won’t hurt your tripod – though prolonged exposure to moisture can cause some parts to rust… so take the time to dry it off when you come in and leave it open until it’s thoroughly dry. Always rinse your tripod if you use it in salt water – salt can cause corrosion as well.

Take simple precautions to help keep your tripod clean a little longer. When we are shooting in sand, mud, or water, we always extend the lowest leg of the tripod at least a few inches beyond the mess. That simple action keeps the joint up out of the muck. If you can avoid it, don’t immerse the joint in sand or salt water. But don’t worry too much if it does get into the joints. Just take some time to clean it up and you’ll be good to go!

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Flower Portraits

Varina Patel —  May 7, 2013

Touched with Light - Varina Patel

Photographing flowers isn’t as easy as it looks. Getting close enough to the ground is a challenge in itself. I use a shortened center column on my Induro CT113, and I spread its lets out nice and wide. The small image below shows how low I can go with that setup… and I can actually turn the center column upside down if I want to go even lower! I can actually suspend the camera (upside down) less than an inch above the ground if I need to.

Lanai Kai, Oahu, Hawaii (HI), USA

The real trick with flower photography is finding the right angle. I usually take my camera off the tripod and look through the view finder in search of the best angle and composition. Once I’ve found my angle, I set up the tripod and make whatever adjustments I need to get the camera right where I want it.

Trillium - Varina Patel

Sometimes I want to be directly on top of the flower, looking straight down. At other times, I want to be on the same level with the flower itself.

Columbine - Varina Patel

Of course, I’m also acutely aware of the background in each photograph. I like to use a wide aperture to produce a very narrow depth of field. That way, the flower is in sharp focus, but the background is free of distracting elements.

Tom McCall Wilderness Area, Columbia River Gorge - Oregon, USA.

Shooting outdoors usually means you have to deal with wind and light, too. When wind is an issue, I’ll use a higher ISO to get a faster shutter speed. When it’s bright and sunny, I might use a diffuser to soften the light, or a reflector to bounce light onto my subject for a bit of fill light. I sometimes use a diffuser and reflector together to get the look I want.

ohio2013_1598 copy

I love capturing the unique “personality” of a flower in its natural habitat. Can you share any tips for photographing flowers? I’d love to hear about the techniques you are using to capture flower portraits.

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Put Your Brand On It!

Varina Patel —  May 2, 2013

I’m a firm believer in the importance of building a brand. If you see the Coca Cola logo (I bet you can picture it in your head right now) you can almost taste the soda on your tongue. Maybe you start singing the jingle in your head, or remember the last commercial you saw. Maybe you even start craving a nice cold soda all of a sudden. If you’re building a business as an artist, you want your brand to stand out in the minds of your clients in the same way that the CocaCola brand does. Maybe you want it to stand for high quality work, your own artistic style, your excellent educational resources… all the things that you want your customers to associate with your business.

We brand our work in a thousand little ways – from giving out business cards when we speak for a group, to displaying our logo in the header on our websites. That logo appears on the cover of our eBooks, at the beginning and end of our educational videos… even at the top of each invoice. So, you get the picture. I think branding is pretty important to building a business. In this post, I want to show you how I make sure my brand is visible when someone orders prints from my online store.

prints page

Maybe you already know that we use SmugMug for our print sales. They offer some really great branding options for artists – letting you keep your brand visible to your clients. This is how I’m using these services for my own business.

If you have a SmugMug Pro Business Account, SmugMug will display your branding in the shopping cart, include a 4×6 “thank you print” with orders, and place a sticker on the packages that contain your prints. That means that people are seeing your brand again and again… which is great marketing. It costs a dollar for the Thank You print and/or sticker. The branding banner on your shopping cart is free. (If you don’t have a SmugMug Pro account, you can use this 20% discount code to get one: SMUGMUGPATEL)

I started by designing my branding images in Photoshop. Make sure you check the size recommendations on the SmugMug website – click on Account Settings > Branding > Manage. You can upload the finished images from that page as well.

Here’s the image I created for my 4×6 “Thank You Print”. I always include a Certificate of Authenticity with my prints, and this is a great way to do that.

smugmug thank you print

I also created a simpler image for the sticker that will be placed on each shipment.

smugmug sticker

And, I made a simple graphic for the shopping cart banner.

smugmug branding

Once the images are ready, the next step is easy. Go to your Account Settings, and click on the Business icon, and then choose Branding from the menu. You can see that I already have branding set up on my site. If you are ready to set it up, just click on the Manage button under Branding.

branding page with circle

The Pro Branding page will let you upload the files you’ve created. Just click the Choose File button and navigate to the files you’ve created. Once the images are uploaded, you’re done.

upload page

SmugMug will show the Shopping Cart banner during checkout – like this:

shopping cart

Nice, eh? They’ll place the sticker you created on the outside of the box for each order – and inside, your client will find the nice thank-you card.

Now, I did have one minor issue when I was setting all this up. My first attempt at creating a shopping cart banner ended up looking like the image below. (I was using a different image at the time, but it was sized correctly according to the suggestion on the upload page.) You can see that part of the logo is cut off, and the displayed area is square. Weird. Support got me a solution right away. If this happens to you, go to your Gallery page, and click on the Settings button under your “My SmugMug Site Files” gallery. (This gallery is not visible to the public unless you make it so.) Scroll down on the Gallery Settings Page to the Look and Feel section, and make sure that the Thumbnail option for this gallery is set to Original. That should solve the problem. Of course, if you run into any problems, you can always contact support. They’re great about getting back to me quickly every single time.

shopping cart

If you are looking for more information about our experience with SmugMug, you can read this post.

SmugMug Pro account 20% Discount Code: SMUGMUGPATEL

california_1570

Simplifying an image can be difficult, but it starts with choosing a simple subject. Look for subjects that draw the eye and stands out from its surroundings. Don’t try to include the whole scene in the finished image – instead, choose a very simple composition that showcases just one area or object. Once you’ve identified your subject, look for distractions. It’s ok to have a secondary element in your shot… but avoid clutter.

Blinded by the Light - Varina Patel

I use lots of other techniques to simplify my images as well. If clashing colors are distracting – try converting to black and white. If dark shadows or bright highlights draw your attention away from the subject, use a diffuser to soften the light. Look for colors that are similar for a simplified color palette.

Trillium - Varina Patel

I like to use a long shutter speed to smooth the surface of a lake or pond to remove ripples on the surface. And sometimes I use a wide aperture to create a narrow depth of field that softens a distracting background.

The Quiet - Varina Patel

What techniques do you use to simplify a composition? Feel free to share examples and ideas in the comments!

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Workflow Series CollectionApprentice Series Collection

Color or Monochrome?

Varina Patel —  February 19, 2013

When I decide to convert an image to monotone, it’s usually because I want to change what the image is about. What does that mean exactly? Well, take a look at this example.

Here’s a photograph of a wave off the coast of California. The color is pretty intense, and it helps to define the photograph. But what happens when I take those colors away?

Below is a monochrome version of the same photograph. I used Nik Silver Efex Pro to convert the image to black and white, adjust the contrast and add a smooth blue tone. The image is no longer defined by its color… at least not in the same way the first one is. Instead, this image is about texture, form, and contrast. All those elements are present in the first image, but the color is so intense that it really grabs your attention.

So, if I want my viewer to notice the beautiful textures in my photograph, converting to monotone removes color as a distracting element. What do you think?

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Click to go to Nik Software Website to View Video

In our fine art workflow, Jay and I both use use SilverEFex Pro and Sharpner Pro from Nik Software. Recently, we joined Laurie Rubin from Nik Software for a webinar in which we showed a live demonstration of how we go about using these products to produce a final image. You can watch the entire video online by clicking on the image above, or by clicking here. You’ll also find several other great training videos on the same page. Enjoy!

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I’ve said it before and I’ll say it again – color balance is critically important. No matter how carefully I compose my shot in-camera, I will always – ALWAYS – check my color settings during post processing. I recommend that you do the same. Even if you set your white balance in-camera. Even if you don’t make any other adjustments. Here’s why…

Your camera can’t see a darned thing. Really. It’s completely blind. It makes color choices based upon mathematical algorithms. And no matter how good those algorithms are… no matter how advanced the equations gets… it’s still using math. It can’t see what you can see with your eyes. So take a few seconds to get your colors right. A simple adjustment can make a big difference.

The first step is the simplest – but many people skip it. While you are shooting, take your eye away from the viewfinder and look around you. Take a moment to look carefully at the colors that are really there. Is the light from the setting sun changing the color of the landscape? Is light reflecting off brilliantly colored clouds and causing a color cast on the ground around you? At first, most of us have a hard time seeing those slight changes, but over time, you can develop your vision so that you notice the colors changing around you.

Try this simple exercise… next time you are out driving just before sunset, wait until the sun is directly over one of your shoulders. Either on your right, or on your left. Then, look at the trees, buildings, or other objects on the sides of the road. When the sun is low in the sky, you’ll notice that the objects on one side of the road are painted with light. The objects on the other side will be in shadow. Can  you see the golden or magenta color cast?

This is a great comparison for those who haven’t noticed the effect before. When I point this out to new students, they are almost always surprised by it. It’s something they haven’t noticed before. Once you start to notice changing light, see if you can see the color cast that appears on the ground under a brilliant sunset. Look for the glowing golden colors that appear in a forest in the spring… especially on a wet and overcast day. Soon, you’ll be seeing subtle color changes everywhere you go.

Ok – so now that you’ve seen the colors… now that you are really noticing them, open up your file in your RAW converter, and make the necessary adjustments. Start with the default setting based upon the conditions as they were when you took the shot. Was it cloudy? Choose a cloudy setting. But don’t stop there. Look at the image. Does the color balance look just right to you? Shift the temperature slider back and forth just a little and watch what happens to your image. Pay attention to subtle color casts that appear as you adjust the slider. You need to decide if those casts are what you want for your image.

Of course, color balance is a personal artistic choice. You can choose a realistic color balance, or you can choose something “artsy”. Do you want a moody look? A warm and inviting feel to your image? It’s up to you! Experiment with it. Remember, I have only one hard and fast rule for art… If you aren’t enjoying it, you are doing it wrong.

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The moon is a gorgeous subject, but it can be tough to get the shot you want. Have you ever taken a photograph of the moon at night only to discover that it is so bright in your photograph that it appears as a bright, white spot? Do you want to capture a landscape photograph with objects in the foreground and the moon in the sky as well? The trick is to capture the scene at twilight. When the light is low, you can capture the moon and the foreground with a single exposure – without blowing out the moon or leaving the foreground pitch dark.

I took this shot at Sandy Beach on Oahu early this week. Here are a few useful tips that helped me get the shot I wanted.

1. I used an Induro tripod to hold my camera steady. A 1/5 sec shutter speed let me blur my moving subjects in the foreground for a bit of motion without blurring my moon.

2. I took a couple of test shots to make sure I had the focus I wanted both in the foreground and in the sky. I zoomed in to check the photo on the back of my camera to be sure the details in the moon were sharp.

3. I stood well back from my foreground and used a long lens – 70-200mm with a 1.4x extender – which let me zoom in to show the large size of the moon as it rose. A wide angle lens will leave you with a tiny, little moon that gets lost in the frame.

Do have any more tips for shooting the moon? Please share them in the comments so that others can learn! And then, get out there and shoot the moon, everyone! It’s such a beautiful subject!

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Light Matters

Varina Patel —  February 4, 2013

This is a shot from Hawaii’s big island. Pay attention to the light. Maybe you think light isn’t very important in this shot. There are no brilliant sunbeams or brightly colored skies. But I’ll argue that light is critically important to this photograph. Maybe two more photos from the same location will help convince you.

I took this shot in full sun. (Click to view larger)

As I was taking the first shot in this post, I realized that I was looking at a perfect setting for a teachable moment. I turned around and took a shot of the forest down the road – which was in bright, full sunlight. Compare it to the shady shot at the top of the post. The greens in this shot are intense… but the shadows are way too dark.  The image lacks the depth that is so much a part of the first shot, and the finished photograph is unappealing.

Half of this image is in shade and the other half is in sun. (Click to view larger)

This one is even worse. To get this shot, I turned so that I could capture an image half in sun and half in shade. The colors are washed out – this is because colors look best when they are properly exposed. In this case, the shadows are too dark, and the highlights are too bright.

Soft, even lighting works very well for photographs of wooded areas like this. In the first photo, light is evenly scattered throughout the image. The soft light brings out the rich green and gold tones in the forest, and produces a sense of depth. When you are shooting in the woods, look for shady areas, and avoid a sun and shade mix.

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Jay and I visited the Big Island of Hawai’i  over the holiday season this year, and hiked out to see the lava for ourselves. This was, without question, the highlight of the trip. We spent a couple of hours photographing the lava on the first night, and we were so impressed that we returned for another go around the next day. Shooting the lava was a challenge as night got darker. Here’s what I recommend for getting great shots in a place like this…

1. Use a tripod. I used a long shutter speed for this shot. Without a tripod, it would have been a lot more difficult. We need sturdy tripods that can handle some seriously difficult conditions. We were working on incredibly rough ground – and it got awfully hot at times. The soles of my hiking boots show some obvious damage from the heat and rough ground – but my Induro CT113 tripod stood up to it beautifully. This is a great place to put on the metal spikes that some tripods come with. A little extra grip is a good thing out here. It can get windy by the sea, too – so a sturdy tripod is a must. We also recommend using a good ball head. I’m using Induro’s BHL1 ballhead, which has no trouble with my long, heavy lenses.

2. Give yourself time to figure out which lenses will work best – based upon the distances you are working with. I used a 70-200mm lens with a 1.4x converter. This gave me the length I need to capture lava far away – but also let me work with the flow right in front of me without having to change lenses. My photos from the second night are much better than those from the first night because I knew exactly what I wanted and how to get it.

3. I found that focusing on distant lava was difficult because of heat distortion. The solution was to focus on a cooler rock nearby or to focus manually.

4. Experiment with different shutter speeds. I liked the long shutter speed effect for this shot because it showed the smooth flow of the lava as it fell. For other photos, I preferred a fast shutter speed so that I could capture the incredible details in the cooling lava. The patterns were amazing. I’ll post some more photos soon!

If you are planning a trip to the Big Island, give Cheryl a call for her awesome Poke-A-Stick Guided Lava Tours. Please keep in mind that this is private land, and you can not go out there without a guide. As it says on her business card, this trip is “Not fo’ Wimps!” You can find all the information you need on Cheryl’s website at: http://lavarefuge.com/poke-a-stick-guided-lava-tours

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