High KeyZoo Photography

2015 ISSUEOCTOBER

GUIDEPHOTOGRAPHYSLR

OCTOBER EDITIONDIGITAL PHOTOGRAPHY MAGAZINE EDITOR TANYA PUNTTISLRPHOTOGRAPHYGUIDE.COM

2015

Student image © Cathy Carelson (USA)A beautiful ending to the day!Aperture f/7.1 | ISO 800 | Shutter Speed 3.6sec on bulb | 11mm focal length

Our online photography course now comes with four e-books: Aperture Explained, Mastering Shutter Speed, Understanding ISO and Going Manual. If you are yet to download them, look under the ‘Files’ link beneath our facebook group header image (students only) or under lesson one and two within the course content.

Enrol now http://www.slrphotographyguide.com/online-courses.shtml

in this issue

Student image © Laura Strumberger (USA) ISO 400 | Aperture f/6.3 | Shuer Speed 1/160 | Focal Length 200mm

Student image © Susan Shields Yates (USA) ISO 800 | 50 mm | f/2.2 | 1/160 mm Focal Length | off camera flash

Student image © Kim Moir Sherman (Canada) Shutter Speed 1/320 | Aperture f/8 | ISO 800

Student image © Cindy Camp Spain (USA)

How to create high key images in natural light

High key photography refers to the use of unnatural bright lighting with the aim of blowing out most or all harsh shadows seen within an image. This style is highly suitable for portraits of women, childen, flowers and product photography to name a few.

When shooting high key, all your camera settings should be aimed at letting in When shooting high key, all your camera settings should be aimed at letting in lots of light. This means using a low aperture f/number for example f/5.6 and an exposure bias of +1, +2 or +3.

A non-destracting background is best. ie the background tones should be even with no deep shadows. The brighter the background the better. Bright or overcast cloudless skies are perfect. If you can’t find a background with bright tones, you can always fix them later in post processing.

High Key Photography

I recommend using manual mode so you have full control over your settings. Set matrix metering and point your camera to the background. Adjust the exposure line into the positives, try +1, +2 and +3. I recommend trying all three exposure biases so you can compare them on your monitor in post processing before choosing the best result. Note, you don’t want blown out highlights with no detail in your actual subject. You are just looking to eliminate as much of the shadow as possible.

If you do see blown out highlights or deep shadows, then try a different subject If you do see blown out highlights or deep shadows, then try a different subject or time of day. Not every scene can be turned into a good high key photograph.

creating high key indoor images with flash

To create high key shots indoors, all you need is a white wall, roll of paper or To create high key shots indoors, all you need is a white wall, roll of paper or sheet and a pair of flashguns (minimum). The quality of the high key image will depend on the strength of your lighting gear. I’ve seen many beginners try to use continuous lighting, however the problem with these (especially the cheaper ones) is that they are fairly low-powered, which can make it difficult to pull off high key photography. Flashes on the other hand are usually much more powerful in the strength of light they give out.

If you are using two flashguns, position one directly behind the subject, pointed If you are using two flashguns, position one directly behind the subject, pointed at the white background. This one needs to be set at a higher strength than the flash gun you use to light your subject.

Set your second flashgun in front of your subject from slightly above the face, preferably through a white umbrella to diffuse the light. If you don’t have a diffuser, bounce it off the wall or ceiling.

Don’t forget to set the main flashgun as the master and the other as the slave. Don’t forget to set the main flashgun as the master and the other as the slave. Or alternatively you could set both to be a slave to an onboard camera flash (set the pop-up flash to low power).

high key continued

Choose manual mode for full control, setting ISO 100, shutter speed either 1/200 sec or 1/250 sec depending on your camera brand / model, and aperture f/5.6. Take a few test shots and adjust the strength of the flash until your happy with the results. Don’t forget you need to set the flash that is pointing torwards the background to a very high power output to literally blow it out. The higher the strength, the whiter the background.

Shooting with only two flashguns will most likely produce a gray, shadow-filled Shooting with only two flashguns will most likely produce a gray, shadow-filled background that needs to be lightened further in post processing. For even better results, use up to four flashguns. Your second, third and forth flashguns need not be expensive, as long as it’s got an optical slave mode. This means you can use a cheaper model, like the Yongnuo flash.

Shown below is a diagram of the setup when using four flashguns.

Don’t worry if you end up with a lot of bad shots at first, it can literally take Don’t worry if you end up with a lot of bad shots at first, it can literally take hours to figure out a decent light setup if you're new to flash photography.

Shadows

Student image © Mary Rivera

© Kim Moir Sherman (Canada)

Student image © Kaweka Stoney (USA) Museum of Glass looking toward the Tacoma DomeISO 200 | Focal Length 40 mm | Aperture f/4.2 | Shutter Speed 8 seconds

Student image © Jon Adkin (UK) Aperture f/5.6 | Shutter Speed 1/1000 | ISO 200

Student image © Beth Wojcinski Pennington (USA) Aperture f/3.5 | Shutter Speed 1/1600 | ISO 1250 | Focal Length195mm

(student profile)

https://www.facebook.com/photosbylauriel

Laurie is one of those photographers that remind me of myself when I first started. Laurie is one of those photographers that remind me of myself when I first started. She photographs anything and everything, adapting what she has learned across all genres, always wanting to try new things and never afraid to ask plenty of questions. When asking Laurie how her interest in photography started, she says it caught her attention many years ago.

I can remember sitting in the doctor’s office as a kid, looking through National Wildlife I can remember sitting in the doctor’s office as a kid, looking through National Wildlife magazines and thinking how awesome would it be to go on a safari and take pictures of these beautiful animals. At some point I became familiar with the works of Ansel Adams, and other landscape photographers. Then, it snowballed into street, macro and portraits. The more works I saw, the deeper my desire became to explore this field of the arts.

Laurie Lally

What do you enjoy most about being a photographer?

What I enjoy most about being a photographer is that I now have a new set of eyes, so to speak. I see the world and all its imperfections in a completely different light. There is beauty in everything ... if you take the time to look for it.

How has our photography course helped you?

This course has given me the tools I need to work toward being the best I can be in this field. Easy to understand lessons, constant teacher support, and a group of fellow members who truly do share the love I’ve found for photography. It doesn’t get much better than that!

What’s your favorite photograph you’ve taken and why?

I enjoy shooting all different genres , but I guess I would have to say the I enjoy shooting all different genres , but I guess I would have to say the hummingbird with its tongue sticking out is one of my favorites. Shooting birds is one of the more challenging things to photograph, but that particular hummingbird seemed to actually pose for me. I was lucky enough to catch her licking her chops after a drink at the feeder.

What plans do you have for the future of your photography?

I would very much like to continue my study of photography and explore all avenues. I’ve yet to decide what genre I enjoy shooting best, but I can say, I won’t be putting my camera down any time soon.

Anything else you'd like to share with everyone?

I’ve been in this course for a little over a year now and it wasn’t until I’ve been in this course for a little over a year now and it wasn’t until just recently that I finally had that “Aha” moment where things started to click. More importantly, I realized that had it not been for Tanya and the course members, I would have probably moved on to something else. Like you, I’ve had lots of frustrating moments but having support meant everything, so take advantage of it! We truly learn from our own efforts and from our sharing of ideas, suggestions, and constructive criticisms. Participation is the key! criticisms. Participation is the key!

Thank you for believing in me, Tanya.

To view more of Laurie’s images visit: https://www.facebook.com/photosbylauriel

Student image © Shari Johnson Edwards (USA) ISO 400 | Focal Length 122mm | Shutter Speed 1/1250 | Aperture f/5.6

Student image © Andrea Lee Colby Kubilus (USA) Shutter Speed 1/400 | Aperture f/5.6 | Focal Length 140 mm

Student image © Niki Fulton ISO 100 | Aperture f4 | Shutter Speed 1/125 sec

Student image © Ingrid Giese (Australia)

Each week we receive emails from beginners saying their images are either too dark or completely washed out. Ninty nine percent of the time, Exposure Bias is to blame.

Quick Fix For Two Common Problems

The quickest fix of course is to reset your camera back to factory default settings (check manual guide). This will zero back any exposure bias set within your main camera menu.

It could also be that you’ve accidently adjusted exposure compensation for that It could also be that you’ve accidently adjusted exposure compensation for that particular mode. Easy to do when you are first learning and pressing all the buttons. To check if this is the case, half press your shutter button to focus while looking through the rear view, take note of the exposure line and see if it is to the right or left of the middle marker.

If you find it isn’t zeroed, then look for a plus and minus symbol on your camera If you find it isn’t zeroed, then look for a plus and minus symbol on your camera (+/-). Press that button and use your main dial to zero back the exposure line. Take a few test shots. I’m sure you’ll now find everything back to normal.

For the example above, note the exposure marker is on the positive side. Therefore the resulting images will be over-exposed / brighter than normal. Of course when you have +4 or -4 like the examples on the opposite page, you’ll get very dark images or total washouts.

Now you know the reason why, and how to fix it when you are out and about on a photoshoot.

Useful Tips For Zoo Photography

1. Shoong through fences or glass isn’t as hard as it seems. The perfect se ngs are a long focal length (200mm or more is best) and a lower aperture f/number, for example f/4.6 maximum. Set a single focal point and focus directy on the animal, standing as close to the fence as possible. If shoong through a fence try and focus through a gap in the wire, or when photographing through glass, pick a spot free from scratches and smudges. The combinaon of a longer focal lenth and smaller aperture f/number will blur out the foreground fence or glass as though it wasn’t f/number will blur out the foreground fence or glass as though it wasn’t there in the first place!

image © John Hodgkin

2. When photographing at the zoo, don’t look for a brief moment then leave. Photographers need to be paent and wait for the right moment. It’s only then you’ll capture that shot of the animal doing something interesng!

image © John Hodgkin

image © Tanya Puntti

3. Be there early! Most animals are more lively at 9am than they are at 1pm.

4. Watch your background. I may sound like a broken record here but it really does make or break an image!

image © Tanya Puntti

5. Buy a monopod. A zoo is for everyone to enjoy, don’t expect others to make space for your three legged tripod!

Did you know our online photography course

now comes with downloadable cheat sheets?

"If you haven't taken advantage of printing the cheat sheets, I strongly suggest you take time to do so. These alone are worth

the price of the course." ~ John Smith (student)

Check out our online photography course over at

http://www.slrphotographyguide.com/online-courses.shtml