This is a guest post by concert photographer, Tez Mercer. Check out Tez’s blog for more awesome concert shots and tips on how he got them.

So, you want to shoot a concert? You get the OK to shoot your favorite band at your favorite venue. Now what? What body, what lens choice, what do you do? Well, dear reader, maybe this will help.

Alice Cooper

CAMERA – Like Chase Jarvis said, the best camera is the one that’s with you. He’s right, but if you have a choice there are better alternatives. Personally, I wouldn’t want to shoot a concert on a crop sensor body – I think the focal length multiplier and the higher levels of noise (when comparing crop to full frame) make them less desirable to shoot with.

Of course, if all you have is a 20d or whatever, then sure, use it. I have a 40d for backup and I don’t take it to concerts… I actually don’t take it many places anymore but that’s by the by. The reason I suggest full frame bodies is not because of the focal length thing, but comes down to image quality at higher ISOs. I’m frequently shooting concerts at ISO 4000, and at some places you can get away with ISO 800 if the lighting is superb (which it very rarely is), but more often than not I’m going beyond 1600 (which is the cutoff point for many DSLRs), now, I’ve shot ISO 3200 on a 40d and it looks like crap, even 1600 is questionable and full frame bodies handle noise better because they have more gremlins inside them that can handle the noise and smooth it out into less noticeable grain-like dots.

If you have the option, full frame simply cannot be bested. Crop sensors are improving all the time but at this moment I’d take full frame any day of the week.

However, one thing I will say for crop sensors is that their frame rates are generally higher (my 40d shoots 6 frames a second for example) which could be really useful for capturing the decisive moment, (or you could just work on your timing) and more frames may improve the chances of getting ‘the shot’. This isn’t the way I work, but I must admit I’m far less prudent with digital than I was with film, when you have 24 shots and that’s it (try changing film at a concert). And since my 5d II is 3 fps, accurate timing is more important to me than just spraying. But if I had 10 fps, I’m sure that would be nice!

So, full frame is the way to go, or any camera that can realistically handle ISO 3200 and upwards. I know crop bodies are getting better all the time but in my experience, full frame just smokes it. I am yet to see the 1d IV though, but if you can afford that, and use one, you probably know all this already.

Baroness

LENS – I shoot 99% of my concerts with a 24-70 L 2.8. This comes down to my personal style and preference of being right in front of the stage, right next to what’s going on. I know some people who hang back with a 200mm lens and capture it that way. That isn’t my thing since it’s a rock concert and should be frenetic and fast paced, and a wide angle lens gets you closer to the action and feels more involved.

The other 1% I use a 50mm 1.4 or an 85mm 1.8. I love these lenses, I really do, but not for concert stuff. People move too much: they come close, they go far, they go left, right, up, down, whatever. A prime doesn’t really have the versatility I like for concert photography. I know with a prime it’s all “zoom with your feet” but that isn’t always applicable where there’s security, a guard rail, screaming fans and you can’t see where you’re going. Great in theory, useless in practice.

So, my 24-70 L serves me very well- it’s sharp and fast, and it’s 2.8 aperture is a very useful tool to have at your disposal, not only does it allow faster shutter speeds, it also makes the viewfinder image brighter which I’m sure you can appreciate being a big help at a concert where the light isn’t always what you would call ‘perfect’.

Just like with the camera choice, it comes down to personal style as much as usefulness. I know my style is to be at the foot of the stage right near the footlights, but yours may be hanging back capturing it from the back of the crowd or the side of the stage, in which case, a longer lens will suffice. Just make sure it has a fast aperture though, otherwise you’re limiting your chances of getting usable shots. f/2.8 = minimum. I frequently hang around at between f/2,8 and f/4 depending on the light and the shutter speed I want.

Taking a zoom also means you don’t have to change lenses, which is a major pain in the ass during a concert. In the pit in front of the stage it’s often dusty and dirty with security moving about, people being pulled out the crowd, bottles and shoes landing near you and all manners of hell breaking loose, so taking the time to change a lens isn’t the best course of action, at least not in the pit, not just for safety’s sake but also because if you’re changing a lens and something happens on stage, you’ve missed it. It is possible to go to the wings of the stage, change the lens, then resume your position but this has its own problems… see the following section.

ETIQUETTE – Essentially, security call the shots. Listen to them. They know what’s going on, they have much more experience than anyone in these situations and also have a big say in where you can go and where you can’t and even if you’re allowed to take pics. If you come across as the hot-shot photographer who’s the best thing since Leibowitz, you’re going to have problems and come across as a dick.

Security have a job to do and you are in their way. Act accordingly. The rule to moving in the pit is if you want to pass someone, tap them on the back a couple of times so they get the idea. Nobody can hear anything in the pit so if you get tapped on the back, move.

This happened to me during a concert when I was looking up at the stage just about to take the shot when someone brusquely tapped me on the back, I flattened myself against the stage just in time as a huge, bald security guard went past me carrying a screaming fan over his shoulder. The fan kicking, screaming, flailing and basically freaking out. If I hadn’t had moved, who knows what would’ve happened? A broken camera, I could have tripped up the security guard or endangered the crowd or disrupted the performance (the worst thing you can possibly do). I do think that if I hadn’t moved, and the fans had seen it, it would have undermined the authority of the security guard in question, and that is just not cool. Their job is tough enough as it is and if the proverbial hits the fan, they’re there to protect you and I guess they’d be much happier to do that if they like you and don’t think you’re an ass! So, listen to them, get to know them before the show, check the rules, and just be polite. I see the same guys at most shows and they know me, we all get along, and they respect what I do because I respect them.

I mentioned before about changing lenses- I would be hesitant to leave the pit, change a lens, and then return, for the simple fact that it’ll be messing with security. Once you leave, they can return to their normal battle stations, and then they see you coming back again they’ll have to adapt to you (again).

After your time is up (usually after the first 3 songs), remember to say thanks to the security guys, either with a thumbs up or a mouthed word- just as long as they get the idea.

WORKING WITH OTHER PHOTOGRAPHERS – Working with other photographers in the pit is pretty much the same as with security. If you want to move to where they are, start by getting their attention, either with the good ol’ tap or a wave and indicate you want to change spots. I do this by pointing at them, then pointing at me in a kind of “let’s swap positions” kinda thing and it works fine.

If you do have to get close, don’t worry about it. I’m in the frame of mind that you should make yourself as small as possible to minimise the disruption of simply being there and if you have to shoot right next to someone, do it, just be cool, don’t budge or push. Everyone has a job to do and if the spot is no good or taken, don’t force it. If something really great is happening that you absolutely must photograph then try and find a place where you can get what you want without barging people out of the way.

When I was shooting this shot I had to pretty much crawl through a guy’s legs to get it.

Rob Zombie

DON’T PISS OFF THE FANS – Since the fans have paid good money to be there, and the photographers haven’t, don’t get in the fans’ way and if you really, really have to, do it quick. I’ve heard of security ejecting photographers for repeatedly getting in people’s ways. The security don’t want an angry crowd for obvious reasons, and if you’re pissing off the crowd, you gotta go. The crowd should always come first.
THE COMMANDMANT – The commandment of concert photography is “3 songs, no flash”. That’s what it sounds like- you can cover the first 3 songs (sometimes 2, sometimes 4) of the bands (ask the security or tour manager if support acts are covered too), and don’t use your flash. If you do, expect to be kicked out. I don’t know why you’d want to use flash anyway, given that stage lighting is far cooler, and flash would just destroy the atmosphere, not to mention distract the performers from doing their thing. I don’t even take my flash. I wouldn’t waste my breath explaining how the AF Assist Beam it fires but doesn’t actually fire the flash: if it looks like a flash, it’s contraband. Probably best to leave it at home!

TECHNIQUE – Simply put, these are my go to settings for concert photography:

• 1. spot metering to determine exposure (on the face/skin/something of equal brightness on the subject), usually at +1/3 depending on what they’re wearing (silver things blow out quick)
• 2. back button focus (there’s no going back once you learn this)
• 3. center focus point (it’s the most accurate)
• 4. large JPEG (I shoot anywhere from 200-600 pics at a concert depending on the length, then cull it down to the keepers, then cull to what I show, if I shot RAW, I’d spend forever at my PC converting, deleting, editing and waste a ton of HD space). I can get files out faster this way, be it to the press or to the management companies. I don’t like sitting on files for days.
• 5. ISO 2000 (adjust as necessary- if you’re frequently hitting 1/800 shutter speed, lower it. I try and shoot at a minimum of 1/200)

Now that I look at them, these are pretty much the same settings I use for sports!

CAMERA SETTINGS – I personally use AV mode, but that’s just me. I think shooting entirely manual is counter-productive as the lighting changes every 2 seconds. So 1/200 @ f/4 will be totally wrong in 2 seconds time, then you have to adjust again.
In my bag I have my camera body mounted with a 24-70 L, a 50mm 1.4 and a 85mm 1.8 as well as a spare battery and earplugs (essential). My Lowepro bag also has mesh pockets on the sides where I put lens caps, and in the back zip pocket (that’s next to my body) I put my cell phone and my wallet. I started doing this ever since my last phone fell out of a jean pocket when I was in the pit and I never saw it again.
AFTERWARDS – So after you’ve done your 3 songs, no flash for all the bands, what’s next? Most places are cool if you join the crowd and watch the show. I’ve never met a venue who didn’t think this was cool. If you don’t want to stick around, you’re free to leave. As I mentioned before though, I make sure I thank the security guys and you should too: tap them on the back, give them a thumbs up and a “cheers!”. I’d consider it rude if someone just bailed.

Important things:

When I mention to people I have a photo pass to certain gigs, they say something like “oh wow, you can meet the band!”… this isn’t close to true. A photo pass is not a backstage pass. It just isn’t. Don’t go wandering backstage thinking your photo pass entitles you to be there: you need special and specific clearance to get backstage. One of the reasons being that the tour manager doesn’t likely know you or your agenda and if something does go iffy backstage, the last thing a band/record label needs is leaked photos. And of course, the band is getting busy with groupies and coke.

That’s a joke…

Some places may extend a backstage pass to you if you’re doing the gig for a magazine and you’re with a journalist for an interview, or doing something special, but I wouldn’t bank on being allowed backstage.

IN SUMMARY

• • 3 songs, no flash is then general rule, if none have been set follow this
  • use a zoom lens with a fast aperture
  • don’t get in anyone’s way
  • thank the security on the way out
  • don’t wander backstage

I hope this comes in handy when you get the call to shoot Metallica on their next world tour. Find your style, shoot for yourself and you’ll enjoy it more. Concerts are great places to not only get some cool shots but to learn your photography in a trying environment- it pushes your timing, your positioning, your anticipation, your composition and your ability to think on your feet and work under pressure.

So get to it!

Thanks for reading,
Tez Mercer
www.tezmphoto.com

Adelitas Way - 35mm, ISO 4000, f/3.2 1/80

Photography Tutorials, Case Studies and Discounts - LightStalking Photography Newsletter.

One of the most powerful tools for photographers that has come about with digital photography is the histogram – that little graph you see on the LCD screen of your camera after you shoot an image. Yet many people don’t know anything about the histogram. This is a huge oversight, as a histogram can be massively helpful in enabling you to take better images in almost any shooting situation.

What is a Histogram?

A histogram is simply a visual representation in graph form of the tonal information that your camera records when shooting an image.

How Do I Read a Histogram?

Histograms are actually quite easy to read once you know what you are looking at. The left side of the histogram represents the shadows and the right side represents the highlights.

• Memory Tip: If you cannot remember that, just think “black and white” – black is first, therefore on the left and white is second, therefore on the right. Thanks to David duChemin for that memory tip.

The different colours in the images in this article represent the different tonal values. Therefore a high peak of one colour means you have a lot of that tonal value.

If a peak is jammed up hard against one side of the graph or the other then it means that the camera has rendered the shadows as pure black (left side) or highlights as pure white (right side) – this is sometimes known as clipping. This is to be avoided if possible as it means you are losing detail in those areas.

NOTE: The histogram on the back of your camera will be monochrome unlike the images below which are from post-processing software. Don’t let that confuse you, as it’s the shape we are trying to draw your attention to.

Terrible: Indicates Underexposure and Loss of Detail in Shadows

Terrible: Indicates Overexposure and Loss of Detail in Highlights

Note: Often, only a part of the histogram will be up against the edge while the rest is more centered. Any part of the graph up against the edge indicates that some of the detail has been lost.

When Are Histograms Important?

If you are planning on doing post-production on your images in a program like Photoshop or GIMP, then you want to capture as much information as possible. The histogram can tell you whether you have done this or not – oftentimes much better than the LCD image itself.

In general, it is better to “shoot to the right.” That means that you are ideally wanting to get a histogram that is predominantly on the right of the graph (without being pushed up against the edge). The image may even look overexposed on your camera LCD screen. The reason for this is that the highlights, which are represented on the right part of the histogram, capture a lot more information than shadows. If your histogram is to the right, then the image file is storing a much larger amount of information about that image than if the histogram is to the left. The right hand side of the histogram holds 90% of the raw data – the left side of the histogram only 10% – it is not an even spread.

That means, if you “shoot to the right,” you have more information to work with when you get to Photoshop. In turn that means you can do more work on the image before you start to get the negative effects of noise and other undesirable outcomes.

When are Histograms Less Important?

If you don’t plan on doing any post-production, then you are most often looking for a classic “bell curve” shape for you histogram. This generally indicates a good exposure with an even spread of highlights and shadows that will probably stand ok on its own.

Note the Relatively Even Bell Curve Shape

What Does This Mean for Shooting?

If you are “shooting to the right” then that means getting more light into the camera (assuming your histogram is too far left). The easy way to do this is to overexpose the image by a stop or two.

A Histogram to the Right Allows More Flexibility in Post Processing

This Histogram Would Make Post-Processing Slightly Less Flexible

You might have a few problems when doing this when shooting very bright subjects. Use your judgment there, but remember that it can be easy to blow out too many pixels in such a situation, in which case you need to reign it in a little. If the histogram is crammed up against the right side, you’re probably going too far.

All in all, using a histogram doesn’t need to be rocket science. Once you are comfortable with it, you will probably use a histogram far more than the image on your LCD screen to judge the exposure of your images.

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One of the largest problems many folks have with digital photography is the amount of noise that ends up in the final image. Noise basically presents itself as graininess or speckles, usually most recognizable across larger areas of uniform colour such as sky. While sometimes it is a desirable effect such as in some of the photos below, often you will want to minimise it. The bad news is that there is no perfect solution to noise problems, but the good news is that there are things you can do to reduce, and in many cases, eliminate noise in your photographs.

Photo by Stuck in Customs

What Causes Noise?

Truly knowing how to reduce or eliminate noise is better served by knowing what causes it. In photography there are several causes of noise.

The first scenario is that image sensor heat can increase enough to stimulate electrons (“Thermal Noise”). These superfluous electrons then get mixed in with the “true” photoelectrons that are the real target of our image sensor. The analog signal (which is converted to pixels by the sensor) is therefore contaminated before it even gets to that point.

In some situations the above scenario can cause each of the photosites on an image sensor to generate superfluous signals which can then contaminate the neighboring photosites. On smaller image sensors which cram more photosites into a smaller area, this effect can be magnified.

Another common cause of noise is shooting at higher ISO settings. As these settings basically magnify the light signal, they also magnify other unwanted signals such as background interference (eg. heat sources). When you are photographing an area of low light, the background signals can be strong enough to compete with the signals from the limited light of the area you are shooting.

Photo by GoldSardine

What Can a Photographer Do About Noise?

As with anything, photography presents us with a series of compromises when it comes to solving the problem of noise. Here are some of the more obvious things you can do to reduce noise in your images.

Shoot At a Low ISO – It’s a simple one, but if the situation will allow it, then turn down the ISO. Reducing the sensitivity of the sensor reduces the chance that it will pick up unwanted interference.

Reduce Shutter Speed – This simply reduces the chance that unwanted signals will get mixed in with the ones you really want to capture. Again, it’s really only a solution if the shooting conditions allow for you to reduce shutter speed.

Utilise the In-Camera Noise Reduction Feature – Most DSLRs come with an in-camera noise reduction feature. In many cases this does a fine job of reducing noise during image processing. The downsides to this are that the processing time of the image is often increased (sometimes by many seconds) and there can also be loss of finer detail in the shot.

Don’t be Afraid to Use Post Processing – There are several pieces of dedicated software available to digital photographers with the sole purpose of reducing noise in your images. Many people recommend noise reduction software as an integral part of any photographer’s arsenal. You can also utilise noise reduction techniques in other software such as Photoshop, GIMP or Lightroom. Some tutorials you might be interested in include:

• Turn Down the Noise in Photoshop
• Noise Removal with Selective Gaussian Blur in GIMP
• Noise Reduction in Lightroom 3 Video Tuorial

Keep Your Camera Cool – This one is often overlooked, but many people report that simply keeping your camera cool (or at least out of hot storage areas) immediately before a shoot can have a significant impact on improving noise in photos. The idea here is to minimise electrons that are stimulated by heat on your sensor therefor reducing contamination in the signal.

Photo by Centrifuga Teatrante

Noise is simply one of those challenges that photography throws at us from time to time that make it challenging to get that perfect shot. With a little forethought it’s easy enough to account for it and continue the chase!

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One of the great things about stepping up from compact cameras to SLRs is the amount of extra control you get over the final shot. While that control can be used in an almost infinite set of combinations, one of the more popular and effective ways to use it is with motion blur photographs.

Photo by TheMonnie

The fact that motion blur can be used to create stunning photographs in everything from wedding through to sports photography shows its utility. Mastering the basics of motion blur for different settings simply adds an extra weapon to your arsenal of photography skills that can be applied in an almost limitless amount of photographic situations. It’s the utility of motion blur in its potential application to so many situations that means that mastering it will result in you being a better photographer.

Why Use Motion Blur?

It is most often said that motion blur allows the photographer to simulate movement in their static images. It certainly offers a very different effect from freezing a moment in time with faster, perfectly focussed shots. Used creatively like in the shots in this article, it can result in some amazing effects.

Photo by Brent Nashville

Photo by Express Monorail

So What is There to Know About Motion Blur?

The first thing to come to grips with is shutter speed – something that all photographers will be familiar with. Put simply, the longer you leave open your camera shutter, the more blurred any movement within the frame will appear in the final shot. Depending on the camera, the range of shutter speed will be anything from 1/4000 of a second (very fast) up to 30 seconds (very slow). Many camera also have a Bulb setting meaning that the exposure will be for as long as you press the shutter button (or its remote controller).

Photo by AlphaDesigner

What Problems Will Your Face With Motion Blur?

Perhaps the most common problem you will face with attempting motion blur is during the day when the amount of light hitting the film or sensor will mean that shots (or parts of the shot) with a longer shutter speed will often be over exposed.

The simple solution is to reduce the light hitting the sensor by adjusting the aperture. Closing it down to f/22 or similar will help, though you then run into issues of depth of field (which may or may not be welcome).

You may also find that bright backgrounds will be blown out which can be adjusted for by using a neutral density (ND) filter to limit the light hitting the sensor. You might also consider an ND Graduated filter if the over-exposed area is from a particular part of the shot (usually sky).

Photo by Camil Tulcan

The other solution to the problems associated with motion blur shots in daytime settings is to adjust ISO. Decreasing the sensor’s sensitivity to light is worth experimenting with if your results are still over exposed. Try ISO 100 or 50 to help limit the over exposure (and an added bonus of reducing noise). This will also allow you to get motion blur with slightly faster shutter speeds which reduces the chance of unwanted blur from camera shake.

Don’t Forget About Flash

A technique you can try to produce some cool effects involves using motion blur in combination with a flash. The effect basically freezes the object while conserving the motion blur to that point. Check out the image below.

Photo by Yago1

Motion blur is simply one of many techniques available to a good photographer. As you can see from the examples here, mastering motion blur can render some incredible photography and add one more arrow to your photographic quiver.

Photography Tutorials, Case Studies and Discounts - LightStalking Photography Newsletter.

Composing a great photograph can be done in so many different ways that it seems more logical to talk about “guides” to composition rather than “rules” of composition. We have covered several compositional elements of photography previously such as the photographer’s rule of thirds and the s-curve, but let’s move on to some other less stringent “rules” for composing a great shot. These elements of an image can create spectacular results if done well.

Pattern – Repetitious patterns or textures within an image can either draw or direct the viewer within a shot. In some cases it can be what makes the shot. Patterns can often be found in nature (clouds, sand, waves) and sometimes architecture and other human-made elements (farms, gardens etc).

Photo by Andrew Morrell

Photo by Garry at www.visionandimagination.com

Symmetry – Shots that use symmetry can often be very boring, but if you can incorporate other elements of composition such as shadow, pattern or colour then they can also be quite eye-catching. When using symmetry, look for these other elements also to add extra interest to the shot

Photo by Kicki

DOF – Using depth of field well is one of the best weapons a photographer has in their arsenal. Consider which elements within a potential shot should be in and out of focus. Traditionally, landscape shots have a deep depth of field so that most of the shot is in focus. Close-ups are often rendered with a narrow depth of field to place the focus squarely on one subject.

Photo by Danny Perez

Photo by John A Ryan Photography

Colour – Most photographs that leap out of the page usually display at least some adherence to colour theory. Contrasting or complimentary colours have a dramatic impact on colour photographs and can sometimes even save an otherwise ordinary shot. Highlighting colour within a certain area of a photograph can also be used effectively as a compositional element.

Photo by Seattle Miles

Movement – Capturing movement in a photograph through creative use of shutter speed can result in some of the most emotive images. Capturing the excitement of a motor race or the grace of a dance can be done this way.

Photo by Phil H

Photo by Bichxa

While this is by no means an exhaustive list of elements that can be used in creating an effective composition, these are certainly things that should be remembered when deciding on how to create an image. As with anything, a little thought can have a massive impact on your end result.

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A lot of the time, people miss a well composed shot simply because they didn’t take the time to seek out a slightly better alternative. When you have found a scene worth shooting, don’t forget to consider a few ways that you could improve the composition. It’s easier than you might think.

Photo by Rob Wood

Go for a Walk – Often finding a better place to shoot a scene or object from will give you a better alternative for composing the shot. if possible, take a walk around and look at the scene from different areas. Consider which spot gives you the best chance to compose the shot with good composition rules in mind and whether any of those rules are worth breaking.

Tilt the Camera – Simply moving the angle of the camera up and down then left and right will show you what you could get. Does the foreground add or detract from the scene? Can you omit distracting elements like tree branches from the edge of the composition?

Horizontal or Vertical – Will your shot be better served by holding the camera vertically or horizontally? Don’t forget that you can also consider how you might crop the shot while you are shooting it.

View Point – This fits in with the walk around tip, but look for places that could offer a different view point of the subject you are shooting. Can you shoot from a higher position? A lower one? This can often get you a more dramatic shot and it is the reason you often see photographers contorting themselves into some very uncomfortable positions.

Photo by Kevin Dooley

Fill the Frame – You can either do this by walking closer to the object you a photographing or, if that is not possible, using a zoom. Filling the frame of your shot usually results in better composition and more emetic images.

Photo by Monteregina

A lot of this just comes down to surveying your shooting environment and considering the angle before putting the view finder to your eye. Be aware. Think about the subject you are shooting. And remember that there are always alternative ways to compose a photograph.

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Studio work is nearly the exact opposite from location shooting, especially for portraits.  With location portrait shoots, the focus is easily on the person posing, but the surrounding elements also contribute to the final product.  Also, the studio presents some more challenging lighting situations, as the photographer needs to create the light, rather than modify what the sun is providing.

Because studio work alone can be intimidating, adding in people can often make things nerve-racking.  Here are 10 tips for shooting studio portraits that we’ve found really help.

1. Think of shooting in a studio like a bowling ally.

Photo By Chuybregts

With your model in place, and you directly in front of them, you can only move forward and back.  You cannot move to the left or right, and depending how wide your lighting is, neither can the model.  Rather then take two steps to the left, you will have to ask the model to turn.

2. Watch the clock

Photo By Bethan

Not for time, but for direction to your model.  It’s very easy to confuse and get confused if you ask them to turn right or left, but turning clockwise or counter-clockwise is the same for you and the model.

3. Who’s right?

Photo By TheTruthAbout…

While clockwise and counter-clockwise will help to an extent, sometimes you need the model to move right or left, and for this, you’ll need to know who’s right.  It’s best if you can train your mind to ask them to move to their right, so they don’t have to think about where to go.  This is very important when dealing with models who don’t do it professionally, like high school seniors.

4. Go prime

Photo By Widdowquinn

There is and always will be arguments for zoom lenses in the studio, but if you can, stick with primes.  They tend to be sharper and it’s one less setting you have to do.  The standard lens most portrait shooters use will fall somewhere between about 80mm and 200 mm.  If you shoot a cropped sensor camera, don’t forget to include this into your choice of lens.  Canon full-frame shooters tend to prefer lenses like the 85mm f/1.2 and 135mm f/2, while cropped sensor shooters tend to prefer the 50mm f/1.2 and f/1.4 lenses.  Nikon shooters as well lean towards the 85mm f/1.4 lens.

5. Be at the right height

Photo By Georgios Karamanis

Your height, combined with the distance between you and the model, and their height will ensure you are at the proper height.  Because most all portraits look best when shot at the eye-level of your model, you’ll need to compensate.  Sometimes this will mean bending down a little or even getting on one knee, other times you may need a step-stool or ladder to boost your height a little.  The wrong perspective can really ruin a portrait.

6. 1/125 and forget it

Photo By Ruddington Photos

Studio shooting camera settings are pretty simple and straight forward.  Set your camera to manual mode, set the ISO to 100 (or 200 if you don’t have 100) and the shutter speed to 1/125.  Because of the strobes, there will be virtually no difference shooting at 1/100, 1/125, 1/160 or even 1/200th of a second.

7. Use a light meter

Photo By Haribote

In camera metering is great, but it doesn’t account for multi-light setups, nor can it help you nail your exposure on the first shot, or properly expose hair lights or background lights with a breeze.  Just because you know how to read a histogram doesn’t mean you shouldn’t use a light meter, it will take the headaches out of lighting.

8. Focus on the eyes

Photo By Wheels3217

Regardless the aperture you choose, for shallow depth of field or not, the eyes are what really tell the story of a portrait.  Your focus should always be on the eyes, where they are looking and ensuring they are in focus.

9. Do a custom white balance.

Photo By Dave Dugdale

We know, custom white balance is brought up here time and time again, but for good reason!  Studio light modifiers, like umbrellas, softboxes and snoots all have an effect on the color output of the strobes, so doing a custom white balance before each shot ensures the most accurate possible color representation.

10. Try just one light

Photo By Bredgur

Famed fashion photographer Helmut Newton was famous for using only a single light.  Doing so, and changing the angle in relation to the model can create dramatic shadows and stunning photos.  Just because you have access to a handful of strobes doesn’t mean you always need to use them.  Try some more simple approaches to lighting and modifying that single light, instead of using every tool in your toolbox.

Studio portraits can be some of the most complex shoots to setup, but also some of the most rewarding.  Hopefully these ten tips will help and inspire your photography and continue on the path of knowledge.

Photography Tutorials, Case Studies and Discounts - LightStalking Photography Newsletter.

This is a guest post by New Jersey wedding photographer, Julianne Markow. Check out her photography blog here too.

Bokeh is something that makes non photographers say to you “Wow, that is an amazing photograph,” and the professionals tend to agree with them. The definition of bokeh is simply “blur” and comes from the Japanese word boke, meaning “blur quality.”  Bokeh is really just a fancy way of saying that a photograph is aesthetically appealing by having a shallow depth of field.

Bokeh must be done right. It is not difficult to set your camera up to do some of the work for you, but if you don’t follow these 5 tips, your results may be less than desirable.

Open your lens up wide. This goes without saying. Many DSLR cameras come with a kit lens that varies from f/3.5-5.6, this means that at your shortest zoom level you can set your aperture to f3.5 and as you zoom into the subject, the aperture will change to f5.6. A 2.8 lens or faster is of course desirable, but if this is too much for your pocket to handle, remember a 5.6 kit lens can go a long way if you follow the next simple tip…

Get in close. Photographers are always afraid to get in close to their subject and figure that they will crop it later if it doesn’t look right. The problem with using this safety net when you are trying to achieve great bokeh, is that the lens reacts differently at different focal lengths, as well as your actual distance to the subject. The closer you are to the subject your are photographing, the less depth of field you will have… so even if you have your f number set at 2.8 at 50mm and the same at 105mm, the resulting blur will vary. Cropping it later is not the easy fix. If you want great bokeh, you have to be daring!

Photos by Julianne Markow

Lines, Lines, Lines! Lines that are directed toward your subject can really make for an interesting composition and can also help control the blur. Remember, it’s not only the background that you may want to have blurred, but sometimes, the objects leading up to the subject can really make an impact when bokeh is done properly. You can almost always achieve great bokeh if you include lines in your photograph.

Photo by Julianne Markow

Don’t ignore your background. Sometimes the difference between a good photograph and a great one is what is in the background, and not the subject its self. Too many photographers assume that since they are attempting to blur the background, they don’t have to worry about what is in it? Well, different shapes, colors, and light sources blur differently. Don’t be afraid to put the subject in the back ground either, if it’s done right, the effect can be pretty interesting.

Photo by Julianne Markow

Photo by Julianne Markow

Don’t think it is something you can manipulate in post processing… because if it is not done right, its really, really wrong. Alien Skin Bokeh is a great program, and I am not trying to discourage anyone from using it. If you have no choice but to achieve bokeh in post processing, by all means purchase this program. However since this tutorial is about achieving bokeh in the camera, I recommend you learn to do it this way this first. Learning to do things right in the first place saves you time in post processing… and will almost always look better.

If you are still looking for something to enhance your bokeh, think about purchasing a lensbaby. These small, odd looking lenses are great tools to raise the creativity level in your photographs. They allow for a “sweet spot” so you can control where the bokeh is in the photograph… While this kind of “sweet spot” bokeh can be manipulated in post processing, like traditional bokeh, the only way for it to look right is if it is done right in the first place.

Photo by Julianne Markow

Photo by Julianne Markow



Photography Tutorials, Case Studies and Discounts - LightStalking Photography Newsletter.

Tripods are wonderful tools in photography but are also one of the most inconvenient pieces to carry around with you.  Since it’s not always possible to carry a tripod with you here are five ways to steady your camera without one.

Raise the ISO.  Generally speaking, a tripod should be used when your shutter is slower than the focal length of your lens.  Since modern DSLR cameras have amazing high ISO performance, try raising the ISO to get a shutter speed closer to or exceeding your focal distance.

Hold your camera close.

Photo By dmcopernicus

Unlike the photo here, you want to hold your camera in close to your body with your elbows tucked in next to your sides.  Use the viewfinder of the camera, not the live view, so the camera is right in front of your face.  With your feet shoulder width apart, keep your body relaxed and when you breathe out, squeeze the shutter release button.

Get your lean on.

Photo By Ed Yourdon

Find something solid to lean against, a wall, light post, a friend, car, anything solid to help steady your balance.  Utilize the previously mentioned techniques to hold your camera close and breathe.

Lay down on the job.

Photo By massdistraction

If there is nothing to lean against, try laying down to get your photo.  use your elbows as a bi-pod to keep you steady and again, following your breathing.

Use a string.

This technique is amazingly simple and should cost more more than a dollar to make.  You’ll need to make a trip to the hardware store and buy a 1/4-20 bolt, about a half inch long, this will go into the tripod socket of your camera.  While you’re at the store, pick up a large washer, perhaps 2-3 inches in size and some string or twine.  Tie one end of the string to the bolt in your camera and then measure out enough string to hold the camera comfortably to your face and tie the other end to the washer, plus an additional 6-8 inches.  With the string dangling and the washer on the ground, step on the washer and pull the string taught while keeping your elbows in and watching your breathing.  A picture tutorial on how to do this can be found here.

Tripods are wonderful things, and have a time and place, however that time and place doesn’t always mean lugging one along with you all the time.  Four of these five tips are technique based, the last one is something small enough to fit in your pocket and take anywhere, and cheap enough to keep one in the car glove box, another in your camera bag and a few more stashed in other places around your home.

Photography Tutorials, Case Studies and Discounts - LightStalking Photography Newsletter.

Summer is here!  The northern part of the world is in summer right now, which means good times with friends and family, outdoor activities and vacations.  It’s also a great time to practice shooting different and new subject matters.  Here’s ten things you will want to practice shooting this summer that will make you a better, more well rounded photographer.

Blue Hour

Photo by Torley

The blue hour refers to the small window of time that occurs just before sunrise each day and just after sunset.  It can provide some of the most stunning landscape photos you’ve ever taken, but some careful planning is required.  Check out this blue hour website to see what time the window is open in your part of the world, get your tripod and go shooting!

Macro

Photo by Aussiegall

Blooming flowers make for some of the best subject matter for macro photography, so take advantage of the vibrant and fun colors as different varieties change through the summer season.

Texture

Photo by Visualpanic

Shots like the one of this pool show how important texture is to photography.  Look for subtle details like how light reflects and refracts off and through the water for impressive photos like this one.

Architectural Details

Photo by Klearchos Kapoutsis

So many of us travel during the summer, often to different countries where common place things like a bright blue door are new and inspiring to us, like in this photo.  Stark white building with a bright blue door and yellow steps is probably something different from what you see at home daily, so take a minute and frame out the shot capture that moment.  Beautiful colors and even some harsh shadows make this otherwise boring subject a really nice architectural detailed shot.

Rainbows

Photo by Kansas Poetry (Patrick)

Perfect case for always taking a camera with you wherever you go, rainbows can often come at the most unplanned times.  You might even get lucky and find a pot of gold while you’re out shooting!

Carnivals

Photo by Joiseyshowaa

Carnivals travel throughout the country during the summer months and with them come great fun and good eats.  They are also a great source for photography buffs, as is the case of this great long exposure shot of a whirling people machine.  Bright lights, fast action and lots of fun are a great subjects and will help further your memories of the trip.

Waterfalls

Photo by Miyukiutada

Hiking in the summer is how many people enjoy the outdoors.  Often along the hikes are beautiful waterfalls, as shown here.  Another case to bring the tripod along, a few ND filters and work on some beautiful waterfall or moving water shots.

Silhouettes

Photo by Broma

We focus so much attention on subjects that sometimes using them as filler for the photograph is overlooked. Here’s a great photo of how silhouetting the children playing in the foreground creates a very dramatic photograph.  Perfect to do on those long summer nights.

Grilling

Photo by Woodleywonderworks

Grilling is something most everyone enjoys doing, or the by-product of grilling, the food.  Beautiful colors and great memories can be had photographing food, while it’s cooking or during plating.   Think of how great these vibrant photos would look framed in your kitchen.

Underwater

Photo by Jon Hanson

Underwater cases for DSLR cameras, water tight bags and a new breed of waterproof point and shoot cameras now enable us to capture stunning photos where we never would have before, at a fraction of the price.  Long gone are the days of horrible waterproof disposable film cameras with mediocre photographs.  Get out there, get wet and go capture some great photos in the water!

Summer is one of the most beautiful times of the year, anywhere you live or travel to, and hopefully these 10 things will help you further your photography and keep shooting.  Share in the comments what you’ve captured this summer already!

Photography Tutorials, Case Studies and Discounts - LightStalking Photography Newsletter.