Instagram has been been in the news a lot lately – particularly with it being purchased by Facebook for $1 billion!

We’ve talked a little about it in the past and it has always caused some debate within our community – while some see it as a great way to share photos, particularly those taken on their iPhone or Android phones – others see it as ‘cheap’ and ask why someone would want to ruin a good photo by putting ‘filters’ on it?

I’m probably in the first camp – I’ve been on Instagram for 18 months or so (you can find me at the username ‘darrenrowse’) and while I don’t share as many photos as some people I find it quite addictive.

As Instagram has now hit the big time with their purchase by Facebook I thought it might be interesting to run a poll on the topic. Are you on Instagram?

I know these options might not fit everyone’s situation – I’d love to hear you expand upon your response in comment below.

Read more from our Photography Tips and Tutorials Category

Article source: http://feedproxy.google.com/~r/DigitalPhotographySchool/~3/8PCrC0v0Ycw/instagram-pol

The SLR Lounge Lightroom 4 DVD

This tutorial has been transcribed from the SLR Lounge Lightrom 4 DVD, a 14 hour A – Z video tutorial guide on mastering Lightroom 4 including over 6 hours of developing techniques!

Introduction

It is absolutely vital that every photographer using Lightroom has a full understanding of the Lightroom catalog system in order to prevent workflow issues. While this article may sound basic, even the most advanced Lightroom users will probably find some golden bits in this article, so don’t skip! In this article, we will be covering several main points which are stated below:

1) Non-Destructive Editing
2) Lightroom Previews
3) Understanding the Catalog System
4) File Management
5) One Catalog or More?
6) Recommended Best Practices

1. Non-Destructive Editing

We commonly hear the term non-destructive editing vs destructive editing. But, let’s take a brief moment just to discuss it to make sure we are all on the same page in regards to what is non-destructive editing. Non-destructive editing simply means that any modifications made to an image are not changing the original image. This would mean that with a non-destructive editor (i.e. Lightroom) you would be able to revert back to the original image at any point in time, regardless of how long or how many changes have been made. Photoshop on the other hand would be an example of a destructive editor since changes that are made to an image are saved directly over the original image, thus destructively editing the original file. For this reason, when we work in Photoshop we always suggest that you are work in PSD files and creating multiple layers to ensure that we preserve each change or step all the way back to the original file. So, if Lightroom isn’t actually modifying images, then what are we seeing when we modify develop settings inside of Lightroom.

2. Lightroom Previews

When we see changes being made inside of Lightroom as we are adjusting Develop settings, what we are seeing is actually just a “preview” of what that image would look like were the settings applied to the image. These settings and changes that we are making, won’t actually be applied to the image until you “Export” the image from Lightroom. When you Export the image, Lightroom will take the original file, process it with the settings that were used on that file, and save it as a separate file based on your Export Settings.

Message shown in Lightroom 4 when previews are being rendered

Ever notice while moving from one image to the next (particularly in the Develop Module) that Lightroom pauses and shows “Loading” as shown above? This is Lightroom preparing the image previews on the fly. To save time, we always recommend that prior to developing your images you “Render 1:1 Previews” for all of your images. You can do this by going into the Library Module, turning off all filters so all images are visible, then selecting the following from the menu:

Library – Previews – Render 1:1 Previews

This will save enormous amounts of time during developing since Lightroom will no longer have to pause to render a preview when moving from image to image, or when zooming into an image.

3. Understanding the Catalog System

So, given that Lightroom is a non-destructive editor and what we see inside of Lightroom is simply a preview, then what exactly is being stored inside of the Lightroom Catalog file? The Lightroom Catalog file, or .lrcat file, only contains information. In fact, you can think of the .lrcat file as simply a giant database storing the metadata, attributes, develop settings and any other organizational information related to your images. However, the actual images ARE NOT being stored in the Lightroom Catalog. Lightroom is simply referencing those images at a particular location on your hard drive. Knowing this is important because when Lightroom asks you if you want to “backup your Lightroom Catalog” you know then that you are only backing up the information and not the actual images themselves.

During import, there is an actual option where you can backup the actual images in the catalog, however beyond this feature you will need to make backups of your images on your own. This backup option can be found by going to the Import Dialogue (Ctrl + Shift + I or Cmd + Shift + I for Mac).

Then selecting the “Make Second Copy To” option in the File Handling Panel on the right side of the Import Dialogue.

If you wish to make an entire backup of the images within a catalog along with the catalog file directly from Lightroom, there is one other option available.

From the Library Module, Right Click on the folder containing your images in the Folders Panel in the Left Panel display. Select “Export this Folder as a Catalog” and choose a destination as shown below.

This option will take all of the images within the folder and export them as a completely new catalog with its own .lrcat file. It will also preserve all existing develop settings, metadata, attributes, etc. On a side note, it is also useful for making a selection of images, and breaking of just the selected images as a new catalog.

4. File Management

Since Lightroom only stores the information related to your photos, we know that Lightroom has to be pointing or referring to the images somewhere on your hard drive. If you have ever had the ? appear over an image in Lightroom, or had Lightroom tell you a file is “missing” it is because Lightroom has essentially lost the reference to where those images are located as shown below?

This will happen when you move or rename image locations outside of Lightroom. In this situation, you simply need to tell Lightroom where the images have been moved to. For this reason, we recommend putting the Lightroom catalog and the original images into the exact same folder.

So, for example if we just got back from London and I wanted to import my images into Lightroom. I might create a new folder called:

2012.03.01 – London Family Trip

Inside of that folder I would have catalog and images stored in the following folders

00_Originals
Catalog

It would look like the following:

Because the images and the catalog file are in the same parent folder, if I need to move my catalog I can take everything at once by simply moving the 2012.03.01 – London Family Trip folder. If I rename the same parent folder to something else, the Lightroom Catalog would still link to the images correctly since they are stored in the 00_Originals folder inside of the parent folder.

However, if I need to change the name of the 00_Originals folder at any point in time, this is a change that you will want to make from Lightroom by Right Clicking on the folder and “Renaming” it. If you make this change from your OS file system, then the image locations will be broken inside of Lightroom, and you must update it manually.

If your images are missing, to update the location simply Right Click again on the Folder and select “Find Missing Folder” selecting the new updated location for your images as shown below.

5. One Catalog or More?

We often are asked whether photographers should have only one Lightroom Catalog for all of their images, or have multiple Lightroom Catalogs for every single shoot. There are most certainly benefits to each, the two primary benefits are discussed below:

Catalog Size – The biggest drawback to having a single catalog file for all your images is the catalog size. Despite what Adobe says, Lightroom catalogs do indeed slow as the catalog sizes increase. Now, this isn’t typically noticeable until you reach around 15,000 + images within a single catalog. However, there is a difference. If you do have large catalog sizes, we would recommend using the File – Optimize Catalog feature from time to time to optimize the catalog efficiency. The other downside to having large catalogs is having large image folders where your images are stored. Transferring or backing up from one drive to another can become extremely cumbersome.

Usability – The biggest benefit to having a single catalog file for all your images is the fact that all your images can be searched, found and edited within a single Lightroom catalog. Since Lightroom catalogs are independent of each other, images within other catalogs cannot be searched and found from Lightroom, unless that specific catalog is open.

6. Recommended Best Practices

So, in regards to the question above, here is what we would recommend, though each one of you will need to make the final decision on your own depending on your workflow and preferences:

The Casual Shooter – For the casual shooter that shoots maybe 10 – 25 pictures a week, we would recommend that you put all of your images into a single Lightroom catalog as you will benefit most from having all of your images stored in one single location. Perhaps every 10 years or so, when your catalog exceeds 15,000 – 20,000 images, then you might want to archive your existing Lightroom catalog and create a new one.

The Frequent Shooter – For the frequent shooter who captures around 50 – 250 images a week, I would recommend that you create a yearly Lightroom catalog file. This will make sure your Lightroom catalogs still remain efficient in terms of speed, while still having decent usability given that to find a particular image, you just need to know the year it was shot.

The Event Shooter – For the event shooter who frequently captures around 1000+ images per event/shoot, I would recommend that you create a Lightroom catalog for each client/event. For the event shooter, efficiency is the primary priority since you need to be able to move through catalogs, edit, transfer and archive at a good speed. The downside here is to find images for say a portfolio, you will need to pull up each client’s catalog.

7. The Lightroom 4 DVD

We hope you enjoyed this tutorial! For those of you that truly want to master every facet of Lightroom 4, be sure to check out the SLR Lounge Lightroom 4 DVD . Quoted as the best and most comprehensive video tutorial guide covering every LR4 topic from A – Z including over 6 hours of basic and advanced developing techniques specifically for Lightroom 4.

Article source: http://feedproxy.google.com/~r/DigitalPhotographySchool/~3/EWI6fIjX26o/understanding-the-lightroom-catalog-and-file-management-system

You’ve seen this camera’s predecessors, the Canon EOS 5D Mark II and 7D and Nikon’s D90, everywhere or, least you’ve seen their product on TV or at the movies.

What made many industry players sit up and look closely was the use of the Canon EOS 5D Mark II to shoot the finale of the series House, produced entirely on this camera.

In TV and feature movie production, cameras like these have been snapped up eagerly by producers, camera operators and Directors of Photography who know what top quality should look like and then read the low sticker price!

Until recently, the big boys like Sony, Panavision, Arri, JVC and others were responsible for the top camera gear in this field and the prices were astronomical … and then RED entered the field with a different approach to professional digital video capture.

Side-by-side with this situation still cameras also became smarter and able to capture Full HD 1920×1080 pixel video capture. So we now have the Canon EOS 5D Mark III, ready and waiting for the TV and movie industry to take up the technology.

Of course, there are issues with the use of a digital still camera to capture a high end moving image. Among them are the awkward viewfinder arrangement, lack of a power zoom, the use of a rolling shutter which can cause havoc with cross-frame action, audio capture is an issue, the file format is another … and there are others, not least of which is how to cope with the odd shape of a DSLR compared to a pro video camera.

There are some attractive pluses in this situation, amongst which is the large image size, enabling operators to use lenses which are closer in focal length to the optics used in 35mm motion picture film photography, the gold standard of the industry. As a film industry friend once said to me: “Everyone in this industry wants the film look but no-one wants the video look!”

But hey! It also shoot stills!

Canon EOS 5D Mark III Features

Supplied with the f4/24-105mm EF lens the review camera bundle was surely a big beast, weighing in at 1.5kg.

The body is constructed from magnesium-alloy, while dust and water resistance have been improved with the addition of water-resistant seals around buttons, dials and strap hooks.

As arguably the top DSLR model, around this camera is now the equivalent of the one time medium format 6×6/6×9 cameras that sat near the top of the pile. It is also one of the reasons for the popularity of Micro Four Thirds, Four Thirds and similar smaller sized sensors: these little babies can shoot images all the way up to as large as most people want.

The EOS 5D Mark III has a full frame 36x24mm sensor holding 22.3 million pixels, with a maximum image size of 5750×3840 pixels, or an enormous 49x33cm as a print. Of course, with a high quality lens and the right shooting conditions you can expect a much larger output with the use of a lower dpi. It accepts Compact Flash and SD/SDHC/SDXC cards.

It’s worth making a comparison between a camera such as Samsung’s NX200 which has a pixel population of 20.3 million, packed into a sensor that is just 40 per cent the size of the Canon’s. With the latter’s larger pixels you enjoy the benefits of a higher signal to noise ratio and an expanded dynamic range.

Of course, there is no such thing as a free lunch in this game so a larger sensor means you need longer focal length lenses to capture an image equivalent in perspective to the smaller sensor cameras. Longer focal length lenses = reduced depth of field.

In the AF area there has been a distinct improvement with the use of a new 61-point reticular AF system; this includes up to 41 cross-type focus points while extra points have been positioned to left and right of centre frame. The result is greater precision. A big improvement over the Mark II.

You also can now enjoy 6fps continuous shooting with a release time of app 0.59ms.

High Dynamic Range is now included in the new camera: three images of a single scene are captured at different exposures varying by an f stop each; these are then merged into a single HDR image.

Oddly, in such a high level camera there are four picture effects available (Art Standard, Art Vivid, Art Bold and Art Embossed), surely an admission by Canon that even pros will occasionally resort to a quick and dirty picture fix to get that special effect wanted by clients!

There are two multi exposure modes: function/control priority for composed multi-exposure images and then theres’s a continuous shooting priority mode to snare multiple exposures of a moving subject. This means you can combine two and nine images in a single image in continuous shooting mode or four in function/control priority mode.

I liked the extensive array of external controls, which meant there is less dipping and diving into the viewfinder menu, excellent as it is.

One comment: there is no onboard flash gun; Canon says this exclusion is due to body integrity requirements — adding a flash would jeopardise dust and moisture exclusion. But it’s a pity that there’s no vari-angle finder.

Video

The EOS 5D Mark III captures video in Full HD 1920×1080 in the MPEG-4 AVC/H.264 format.

Some notes: unlike a camcorder or some other digital cameras the autofocus does not operate while shooting; if you zoom during a shot there may be some changes in exposure; you can ‘pull focus’ during video shooting by hitting the AF-ON button (not the shutter button!); fast lateral pans may show vertical distortion; the camera’s onboard microphone is mono but an external stereo mic can be plugged in; total shoot time is between 1hr 20 and 1hr 30 minutes or limited by your memory card’s capacity.

You can, surprisingly, shoot a still while mid-movie recording and command the camera to record each to the same card. This of course interrupts the movie recording.

Post-shooting you can edit the start or end of the movie clip and save the edited clip as a new file. This worked surprisingly well and could be useful to an operator in the field.

I found extended handheld use of the camera a bit of a strain; a shoulder harness or similar would be useful.

Canon EOS 5D Mark III ISO Results

The ISO range extends to ISO 25,600 but there is an extension to 51,200 and 102,400.

My tests were set to go only as far as ISO 25,600, at which point, as you can see, definition is acceptable but noise is identifiable.

Extra Gear for the Canon EOS 5D Mark III

The BG-E11 Battery Grip can house 2 x LP-E6 and 6 x AA batteries. It also has a multi-controller and M-Fn button for easy and quick operation.

The new Speedlite 600EX-RT is the first Canon Speedlite to offer wireless radio transmission (and not IR), along with a shorter recycle time.Guide number: 60m at ISO 100, lens at 200mm. Coverage? A wide 20mm.

The WFT-E7 Wireless File Transmitter supports high- speed communication over 802.11a/b/g/n networks and can be connected to high-speed wired Ethernet networks.

There is also a compact GPS receiver, the GP-E2, enabling photographers to record shooting location and orientation.

Canon EOS 5D Mark III Quality

This baby will shoot top TV and stills industry gold standards. Nuff said.

Why you’d buy it: you want a silent shooting mode; industry standard video capture.

Why you wouldn’t: weight is against your style.

This is obviously the one to beat in the top shelf.

Canon EOS 5D Mark III Specifications

Image Sensor: 22.3 million effective pixels.
Metering: 63 zone full aperture, partial, centre-weighted; spot.
Effective Sensor Size: 36x24mm.
35 SLR Lens Factor: 1x.
Shutter Speed: 30 to 1/8000 second, Bulb. Flash X-sync at 1/200 second.
Memory: CompactFlash (Type I, UDMA mode 7-compatible), SD/SDHC/SDXC.
Image Sizes (pixels): 5750×3840 to 720×480.
Movies: 1920×1080 at 24/30/50 fps, 1280×720, 640×480.
A/D Resolution Power: 14-bit.
Viewfinders: Optical pentaprism, 8.1cm LCD (1.04 million pixels).
File Formats: RAW, JPEG, RAW+JPEG, MPEG4 (MOV).
Continuous Shooting: 6fps.
ISO Sensitivity: Auto, 100 to 25,600xxx.
Interface: USB2.0, AV, HDMI mini, mic, headphone, PC, remote control.
Power: Rechargeable lithium ion battery, AC adaptor.
Dimensions: 152×116.4×76.4 WHDmm.
Weight: Approx. 860 g (body only).
Price: Get a price on the Canon EOS 5D Mark III (body only)at Amazon.

Read more from our Cameras and Equipment Category

Article source: http://feedproxy.google.com/~r/DigitalPhotographySchool/~3/4yvwaZr5jqY/canon-eos-5d-mark-iii-review

Every day I get emails from photographers asking which camera to buy so they might become better photographers. STOP!  Use what you have, get out there and shoot! As Darren Rowse wrote in a recent article about camera lust sometimes I think our lust for cameras and gear could be getting in the way of actually becoming better photographers.” I have to agree with that statement.

I love using a good camera and an L lens as much as the next photographer, but that new camera and expensive lens does not create a good picture. I do. And processing software? Photoshop, Lightroom or Aperture will not turn a bad picture into a good one, but they will certainly help make a good image even better.

A new camera will not make you a better photographer. Period. It will only make you a new camera owner.  To become a better photographer, learn to see.  Learn to see the new and see the familiar as new.  Get out there every day on photo walks.  Work on a daily or weekly project. Give yourself assignments or goals.  Most importantly – get outside your comfort zone!  Shoot, shoot and shoot some more.

If your work is not improving and you have the money, then buy more gear and help the economy.  If your work is improving, and you feel limited by the equipment you have and you have the funds, then maybe it’s time to invest in a better camera body or a new lens.

I used the most basic gear for years.  Even as I turned pro, I kept using the same equipment for quite a while. Sometimes my clients had better cameras than I had!  I upgraded my gear gradually only as my client base grew and I could afford it.  I did not go into debt and honed my skills as a result. I am very grateful for that.

It’s true that a more advanced – and expensive – camera system can improve your work, but only if you already know how to make a good picture with your current equipment.  Everyday I see dozens of amazing images shot with basic cameras or iPhones. I also see plenty of bad pictures shot with fancy, expensive equipment. When someone sees a truly great image, they don’t ask which camera was used. They say, “Wow, who took that amazing photograph?” After a piano performance, no one ever asks the concert pianist whether she was playing on a Yamaha or a Steinway. The audience is moved by the performance, not by the piano. Let’s face it, the most iconic photographs of the last century were all made with far less sophisticated equipment than the most basic point and shoot we have today, but they all had something in common: They were made by people with passion and vision.

Inspiration is everywhere – online, in photography books and in the work of others. Get inspired, but don’t try to copy them!  The idea is for you to develop your own style, not imitate others. Style comes with vision, technical expertise, and experimenting – it takes time to develop. A better camera may make you look cool, but it will not provide you with photographic style.

Limitations are challenges that can serve you well.  For example, even if you own ten different lenses, carry just one on your photo walks.  That one lens will help you see your familiar world in new ways – and your back will thank you later!  Maybe you can only afford a used DSLR and a 50mm f/1.8 – then take some awesome pictures with that.  Either way, in the long run you will improve your craft and shoot some killer images along the way.

We all have to start somewhere. Our camera is just a tool. It’s okay to lust after the latest gear, we all do to some extent, but stop whining and wishing you had the latest Canon or Nikon. Get out there and use what you have.  That is what will make you a better photographer.

Happy shooting!

Read more from our Photography Tips for Beginners Category

Article source: http://feedproxy.google.com/~r/DigitalPhotographySchool/~3/UAFwiOx4I-U/stop-whining-about-your-equipment-get-out-there-and-shoot

Photographing couples is quite literally one of the most enjoyable parts of my career. I love that with two people in love, you have such great capacity for shots that are unique, engaging, and artistic. Additionally, there is something wonderful to be said about the freedom and control we have with only 2 people to pose and direct.

I want to share a simple lighting technique that I have found to make an enormous difference between an “average” couples portrait, and a “dynamic” couples portrait.

This set up requires two flash units: One on camera, and one off camera. You will also need an assistant and a reflector.

1. Set your flashes to ETTL (Canon). ETTL will have the camera measure the available light in your scene and set the flashes accordingly.

2. Place your camera on Shutter Priority at 1/200s. This way your shutter speed will never exceed your flashes maximum speed.

3. Have your assistant take the secondary flash and hold it 8 feet from you, and 8 feet from your subjects. The angle of the flash will not be firing directly at your subjects. Rather, you will have your assistant fire the flash into the reflector. This will cause the light to spread and wrap around both your subjects.

4. Take the shot! As you can see from both examples below, the sidelight makes an incredible difference!

Using flash always takes practice, but this simple technique will add artistry to every couples portrait you take!

Read more from our Portrait Photography Category

Article source: http://feedproxy.google.com/~r/DigitalPhotographySchool/~3/H-0LvNxL3tE/a-simple-lighting-technique-for-couples-portraits

The Vanguard designers thought of everything when they designed the Heralder Series. My first impression, when I took mine out of the box, was that it was probably the most padded bag I had ever used. Even the anti-slip shoulder strap is so padded and comfortable, you could almost use it as a head rest!

But that’s not all! The Heralder 28 (the smallest in the series) comes with a built-in tripod sling on the front and a rain cover that zips in its own back pocket when not in use. I don’t know about you, but I think those are two really useful features, especially the rain cover. My tripod is heavy duty and, although it technically fits on the Heralder 28 sling system, I would not attach it to such a small bag. I can see it fitting on the larger models if you are strong enough to carry that much weight. That said, I would definitely strap a travel tripod or even my Gorillapod to the Heralder 28.

A full rain cover is readily available from a special pouch behind the bag. Also, the large strap on the back allows for easy attachment to any rolling bag handle.

The tripod sling on the front of the bag is concealed when not in use.

This bag also has a removable padded pouch for your iPad (other any other tablet or small laptop up to 10 inches). The compartments can be adjusted or removed to fit your needs depending on the gear you want to put in the bag on any given day. The entire compartment also comes out in case you want to use your bag for other things. The Heralder also features a zippered quick top access so that you can grab your camera without opening the flap.

My Heralder 28 showed here with the 5dMarkII with 24-70mm attached, 70-200mm extra lens, a flash and an iPad. The camera can be positioned differently depending on the configuration you choose for the removable pads.

The Heralder 28 messenger bag also comes with a lot of useful pockets for personal items as well as mini compartments for memory cards. If you’re like me, when you carry heavy gear for long hours, nothing compares to the comfort of a backpack. Well, good news: This one can be converted into one with the optional ICS harness (sold separately). Please note that I haven’t used  this harness because I also own a very comfortable camera backpack for long outings with heavy gear. That said, if I wanted the flexibility of a messenger bag with the comfort of a backpack all in one, I would definitely consider checking the harness option.

Some of you may say: “But it’s black and it looks like a camera bag!” True, it does. It would not be my first choice for a street photo walk if I don’t want anyone to know I have expensive equipment in my bag, but we don’t always need to hide the fact that we carry camera gear, do we? I’ve used it when out in adverse weather (because of its rain protection) and in addition to my rolling bag on commercial shoots (it features a system to attach it to the handle of my rolling bag). Basically, if you want a sturdy bag with lots of features and lots of padding to protect your precious gear, you may want to give this one some serious consideration.

Specifications for the  Heralder 28: Inside Dimensions LxWxH: 25 x 16 x 20 cm (9 7/8″ x 6 1/4″ x 7 7/8″) Outside Dimensions: 34 x 26.5 x 27 cm (13 3/8″ x 10 3/8″ x 10 5/8″) Weight: 1,250 g (2.76 lbs)

Its list price is US $169 but it is currently 30% off on Amazon. Please note that the Heralder 28 by Vanguard is the smallest bag in the series. The same bag comes in two larger sizes: the Heralder 33 and Heralder 38.

Article source: http://feedproxy.google.com/~r/DigitalPhotographySchool/~3/kVfIRtV8l3o/the-heralder-28-messenger-bag-by-vanguard-review

To celebrate the launch of our brand new Natural Light eBook this week your photographic challenge is to take and share a portrait – lit only with natural light.

Image by Sebastiano Pitruzzello

Feel free to take any approach to this challenge that you want. You might like to shoot a portrait of a friend, a child, an older person or even a Self Portrait. You could shoot with your DSLR or a camera phone. You can shoot something in Black and White or Color. It might be a silhouette or backlit, a shot at a window or something out in midday sun.

It is completely up to you – as long as it is only lit with natural light you’re welcome to submit it.

Check out these window lit natural light images for a little inspiration.

Once you’ve selected the ‘Natural Light Portrait’ image that you’d like to share – upload it to your favourite photo sharing site or blog and either share a link to it or – embed them in the comments using the our new tool to do so.

If you tag your photos on Flickr, Instagram, Twitter or other sites with Tagging tag them as #DPSNATURALPORTRAITto help others find them. Linking back to this page might also help others know what you’re doing so that they can share in the fun.

Also – don’t forget to check out some of the great shots posted in last weeks challenge – Posed challenge where there were some great shots submitted.

Read more from our Reader Questions Category

Article source: http://feedproxy.google.com/~r/DigitalPhotographySchool/~3/peg3geoSu-g/natural-light-portraits-photography-challenge

The following tutorial was submitted in our forum by Chris Gin.

I used my B+W 10-stop the other day to do some long exposures at sunset and thought I’d write up the steps I took to get the shot.

Firstly for those of you who aren’t familiar with this type of filter, it’s basically a very strong neutral density (ND) filter which reduces the amount of light hitting the camera’s sensor by about 1000 times. ND filters are very common but they are typically only 3-stops in strength (reducing the amount of light by 8 times) so a 10-stop one is quite extreme.

The first thing I did was find a suitable composition as I would for any shot. I wanted to achieve the misty water look so I found some rocks with water washing over them and composed my shot. Note it’s vital to use a tripod with these shots due to the long exposures.

Once I had the shot composed the next step is to work out what exposure will be needed. At this point I usually take a test shot without the ND filter and then multiply the shutter speed by 1000. e.g. if using aperture priority, ISO 100, f/11, the shutter speed is 1/50, then the required shutter speed with filter would be 20 seconds (.02 * 1000).

In this case however I was a bit lazy and decided to just put the filter on and take some test shots to work out the exposure.

As it was nearly sunset, I also needed to use a graduated neutral density (GND) filter to balance the exposure between the sky and foreground. Positioning the GND filter when also using a 10-stop ND filter is difficult because it’s hard to see anything with the ND filter on. Luckily my Canon 7D’s LiveView allows me to ‘see through’ the ND filter so I used this when positioning the GND. My 40D didn’t allow me to do this so I had to position the GND filter on first, take it off the camera (while still in its holder), screw the ND filter on, and then put the GND filter back on. A bit time-consuming as you can imagine and so much easier using LiveView!

Here’s the first shot I took.

?

ISO 200, f/9, 30 seconds

Not bad, but a little underexposed (you can see the rocks are too dark). The settings I used were just based on experience from previous shots I’d taken using the filter. There’s also a bit of vignetting caused by stacking filters on a wide angle lens. Larger GND filters can avoid this but since I only have Cokin P-sized ones I decided to zoom in slightly (11mm vs 10mm) to minimize vignetting.

This is the final shot I took and the one I think I will keep:

ISO 400, f/9, 60 seconds

Since the sun was lower in the sky I needed an even longer exposure. I decided to use ISO 400 to keep the exposure down to 60 seconds. Sometimes noise can be a problem at higher ISOs but my 7D handles ISO400 just fine.

Note the only processing done on the above shots is converting from RAW to JPG and applying camera’s Landscape picture style. Other processing steps I would take include straightening of horizon, local exposure adjustments if needed, white balance, sharpening, noise reduction etc.

I hope you found this tutorial useful. You can view more of my photos on my website, on my Flickr page, or on Facebook.

Read more from our Other Photography Tips Category

Article source: http://feedproxy.google.com/~r/DigitalPhotographySchool/~3/snDXPP0IiVs/how-to-use-a-10-stop-nd-filter-to-take-long-exposure-sunset-images