What’s in your camera bag?

• Canon 6D
• 50mm lens
• 100mm macro lens

Where do you get the latest news on new gear? Where do you usually buy new gear?

I’m not a big gearhead. I spend most of my resources on education and improving my food photography and storytelling expertise.

How is photography making the world a better place in 2024?

When done right, photography and video production can make us feel deeply connected to one another. Intentional visual production that dives deep into a brand and the real people behind it creates a feeling of trust, reliability, and a true sense of the human experience. As the world becomes more digital and AI becomes more accessible and utilized, the importance of seeing real people and hearing real stories through real voices has never been greater. Outside of being physically present with others, there’s no better vehicle to tell these stories and foster those emotions than through photography and video.

What emerging photography trends do you foresee gaining popularity in 2024?

I think all trends are cyclical, and what’s trending is typically seen as “different” during that moment. In the product and food photography space over the past few years, we saw trends going from soft kitchen-like setups to bold pops of color and hard light to retro patterns and grainy edits. I anticipate more use of vibrant colors and eccentric props in 2024, with editing styles that intentionally make images feel vintage.

If you could pick a photography mentor in 2024, who would you pick? Why?

I love learning from many folks as opposed to one in particular. For me, it’s all about the creative ideation and story behind an image or video. I’ve gotten inspiration from food bloggers, large agencies, and everything in between.

Two brands that come to mind when I think of highly creative food photography are Halo Top and Omsom. Halo Top has been a pioneer in over-the-top setups combined with beautiful artwork and graphic design for some time. Omsom is bold and unapologetically unconventional. They make their own rules regarding creative direction, and I greatly respect their work.

The unavoidable question: How do you see the use of artificial intelligence or machine learning impacting photography in 2024?

It really depends on how AI advances in 2024, the usability of those advancements, and people’s acceptance of the technology. For example, when ChatGPT was released, it changed how we could create written content overnight. And that was because it was easy to use, free to access, and it worked. However, it’s still very underutilized because many people still don’t understand it or reject the idea of it altogether.

I’ve tested some of the AI imagery platforms, such as Dall-E and Canva, and it’s not quite there yet from a food photography perspective. Barring drastic advancements in the tech, it will likely be leveraged more for ideation in 2024.

What is your favorite photography related book or resource that will continue to have a significant impact on your career in 2024? Why?

I don’t read many photography-related books, but I consume a lot of business-related content. I’ve found Chris Do’s content on YouTube to be particularly helpful as he speaks a lot about business in the creative space; I appreciate the business tactics shared by Alex Hormozi, and I’m currently in a Mastermind that’s helping me more with visual storytelling and working only with clients whose values align with mine.

Some of my favorite business books of all time are McDonald’s: Behind the Arches by John F. Love, Shoe Dog by Phil Knight, Originals by Adam Grant, and Different by Youngme Moon. They inspire me to work hard, serve others, and not be afraid to go against the grain.

What is your go-to method for overcoming creative block and finding inspiration in 2024?

I’ve done a lot of work this year to reset my expectations on motivation. I used to think motivation came and went, and I just had to roll with the punches. And I was envious of people who seemed to be motivated all the time. But I learned that no one is always motivated, but the difference between the greats and everyone else is that they do the hard work, even when they don’t feel like it.

So, setting the expectation for myself that I will have ups and downs in mood and motivation, and that’s completely okay and normal, will help me move forward. Because no matter how inspired I feel (or not), I know I will put my best effort into my work.

If you could give one piece of advice to a beginner in photography, what would it be?

Always be learning, invest in training, and practice every single day.

Learning constantly and consistently is a lifelong endeavor. And it’s absolutely crucial for freelancers and business owners. The reason is that there are seasons in everyone’s career and entrepreneurial journey where only certain advice will be beneficial. For example, when I started in food photography, I didn’t have the luxury of picking and choosing who I work with or even getting paid for my work.

So, while I agree with the idea that photographers should be respected and properly compensated for their talents, that doesn’t really apply to someone who is just starting their portfolio.

Can you share a specific tool, technology, or software that has revolutionized your workflow and significantly enhanced your creative process as a photographer?

I don’t use any highly advanced or revolutionary tools, but I think creating systems has helped me with my creative process and ensuring my clients get what they need. For example, during the first six months of my business, I kept track of the common questions I would ask clients at the start of a project and turned that into a kickoff questionnaire I’ve sent to every client since. It removes the constant back and forth via email and scheduling multiple calls. So it’s a simple concept, but it saved me more time than anything else.

What is your biggest strength and your biggest weakness as a photographer in 2024?

My biggest strength is my creativity and fostering relationships with clients. I’ve never cared much about my equipment because I knew those technologies would evolve and make my ability to operate them obsolete. So, my focus is more on ideation and storytelling. I can connect with my clients and immerse myself in their story, their “why”, and their vision for their brand. From that, I can craft visuals that authentically connect with their audience.

My biggest weakness is delegation. I feel so passionately about my work that I often feel compelled to oversee every detail. I’m working on being a better leader and entrusting other very talented people with this important work.

What is the biggest challenge in your photography genre in 2024? What are the solutions?

The biggest challenge is probably the commoditization of product and food photography. There are larger companies with lots of VC funding using models focusing on volume and transactions. They typically pay their photographers very poorly and offer services at next-to-nothing rates with the goal of achieving economies of scale.

As a business owner, I have nothing against these companies, and fortunately, my company delivers a level of quality that allows us not to have to compete with them directly. However, it’s a reminder for many in our space that our value does not come from being the cheapest on the market. Our value is our creativity.

What is the most important factor to consider when choosing a photography niche or specialization in 2024?

Select a niche that is:

• In a growing market.
• In an area that you find interesting / care about.
• In a vertical that you already have expertise in or that you are willing to invest time, energy, and resources into learning.

Always be learning, invest in training, and practice every single day.

Julee Ho

Is there anything else you would like to add or any final thoughts you would like to share about your artistic journey, inspirations, or the impact you hope to make through your photography?

Julee Ho Media has always focused on food and beverage photography with a passion for serving the founders and teams who run these companies. Through this service commitment, we will continue producing the most exceptional food product photography and videos.

This year and into the future, our focus is to connect more with the individuals behind these brands, to tell their stories and share their values for the company. We believe this type of emotional storytelling is the future and will serve as true differentiators for the folks who have the courage to get in front of a camera and share their journeys. We are so excited to serve more incredible companies through these immersive brand story videos.

The post Interview with Julee Ho on Photography Trends appeared first on Great Big Photography World.

In the world of photography, achieving sharp focus is essential. To assist photographers in this endeavor, Canon cameras offer three autofocus modes—One Shot, AI Focus, and AI Servo. Understanding these modes, customizing them, and knowing when to use each one enhances your photography skills.

In this article, I take a deep dive into Canon autofocus modes. With an appreciation of the powerful features available, you gain the confidence to choose the right autofocus mode for any photography scenario. By the end, you’ll have a clear understanding of Canon’s autofocusing modes and know when to use them to achieve precise focus in your photography.

An Overview of Canon Autofocus Modes

Before getting into the specifics of each autofocus mode, let’s differentiate between manual focus (MF) and autofocus. While the manual mode of focus requires photographers to physically adjust the focus ring on the lens, autofocus utilizes the camera’s internal electronics and the electro-mechanical functions of the lens to bring the subject into sharp focus at the press of a button.

Many Canon lenses have an AF/MF toggle. For autofocus, select AF.

Let’s explore the three AF modes offered by Canon cameras: One-Shot AF, AI Focus AF, and AI Servo AF. Note that the AI in these modes designates Artificial Intelligence.

If you own a Canon camera, you probably know how to select the AF mode. If you need to review, Canon offers a step-by-step guide to AF modes.

One-Shot AF

One-Shot AF mode is intended for still or stationary subjects. This is particularly effective in situations where you have time to carefully compose and focus your shot. Pressing the shutter button halfway locks focus on the subject, ensuring sharpness and clarity. It maintains lock focus until the shutter button is fully pressed and the image is captured.

One Shot Autofocus is ideal for landscape photography, portraits, product photography, or any scenario where the subject isn’t moving.

AI Servo AF

Artificial Intelligence Servo Autofocus mode is specifically designed for capturing moving objects. It continuously adjusts the focus to keep that moving subject sharp, tracking it as it moves within the frame. This continuous servo mode is particularly effective for wildlife photography, sports photography, or any scenario where the subject is in motion.

AI Servo Autofocus offers advanced configurations that allow you to fine-tune the tracking sensitivity, acceleration/deceleration tracking, and autofocus point switching to optimize focus accuracy.

How to Configure AI Servo AF Mode

Canon has robust options to fine tune AI Servo AF mode. You can adjust tracking sensitivity to control how the camera focuses and responds to subject movement. Fine-tuning acceleration/deceleration tracking and autofocus point switching further enhances AF performance in dynamic scenarios.

1. Tracking Sensitivity – This sets the AF system for subjects that are in motion. A minus setting makes the main subject the priority. That maintains focus on the primary subject even when something moves in front of and partially blocks that subject. A plus setting tells the camera to focus on anything that comes into the foreground.
2. Tracking Acceleration and Deceleration – The responsiveness of the camera changes according to the speed of moving subjects. For something moving at a steady rate of speed, set this to zero. For subjects that start and stop, move erratically, or change speed, dial up the tracking sensitivity accordingly.
3. Auto Focus Point Switching – In One Shot AF mode, this is off. Enable this setting any time you are using multiple focus points. This sets the speed of the change from one autofocus point to other points. When subjects move quickly and unpredictably, it increases the sensitivity of this setting.

AI Focus AF

This is a hybrid Canon autofocus mode. The camera automatically switches between One-Shot AF mode and AI Servo AF mode. It’s based on the movement of the subject. The camera begins with One-Shot AF and then switches to AI Servo AF when and if the camera detects motion. This mode is suited for situations where the subject is unpredictable or when you want the camera to assist in determining the appropriate focus mode. That is, you trust the camera to adapt to still subjects or to those that are in motion and maintain sharp focus in either situation.

AI Focus AF mode is often used in street photography, documentary photography, or any scenario where the subject’s movement is intermittent and unpredictable. A disadvantage of this mode is a slight delay when the camera switches from one mode to the other. You may miss a shot during that delay.

Set Your Camera for Back Button Focus

A good technique to use is Back Button Focus. This control, the AF-ON button, is located on the back of the camera in easy reach of your right thumb. This configures the camera so that you use the back button to focus, and then press the shutter button to capture the image. I wrote an article on back button focus that goes into detail on the how and why of this technique.

To set up the back button focusing on your Canon camera, follow these steps:

1. Access the camera’s custom function settings.
2. Assign the autofocus function to the custom button on the back of the camera.
3. Disable autofocus activation from the shutter button.

By utilizing the back button focusing, you’ll have greater flexibility and control over your focusing process. Also, it helps to prevent losing focus once it is achieved. My own experience with Back Button Focusing is that I became comfortable with it fairly quickly.

Common Issues with Autofocus

While autofocus modes are powerful tools, there can be challenges in using them effectively. Let’s address some common issues and difficulties photographers encounter:

1. Difficulty Tracking Moving Subjects: Moving subjects can challenge autofocus systems. Understanding the limitations of each mode and employing techniques like continuous AF point selection can help improve tracking accuracy.
2. Camera Focusing on the Wrong Subject: In complex scenes, your camera may focus on objects other than your intended subject. Utilizing single-point AF or manually selecting the focus point can ensure precise focus where you want it.
3. Inconsistent Focus in Low Light Conditions: Poor lighting makes it challenging for autofocus systems to achieve accurate focus. Using a lens with a wider aperture or assisting autofocus with the camera’s built-in focus assist lamp can help in low-light situations.

Customizing AF Options

AF1

This is the default setting and includes six options or Cases. These Cases allow you to select presets for tracking sensitivity, subject motion, and AF point automatic switching.

The Canon autofocus system includes case descriptions for autofocus presets, which allow you to customize the autofocus behavior based on specific shooting conditions.

• Case 1: The default setting for tracking this is designed for subjects moving at a consistent speed. A band marching in a parade is a good example. It’s a balance between staying focused on the original subject and refocusing if a new subject moves in front of it.
• Case 2: This case tracks focus on the original subject, even if another object blocks it. This works well for sporting events when you want to maintain focus on a specific player.
• Case 3: The priority is on immediate refocusing on an object when the active autofocus points detect a sudden distance change in the subject.
• Case 4: This is an optimization for changes in speed or direction, specifically movement away from or toward the camera. It is useful for sports photography.
• Case 5: This Case enhances the speed of autofocus points that automatically switch as the subject moves laterally within the frame. An example would be a volleyball game when the AF area mode is set for more than one AF point.
• Case 6: An optimization for erratic movement, side-to-side, abrupt changes in speed or direction. A small, quick animal such as a squirrel is a prime example.

AF2

First or second image priority in AI Servo: an option for the fastest shutter firing or to assure focus lock for the sharpest focus. This may mean a slight delay in shutter firing. Other menu options set this for the initial shot in a sequence or the subsequent shots.

AF3

One Shot Autofocus release priority: sets the camera for fastest shutter release or sharpest focus when shooting stationary or moving objects together. Sub-settings control the electronic M-focus feature on lenses and enable or disable the continuous autofocus-assist beam.

AF4

Autofocus Point Selection: an option to select autofocus points, how those points are selected, and whether the lens will continue to find focus.

AF5

Autofocus Point Display: A control to select how the viewfinder displays all the AF points together.

If you’re new at this, it gets confusing; Canon cameras feature robust autofocus options. The best approach is to start with one-shot focus and the simple options and learn as you go. You don’t have to fully understand everything today.

Selecting Autofocus Area Modes

Canon cameras offer a range of autofocus area modes to cater to different shooting scenarios and preferences. Single Point AF, also known as One-Point AF, allows the photographer to manually select a single focus point within the frame, giving them precise control over where they want the camera to focus. Another option is Spot AF, which further narrows the focus point to a smaller area, ideal for capturing subjects with intricate details.

In addition, AF Point Expansion and Zone AF modes allow for a wider coverage area by utilizing multiple focus points. Large Zone AF mode covers a larger portion of the frame for situations where quick and accurate focusing across a broader area is required. Further options include Large Zone AF: Vertical and Large Zone AF: Horizontal, useful for wildlife and erratic motion. Some cameras have Whole area AF, which uses auto-selection AF in the entire frame.

Let’s Review

Selecting the appropriate autofocus mode depends on the specific requirements of your photography scenario. For wildlife photography and sports photography, where the subjects are often fast-moving, AI Servo Autofocus mode is recommended. It provides continuous focus tracking to keep up with the action. On the other hand, for landscape and portrait photography, where the subjects are typically stationary, One Shot AF mode is more suitable. AI Focus Autofocus mode serves as a versatile option for situations where the subject’s movement is intermittent or unpredictable.

Understanding the strengths and weaknesses of each mode will enable you to select the most suitable autofocus mode for your specific shooting situation.

Conclusion

Mastering autofocus modes on your Canon camera is essential for achieving pinpoint focus in your photography. A thorough understanding of the three modes empowers photographers to keep focus, continuously track, and capture consistently sharp and well-focused images.

Get to know and work with the different focus modes. Address common challenges and know when to use each mode. You can capture stunning images in any situation. Remember to configure your autofocus settings correctly and experiment with different techniques to find what works best for you. Adapt to various photography scenarios, consider the specific requirements of each situation, and select the mode accordingly. With practice and experimentation, you will refine your skills and achieve outstanding results in your photography.

I hope this article helps you get the most out of your Canon camera. If you have any questions or comments, please submit them in the space below.

The post One Shot vs AI Focus vs AI Servo: Which Autofocus Mode Is Best? appeared first on Great Big Photography World.

What’s in your camera bag?

• Nikon Z9
• Nikon Z7
• Leica M10
• Leica M10 Monochrom
• Leica M9
• Nikon 17-35mm, 24-70mm, 70-200mm
• Leica 35mm Summilux, 75mm Summarit
• Profoto A1 flash
• Profoto B2 Strobes

Are there any specific equipment or gear innovations that you believe will have a significant impact on the industry in 2024?

AI being embedded into professional cameras much like it is embedded in cell phones. This will enable even more people to take professional quality photographs quickly and easily. It will be beneficial to the art of photography, but it will also likely be harmful to the professional of photography since more regular people will be able to produce great photographs without hiring an outside photographer.

Where do you get the latest news on new gear? Where do you usually buy new gear?

I am a senior writer for Fstoppers, so I get a lot of news there and on PetaPixel. I also follow YouTubers like Peter McKinnon and Tony Northrop. I buy new gear at BH Photo and used gear at KEH.com.

How is photography making the world a better place in 2024?

I’m not sure that it is making the world a better place. On an individual basis, however, photography allows people to capture their own personal memories, and that is a truly beautiful thing. Photography also helps document social problems, I suppose. A lot of misconduct by police officers has been documented by regular people using cell phones.

What emerging photography trends do you foresee gaining popularity in 2024?

Cameras will continue to get more and more technological advances. Oddly, a lot of people can’t even operate half of these features. Many of them are not truly necessary to the process of taking good photographs. Autofocus, for example, keeps getting more advanced, and more features are constantly being added to cameras.

Meanwhile, it isn’t that hard to get an in-focus photograph of someone who is just standing in front of your camera posing for a picture. Some of these extra features also take away some of the fun of shooting. The camera does so much of the work that all we are doing is pushing a shutter button.

If you could pick a photography mentor in 2024, who would you pick? Why?

Jeremy Cowart. He’s a great photographer and very innovative. He’s always willing to experiment and come up with new ways of making art.

The unavoidable question: How do you see the use of artificial intelligence or machine learning impacting photography in 2024?

I have taken online quizzes where they show a series of photographs and ask you to decide which is the real photograph and which is the AI photograph. It is already hard to distinguish between real and computer generated imagery even though the technology is still very new. I can only imagine that AI will get even better with every passing month.

It is funny to me that photographers are quick to use AI based retouching programs like Retouch4Me and Evoto to replace retouchers, but then they think AI based technology can never replace the photographer. I think they are mistaken and that AI will replace photographers in some areas. Headshot photography is the area I expect to be hit the hardest by AI generated imagery.

What is your favorite photography- related book or resource that will continue to have a significant impact on your career in 2024? Why?

No one particular source. I suppose YouTube would be the most logical answer. The only problem with YouTube, though, is that there are a ton of working professionals who are not sharing their workflow or secrets on YouTube. So, we viewers are often getting a distorted view of the industry because we are learning from bloggers instead of actual working photographers. I know several full-time working photographers who have never made a YouTube video. These photographers have a lot of valuable information, but it is unshared with the masses.

If you could give one piece of advice to a beginner in photography, what would it be?

Shoot what interests you. When I first started shooting, I was always focused on shooting images that I thought would sell. It didn’t occur to me to also photograph whatever I personally found interesting about a scene. I was always thinking about my client first. I think a new photographer should learn their craft so they understand composition and exposure and things like that, but they should also develop their vision and have something that they are drawn to photograph and share with the world.

Can you share a specific tool, technology, or software that has revolutionized your workflow and significantly enhanced your creative process as a photographer?

Lightroom was a milestone. I kept wishing for something like that to be invented when I first went digital. Photoshop is designed for working on a single image. LR is designed to manage and adjust thousands of images very quickly. Photo Mechanic is another indispensable program for me. I use it to name photographs, move them into folders and write captions. LR can do these tasks, but Photo Mechanic does it much better.

Any thoughts on the relationship of NFT and photography?

I’m unsure about the whole NFT and Crypto thing. I bought 1 NFT from a photographer who would build a whole virtual community for people who bought his NFT, but that project seems to be totally dead in the water. I wasted like $2,000, I think, on that NFT. I don’t think NFTs as we know them today will ever be a thing. I’m hoping Crypto comes back into being profitable. I invested quite a bit into it, but it was a losing investment for me.

What is your biggest strength and your biggest weakness as a photographer in 2024?

I am an expert in posing people, lighting, and subjects and composing a photograph. My biggest weakness is often a need for more motivation to work on personal projects. I tend to be more motivated by client work than personal work.

What is the biggest challenge in your photography genre in 2024? What are the solutions?

One of my main areas of focus is Headshot Photography. AI can already create a headshot for someone if that person supplies a series of self-images to an AI interface. I believe this technology will get better in a year or two. I can see AI having a devastating impact on headshot photography. I see AI hurting this genre more than any other genre. I don’t think wedding photographers, for example, have anything to worry about.

What is the most important factor to consider when choosing a photography niche or specialization in 2024?

If you want to make money, pick something boring that people will pay for. If you want to shoot for yourself, focus on photographing what you love -dogs, car races, flowers, whatever. To create your best work, you will need to be motivated, which will come from your love of the subject matter.

Shoot what interests you.

John Ricard

Is there anything else you would like to add or any final thoughts you would like to share about your artistic journey, inspirations, or the impact you hope to make through your photography?

Sometimes, I worry about where photography is headed in terms of being a viable career path for a talented artist. However, my love for using my camera to connect with people and to share their stories has never died. I love taking pictures today as much as I did decades ago. I’m still excited by new technology. Getting my Z9 was as exacting as getting my Nikon F4 so long ago.

I am looking forward to eventually getting a Leica M11.

You think we missed an important question? Feel free to both formulate and answer that question here! Any final thoughts? Feel free to add them below.

Is there anything you think camera manufacturers are doing wrong?

Yes, I think they need to make cameras that are truly different from the other cameras in their lineup. Sony, for example, makes all sorts of A7rMKIV and A7MKIII and A7rMkV. Is there really anything different about these various models? Not really. The images and shooting experience are mostly the same. Leica, on the other hand, made a regular M10, a black and white version of the M10 and an M10 with no rear LCD screen.

These two cameras are dramatically different, even though they were variations of the same model. These three cameras were more different than Sony cameras that came out over a period of 5 years. More companies need to be bold enough to make truly unique cameras. Neither Sony, no Canon, nor Nikon makes a really stripped-down, simple.

The post Interview with John Ricard on Photography Trends appeared first on Great Big Photography World.

Animals tend to be on the move. It might be a deer running across a meadow or a butterfly flitting from one blossom to another. Capturing an image of this with the subject in focus, a shutter speed that stops the action, and proper exposure is a balancing act.

In addition, you may find these animals in bright sunlight, shadows, or the golden hour of morning or evening. Each situation calls for different camera settings in order to bring home stunning wildlife photos.

In this article, I’ll go into the details for setting up your camera in various lighting scenarios to photograph animals in motion or at rest. The settings that I recommend are merely a starting point. From there, you should tailor your wildlife photography camera settings to your own preferences and circumstances.

Set Your Camera To RAW Format

You’ve probably heard this before, but it bears repeating. Shooting RAW delivers more data than a compressed JPG file. This is especially true if you’re shooting in low light conditions. You’ll have more information to work with in post production. That is, you can recover lost detail in the shadows and highlights, improve image quality, and maximize dynamic range and color tone.

Find an Efficient Shooting Mode

Many wildlife photographers set up their cameras according to conditions, what they are photographing, and personal preferences. I try to simplify things so that I can concentrate on composition, making minor adjustments along the way. I have missed shots because I was fiddling with the settings.

My suggestion is that you shoot in one of three modes for wildlife: Aperture Priority Mode, Shutter Priority Mode, or Manual Mode. This is highly subjective. Find what works best for you in the conditions you find yourself in. Avoid Auto Mode unless you want to give up control of how your images look.

Manual Mode

Let’s start with Manual Mode. This is M on the camera’s mode dial. Set the camera to its widest aperture and set the shutter speed. The general shutter speed rule is 1/lens focal length. So, if you are shooting with a 300mm telephoto lens, the lowest handheld shutter speed is 1/300 sec. I suggest you double that to 1/600sec; photographing wildlife calls for a faster shutter speed. 

Set the camera to Auto ISO with a maximum ISO of 8,000 to 16,000, depending on camera model. I work with a Nikon Z5 and an ISO of 10,000 is my ceiling. And anything above 4,000 means serious noise reduction in post processing. Set White Balance to Auto and let the camera do its work.

This is a simple setup, and it will serve you well in a variety of scenarios. However, you still have two variables of the exposure triangle – shutter speed and aperture – to keep in balance.

Aperture Priority Mode

This is the preferred mode for many professional wildlife photographers. In Aperture Priority Mode, you set the aperture to take creative control over the image. Aperture, A on Nikon and Sony cameras, and Av on Canon, plays an important role for professional wildlife photographers. It determines the depth of field.

A wide aperture, f/2.8 for example, creates a shallow depth of field. That is, a narrow range around the focus point will be in sharp focus. The background and maybe part of the animal will be in soft focus. With a narrow aperture such as f/11 or higher, the depth of field for a sharp image is wider. The entire animal and perhaps the background will be in sharp focus.

Set the camera to Auto ISO. Then, select a maximum ISO. Keep in mind that increasing the ISO is not a silver bullet for shooting in low light. As you boost ISO, noise increases and image quality deteriorates. Also, set the camera to the lowest native ISO available. Finally, set a minimum shutter speed. I set that at 1/1000sec. You may prefer slower shutter speeds if your subject is stationary or moving at a leisurely pace.

In Aperture Priority, once the f-number is set, the camera’s internal metering establishes a balance between shutter speed and ISO. If you need to make the exposure brighter or darker, you can dial in some exposure compensation.

The image of the alligator (below) was shot in Aperture Priority at f/5.6. It’s a bit soft at the back of the gator’s head. I would have done better with a setting of f/8.

Shutter Priority Mode

Shutter speed is one of the most important camera settings for wildlife photography; however, many photographers recommend against Shutter Speed Priority Mode for wildlife. But for birds in flight, I use Shutter Priority: S on Nikon and Sony and Tv on Canon models.

I shoot flying birds with a minimum shutter speed of 1/2000sec and trust the camera to take care of the rest.

In addition, a fast shutter speed mitigates the effect of camera shake and motion blur.

I set the camera to Auto ISO; however, I keep an eye on aperture and ISO values. In bright light, this mode can push the aperture toward the high end (narrow aperture) and create more depth of field than I want. But if I’m shooting birds against a clear sky, that’s not a concern.

In low light, the camera may push the ISO into a higher range and you get too much noise in the image. In this case, I might choose a slower shutter speed or switch to Aperture Priority.

Custom User Camera Settings

Most digital cameras offer a feature to save your personal set-up or several set-ups: MR for Sony, U for Nikon, C for Canon. Usually accessible on the Mode dial, you can instantly dial up a group of camera settings that you used before and saved. For example, you start with Aperture Priority mode. Set your starting point for aperture. Then dial in ISO, metering, focus mode and area, along with other settings. Save those settings, and you can dial them up quickly when you’re out shooting wildlife. 

My camera has three user settings and I set up two of them for wildlife photography. One begins with Aperture Priority, which I use for stationary animals. A second saved setting is in Shutter Priority for birds in flight.

These settings can be refined and resaved as you continue to shoot wildlife and gain experience.

Choose a Metering Mode

Understanding your camera’s metering system is one more step toward becoming a skilled wildlife photographer. A digital camera evaluates the light to help you balance the exposure triangle. That is a suitable combination of shutter speed, aperture setting, and ISO to create proper exposure in the image.

Four metering modes are common in modern digital cameras:

1. Matrix Metering (Nikon), aka Evaluative Metering (Canon) and Multi-Pattern (Sony): the default metering mode for many cameras. The frame is divided into zones or areas, which are analyzed and averaged based on light and dark tones.
2. Center-weighted Metering: assesses the light in the middle of the frame and its immediate surroundings, disregarding the corners.
3. Spot Metering: evaluates light and calculates exposure at the focus point, neglecting everything else.
4. Highlight-weighted Metering: preserves the highlights in your shots, especially bright areas that tend to overexpose.

Photographing wildlife requires a metering mode that quickly adapts to changing conditions. Center-weighted Metering works in many situations. But, if the main subject is bright compared to the background, Spot Metering or exposure compensation are good options.

In the photo below, I used Highlight-weighted Metering. The bright white plumage of the Egret makes it difficult to get the exposure just right, which can lead to blown out highlights and loss of detail.

Autofocus Settings

Wildlife photography without autofocus cameras would be very difficult. Most cameras of recent vintage feature fast autofocus and eye detection, giving wildlife photographers an advantage when shooting fast-moving subjects. Autofocus is engaged by pressing the shutter button halfway or by pressing the back button focus if you have that enabled.

For animals in motion, use Continuous Autofocus (AF-C). As the name implies, the camera continues to focus and re-focus as you track the moving animal within the frame. I generally pair this setting with Shutter Priority for shooting birds in flight.

When shooting stationary animals, use One-shot or Single Autofocus (AF-S). The camera focuses once for each time you half-press the shutter button or press the Back Button Focus. This locks the focus, so that you can recompose the shot and maintain focus. I like to use this with Aperture Priority when I am most concerned with composition and depth of field.

I don’t recommend Manual Focus (M) for wildlife photography. But if the animal is still and you have the time, this mode allows you to have total manual control over focus.

Choose an Autofocus Area

Single Point AF denotes one focus point. This point can be moved around within the frame. This is most useful when you are shooting through vegetation or other distracting elements and when you want tack sharp focus on part of the animal, such as the head.

Dynamic Area AF varies with the camera, but this mode has multiple focus points. The camera picks the initial focusing point, and if the subject moves away from that point, then surrounding points activate and acquire focus. Use this mode for quick, erratic animals that are difficult to track. This mode works best when you have a clean background, such as a bird flying in a clear sky.

Auto Area AF relies on the camera to detect the subject and select between Single Point or Dynamic Area. This is useful when photographing a stationary subject that may take flight or start running suddenly.

Shooting Wildlife in Burst Mode

This also varies with camera brands. With Nikon and Canon cameras, it’s called Continuous Shooting Mode. Sony labels it Burst Shooting Mode. Shooting in burst mode means the camera takes a series of images in rapid succession. The more affordable cameras offer a burst rate of 4-6 frames per second (FPS). Cameras intended for professional use feature a burst rate of 20 FPS or higher.

Some cameras have the option of a low burst or high burst. And with others, the photographer dials in a specific number of frames per second. Check your camera’s owner’s manual to guide you through the setup process.

Shooting in burst mode increases the chance that you’ll get at least one image that is in sharp focus and with good composition.

White Balance Settings

White Balance is critical to capturing accurate color. With accurate white balance, what looks white to your eye looks white in the image. It won’t have a yellowish or blueish tint, which indicates an unnatural color.

Correct white balance also ensures accurate color throughout the picture.

When shooting outdoors, you can set white balance for Daylight, Shade, or Cloudy. However, I recommend you set the camera to Auto White Balance. Let the camera handle this so you can concentrate on composition, focus, and exposure. If you shoot in RAW, you’ll have enough data to adjust the white balance and color temperature in post production.

Mechanical or Electronic Shutter

Many mirrorless camera models now offer a choice of mechanical or electronic shutter. The mechanical shutter functions by opening two curtains at exactly the same moment, giving consistent exposure on the camera sensor. The electronic shutter records data from the sensor line by line, top to bottom.

If the subject moves during exposure, the result is a type of distortion called rolling shutter effect. This is a stretching effect between the upper and lower portions of the photo. It is less of an issue at fast shutter speeds. Some of the newer cameras feature a universal electronic shutter, eliminating the rolling shutter effect. 

I have experienced some of this rolling shutter effect with the electronic shutter, mostly photographing action. I recommend the mechanical shutter for fast action. If the subject is at rest or moving slowly, I might go with the electronic shutter and try a slow shutter speed.

Adjusting for Light in Wildlife Photography

You don’t have control over the light when you shoot outdoors. On a dark, overcast day, you can’t just flip a switch and get more light. So you adjust your camera according to the light you have. Bright sunlight, especially when the sun is high in the sky, casts harsh shadows. This can be distracting and can obscure details in the animal or background. In this situation, you may want to dial in some exposure compensation to avoid blown-out highlights.

I like to shoot when the sky is overcast. This diffuses the sunlight, so the lighting is cast evenly across the frame. In addition, clouds create a neutral hue, and the camera can capture the natural colors of the animal and its surroundings. An overcast sky or hazy sunshine eliminates or subdues the shadows and helps bring out the details of fur or feathers. You might boost the ISO to get a properly exposed image.

The golden hour of early morning or late afternoon casts a warm hue across the entire scene. Since the sun is low during these hours, the light passes through more of the atmosphere, resulting in vibrant colors and a tawny shade that brings out the texture of animal skin and hair. With the reduced light, select an aperture value that will allow the most available light to reach the camera’s sensor.

Summary

When you have the opportunity, get out there and shoot. Adapt to whatever the light or weather may be and you just might capture a unique shot.

Whatever camera you use, get to know your gear. Invest some time in learning the functions and how to adjust the various settings. Then, apply them in the field. With experience, you’ll discover the combination of automatic settings and creative control that works best for you.

I like to keep it simple. That enables me to concentrate on honing my wildlife photography skills, such as capturing a unique moment and lining up a lovely composition. When I don’t have to worry about the technical aspects, I can direct my attention to creating compelling wildlife images.

I hope this article makes you a better wildlife photographer. If you have any experience you’d like to share, comments or questions, please submit them in the space below.

The post The Best Camera Settings For Wildlife Photography appeared first on Great Big Photography World.

Capturing sharp photos of fast moving subjects is a tricky, and that’s an understatement. Yet, it’s a rewarding task that often makes for dramatic and inspiring results. It’s not for the faint of heart though, and it does come with a certain learning curve.

That’s what today’s guide is for! By analyzing exactly what makes for great fast-action shots, I will go over all the important elements of theory, equipment, and camera settings that you need for success. Along the way, I’ll also include plenty of high-speed photography tips and examples that will help you understand some of the unique challenges that are common in this niche field.

The Art and Science of High-Speed Photos

High-speed photography is a real test. Not only does it push the envelope of camera, lens, and shutter. The photographer’s nerves are also put to the test!

To truly become confident in high-speed photography, you first need to have a solid vision of what kind of images you would like to create. Because the art of taking photos in an environment like this leaves no room for hesitation, being prepared is key.

Using High-Speed Photography to Gain a Fresh Perspective

From an artistic point of view, what high-speed photography aims to accomplish most of the time is to give the viewer a peek into what our ever-moving world looks like when dissected into a single still frame.

Take a common subject for instance, a puddle. You have likely seen raindrops land in small puddles countless times throughout your life. It’s an everyday scene, so the subject seems universally familiar. Actually, that’s not the case, not quite.

The human eye is incapable of processing very fast phenomena with accuracy. We lose track of complex motion far too easily, and we end up forgetting details, too.

That is why we are so fascinated by slow-mo videography and high-speed photography. It sheds light on something that might be otherwise ordinary, yet appears so utterly fascinating when you get to slow down and appreciate how it really works ‘under the hood’.

This is only one example of a creative approach that you might have in coming up with a concept for a high-speed photo. With different aims come necessarily completely different approaches to the art and science of high-speed photography.

In any case, by far the most important thing is to have a grounded idea of what exactly your picture is meant to show the viewer from this unique perspective that high-speed photography offers. Once you have got that nailed down mentally, it is time to move on to the next step.

The Best Gear for High-Speed Images

That would be making sure that you have the right equipment for the job! High-speed photography is not exactly a walk in the park to create. It also demands precision and lots of horsepower from the camera you plan to shoot it on.

Thankfully, most modern cameras have all the basics you need for high-speed photos. This includes a fast shutter that can reliably expose a photo at high speeds.

While there is no solid definition of what counts as truly “high speed”, you should be in the green as long as your camera supports a shutter speed of at least 1/2000th of a second. The faster, the more creative leeway you’ll have!

With the fundamentals out of the way, let’s look at some other gear that will be crucial for taking pleasing photos.

Lenses for Tracking Fast-Moving Subjects

As in any other field of photography, your lens is absolutely essential. It determines the character, field of view, and depth of the photograph. That is, of course, in addition to playing a huge role in image quality.

For taking pictures of fast moving objects, you can use many different kinds of lenses. Some photographers prefer telephoto primes with fast apertures as they allow for a generous working distance. This is to say that you can set up your camera some way away from your subjects whilst still framing them tightly. Especially useful when the high-speed action you’re photographing may not be the very safe kind!

Others, however, choose wide-angle lenses, which can be fixed-focal length or zooms. These lenses often have the advantage of being compact and allowing you to get much closer to your subject. That’s great when you are trying to track something small that may otherwise easily fly out of the frame.

Yet others, specializing in so-called high speed macrophotography, will use macro lenses which can achieve very large magnification and get really close to small subjects without losing detail. This is great when studying intricate phenomena such as tiny drops of water splashes or bubbles.

In any case, one thing that you will find useful no matter what kind of photography you choose to dabble in is a lens with a wide aperture. Such lenses offer you a lot more headroom as they grab more light. This can serve to balance out the severe loss in exposure that happens at higher shutter speed settings.

What Camera Body is Best for High-Speed Photography?

As I mentioned before, most cameras should work fine for high-speed images as long as they feature a reasonably quick shutter. A typical DSLR camera with a mechanical focal-plane shutter usually supports shutter speed settings of up to 1/4000 or 1/8000.

Some electronic shutters may even go faster than that. Paradoxically though, they’re actually less preferable for high-speed photography due to the rolling shutter effect.

Whether you choose a DSLR or a mirrorless camera is really up to you. Some photographers feel more confident with the live optical viewfinder of the single-lens reflex, finding that the electronic viewfinders of MILCs can make them miss certain high-speed shots.

Others don’t mind the limitations of EVFs and live view and prefer their increased convenience. That includes the availability of faster autofocus, advanced tracking modes, and focus peaking, to name just a few.

Suffice it to say that either type of camera, provided it has a solid shutter, will do great in any kind of high-speed photography! The real challenge is not in finding the right gear, but using it correctly.

The Importance of Stabilization

Some high-speed photographers get away with shooting handheld, depending on their setup and the nature of their subjects. However, for the vast majority, putting some serious thought into stabilization before setting up your shot is imperative.

If you recall, the reciprocal rule demands that you maintain a shutter speed of at least ‘one over focal length’ for blur-free, handheld shooting. This works relatively easily under most camera settings and with a lens of moderate focal length.

But when shooting fast action, you will often feel the need for a long telephoto. A long, heavy telephoto, which very likely will be a pain to balance properly. Even at a fast shutter speed, you might run into unintentional camera shake and potentially ruin a shot by accident.

To prevent that, always stabilize your camera on a tripod when shooting with particularly long lenses. While an essential investment, a tripod is not where the subject of stabilization ends, either.

For maximum tack-sharp focus at long distances and fast speeds, also consider lenses with built-in vibration reduction (VR) and image stabilization (IS) features. Some camera bodies these days also feature in-body image stabilization (IBIS), which can be a bonus.

Using Flash to Freeze the Action

If you’re creating high-speed photography of smaller subjects indoors in the studio at relatively short working distances, you might want to consider using a flash gun to ‘freeze’ the movement in the scene.

This is because plenty of the most fascinating small-scale scenes at high speed really play out at dizzying velocities. The shutter speed necessary to capture a balloon filled with paint popping, for instance, such that you can make out individual drops of liquid, is unbelievably fast: in excess of 1/20,000th of a second.

No modern camera is capable of such speeds. So, how do you capture these kinds of micro-scale high-speed objects?

High-Speed Photography on a Small Scale with the Help of Flash

The answer involves a little bit of out-of-the-box thinking. Instead of maxing out your shutter speed, leave your camera stabilized on a tripod with the shutter in bulb mode. Next, grab and set up your flash gun. In fact, for even more impressive effects, consider linking up multiple flash units to a single remote release.

Now, make sure that your studio is lightproof. I am not talking about a professional dark room here, but make sure that there is as little ambient light coming in as possible. Prepare your subject (can of paint, aquarium and ink bottles, what have you), and line everything up for the perfect shot.

This is one more advantage of using a tripod: you really get to fine-tune composition for as long as you want before you commit to tripping the shutter. Because you’ll be working in the dark, you might want to use a shutter release cable for your camera for a more secure feel.

When ready, fire the shot whilst also tripping the flashes at the same time using your remote release.

What will happen is that the flash duration – the short burst of light that illuminates your subject – will essentially become your ‘effective’ shutter speed, as the remainder of your exposure will be darkened out. This lets you take shots of a very fast moving subject beyond the limitations of your camera’s mechanical shutter speed.

Optimal Camera Settings for High-Speed Photography

Now, you should have a basic overview of what you’ll need to start shooting high-speed photography. Next, let’s talk about how to maximize the impact of your photos by perfecting your technique.

The following tips are once again fairly general and apply to almost any kind of fast-action shooting. However, at the same time, they’re adaptable and universal enough that I am sure they will serve you well no matter what subsection of high-speed photography you find to be the most interesting.

Selecting the Perfect Shutter Speed for Fast-Action Shots

As covered above, what shutter speed works best for high-speed pictures largely depends on your shooting environment. Your subject, and specifically its velocity in relation to you, also plays a large role.

Shooting a supersonic flying bullet is going to require a different approach than, say, a horse race.

With that said, here are some general tips for photographing action at a faster shutter speed, no matter the circumstances.

For perfectly ‘snap-frozen’ shots of people, such at a track-and-field event, you generally don’t need speeds in excess of 1/2000. These same speeds are also fairly useful when shooting slower vehicles.

Extremely fast-paced action – motorsport races, airshows, flying birds, and street performances featuring fire, liquid sculptures, or anything of comparable nature, will demand the utmost of your shutter’s higher speeds. Picking the right lens with an aperture range that accommodates this speed is essential in such cases.

When shooting in manual mode, you should also mind your ISO setting to ensure that you don’t run out of light!

Why a Fast Shutter Speed is not Always the Answer

Taking photos of fast phenomena does not always involve a faster shutter speed. I already mentioned how the right use of flash duration coupled with a dark room or low ambient light can easily make up for a slow shutter and even provide superior results.

But another reason why you shouldn’t push faster shutter speed settings too aggressively is that they can render your exposure triangle unbalanced. Remember, any change of exposure is equivalent to a change of any other exposure setting by an equal amount.

Hence, increasing the shutter speed from 1/500 to 1/2000, which measures three stops in EV (exposure value), is equivalent to opening the aperture from f/11 to f/4!

As you move up the shutter speed range, you may find that your lens is reaching the limit of its available aperture openings.

At a very wide aperture, covering action will also be much harder than with a narrow aperture. Depth of field will shrink considerably, causing your autofocus system to ‘hunt’ much more aggressively for sharpness.

These are all reasons why the fastest shutter speed is not always the wisest choice. Remember the exposure triangle at all times, and try to strike a balance wherever possible!

Utilizing Depth of Field to Your Advantage

Remember how I said that a small aperture increases the depth of field, making focus easier during hectic action? This is not just something you should view as a side-effect of certain shutter settings, but rather use actively as a tool to make your life easier.

Shooting at a small aperture may be challenging as you can’t heavily sacrifice shutter speed without adding blur. This is why proper maintenance of manual ISO is essential.

Only by dialing in the right ISO setting can you give your camera the opportunity to compensate for the loss of light that a small lens opening creates. Of course, you’ll always want to set the lowest ISO you can afford to ward off noise. But in this case, you need to find a compromise that works in the particular situation.

However, when properly executed, shooting high-speed photos of a moving object with a small aperture can be a revelatory experience. The increased depth of field will improve sharpness across the entire frame.

And if you can pair it with the right shutter speed, you’ll have awe-inspiring images to thank yourself for.

Picking the Right Exposure Modes

While plenty of high-speed photographers shoot exclusively in manual mode for maximum control, that is not your only option. Especially when your subjects really test your reaction speeds, some automation and electronic assistance can go a long way.

For starters, consider putting your camera into AF-C, or continuous autofocus mode. This is a specialized autofocus mode that intelligently tracks your subject even as it moves around the frame. When things get too fast and DOF too thin for manual focus, AF-C can really save your day! Combine it with the right AF Area mode, and you should be set in terms of achieving sharp focus at high speed.

Many action photographers are also quite fond of shutter-priority auto exposure. That’s because it allows them to concentrate on getting the fastest possible shutter speed to match their subject. The camera takes care of manipulating the aperture to match.

You might also want to consider shooting in burst mode. Using burst mode, you can shoot a photographic sequence of consecutive frames with one press of the shutter release. These can serve as test shots, or as ‘photographic insurance’. That is to say, the extra frames can give you peace of mind for when the action happens so quickly that you’re not quite sure whether you exposed at the right moment.

When your subject zooms by like a speeding bullet and the naked eye is too slow to react, this can be hugely useful. And as I covered earlier, it’s exactly those cases that often make for the most interesting high-speed images!

Becoming a Skilled High-Speed Photographer

High-speed photography is not something you pick up in a day, that’s for sure. But with some concentrated self-study and plenty of practice, creating awe-inspiring footage of super-fast phenomena can be well within your reach, no matter your gear or pre-existing experience!

I hope that I could inspire you with this guide to take the next step towards exploring your potential in this exciting field. Feel free to come back to this guide every now and then to refresh some of the basics. A little bit of remedial study can never hurt, after all!

Wishing you great luck and lots of fun shooting. Till next time!

The post High-Speed Photography – Gear, Settings, and Theory appeared first on Great Big Photography World.

However, we employ pixelization in censorship to make certain parts of images completely obscured, in which case the degraded image quality is intentional.

Also, a visual style uses pixelization to simulate the graphics of the early computer age, when images were boxy and had a limited color range. Pixel art is nostalgic and gaining popularity.

In this article, we’ll define pixelization, the terms describing the effect, how it is both useful and a nuisance, and how to create or avoid it.

The Difference Between Pixelation and Pixelization

Pixelation is the process of creating a digital image. A scene is captured by a camera sensor, which converts it into rows and columns of pixels. The data collected by pixels during this process are hue, saturation, and lightness (HSL). Also, we call this process rasterization.

However, pixelization is a reduction of the number of pixels, with a corresponding increase in the size of those pixels that comprise an image. By zooming in on the image on a computer screen, the result is pixelization of that image. In most cases, pixelization is not desirable. Typically, we want to display a high-quality picture or photograph. But there are exceptions.

Pixelization is a Common Method for Censoring Content

Television news and websites routinely obscure elements such as faces and sensitive information using a technique of pixelization or alternative techniques like blurring. This practice aims to hide elements that may be inappropriate or are not cleared for publication.

In television broadcast depictions or online productions, editors routinely obscure the license plate of a car or the faces of suspects or bystanders at crime scenes using pixelization. The law requires this to preserve a presumption of innocence as well as the right to privacy.

Images or video footage of nudity use pixelization or censor bars to obscure genitalia, pubic hair, or a woman’s nipples to comply with decency standards, which vary in many countries. Drug references and obscene words or gestures are also censored by pixelization or other methods. An audio beep censors obscene language, while pixelization or a black rectangular shape over the speaker’s mouth negates lip reading.

A corporate logo in a photograph, art print, or video may also be obscured using pixelization to avoid trademark violations.

How to Censor an Image Using Pixelization

Various image editing programs feature a standard graphics filter to create pixelization, including Photoshop, GIMP, and Pixir. These platforms allow you to pixelize the entire image or select a specific section.

In the photo below, I used Photoshop to obscure the girl’s entire face. After opening the image, I selected an area using the Elliptical Marquee Tool. Under Filter, I chose Pixelate, and under that, Mosaic. A window labeled Mosaic allowed me to adjust the Cell Size of the censoring pixels. The window also has an option to preview the resulting image.

With the facial features properly obscured, clicking OK saves the image.

Pixelization as an Art Form

In the art world, we find pixelization trending. Pixelized art creates the effect of zooming in and enlarging the pixels. Viewed on modern high-resolution screens, each of the image’s original pixels occupies a large number of the display’s pixels.

In pixel art, the pixels are a central part of the artistic effect of the composition of the piece. With careful control over pixel placement, for example, changing the number and size of the pixels has a dramatic effect on the overall artwork.

Employing software to generate pixel art places many pixels automatically. Pixel art generally has large pixels and a small color palate. This can lead to an aesthetically jarring effect; however, computer-rendered pixel art can produce a larger number of colors.

The Pixel Art – Video Game Connection

Pixel art is undergoing a revival of sorts. These digital illustrations recall the early days of video games when developers and designers created graphics with blocks of color assembled as a mosaic. The stair-step lines and high-contrast colors defined video game characters. But what we generally considered low resolution images have taken on a new identity as an artistic genre.

The artists and developers of early video games worked hard to hide the technical limitations they faced. In the late 1980s and early ’90s, that meant trying to make graphics look smooth on a 320×256 pixel screen.

The constraints of the technology shaped their graphic style, which the art community accepts as a calculated art style.

Two primary categories of pixel art are isometric and non-isometric. Isometric pixel art creates a 3-D appearance, while non-isometric pixel art shows just one side, usually the top or front. However, IMAI Shin, the vice editor-in-chief of IGN Japan, identified upwards of 20 pixel art styles.

How to Avoid Pixelization?

One way to avoid pixelization is to create vector images. Instead of being constructed of pixels, or raster based images, vector images use mathematical commands that place lines and shapes in space. This allows for scaling, or enlarging the images, and pixelization does not occur. 

With a raster image, such as a JPEG or TIFF, each pixel contains information that must be stored. This makes for large files, especially in RAW format. Vector images consist of a series of points to be connected by lines and shapes and are smaller than raster files.

The advantages of vector images are scalability, small file size, and precision. The disadvantages include less detail, limited browser support, and inconsistency among applications.

AI Upscaling without Pixelization

Enlarging a JPEG image involves making each pixel larger. As the size of an image increases, the pixelization also increases, resulting in a blocky look. Upscaling with artificial intelligence occurs with increased context awareness.

This process introduces new pixels of image information, adding detail and filling in gaps to create a larger image with higher resolution. The machine learning model recognizes patterns and adds pixels with great accuracy.

A number of AI upscaling applications are available. Adobe Lightroom features a tool called Super Resolution that quadruples image size with refined color and greater detail. I was skeptical about this feature, but I’ve found that it adds detail and clarity along with the increase in image size.

Gigapixel AI from Topaz Labs uses advanced neural networks to enlarge photos up to 600 percent. It can integrate with programs such as Photoshop and Lightroom.

Upscale.media is an online tool and mobile app that can enhance a variety of file formats. This platform upscales images up to 4 times, maintains detail, and erases artifacts.

Summary

Pixelation is the conversion of a subject into pixels. This happens in a camera. When a sensor plate captures an image projected from the lens, the sensor creates a raster file. Most of what we work with on a computer is already pixelated. 

Pixelization is the deliberate reduction of the number of pixels, which increases pixel size. This proves useful for censorship or artistic purposes. When we reduce the resolution of a pixelated image, we increase the size of individual pixels, giving the image a distinctly blocky appearance. That is pixelizing.

While this creates a low-resolution image that is usually not the goal, it is very useful for completely obscuring parts of an image or an entire image. In addition, artists and designers use large pixels in creating pixel art, a nostalgic style that evokes the early video game graphics.

I hope this article brings clarity to a subject that may not be top-of-mind, but is important in photography. If you have any questions or comments, please submit them in the space below.

The post What is Pixelization? appeared first on Great Big Photography World.

And so, with this said, here’s a guide from a seasoned NYC photographer who’s been doing them for 10+ years. Whether you’re a photographer aspiring to start taking headshots yourself or a client hoping to go into a headshot session with a little more ownership of what you’re doing, this guide is for you. And so, without further ado, here we go.

What is a Headshot?

Headshots are a very specific type of image and are not to be confused with portraits. Portraits are an extremely broad and general sort of photograph that can encompass a wide variety of compositions, crops, and poses. A half-length image of a person can be a portrait, while a full-length image of someone can also be a portrait. This can extend to three quarter length and more.

To add to the confusion, the composition of a portrait can have the exact same composition of a headshot (it’s confusing, I know, but the difference between the two you’ll know after you gain a certain amount of experience from them). 

Headshots, on the other hand, are almost always just two things – a head and a set of shoulders. If the portrait is taken vertically, it can extend as far down as the chest, but that’s about it. Anything else, and you’ve taken a portrait.

Composition and Crop

This being said, let’s take a look at the crop and composition of the image above. This shot was produced over the course of a session I was commissioned for by an actress in NYC. 

Note the crop and how tight it is – composing just the shoulders and the face of the actress within the image. Note as well where the eyes sit. I didn’t quite apply the rule of thirds to this image – but I certainly came close. 

And, while we have this headshot up, there are two different things about it that are a little less common practice amongst headshot photographers and represent a good way to stand out from the crowd early on if that’s what you’re looking to do.

The first thing you’ll notice about this headshot that differs from standard practice is that it was taken horizontally rather than vertically.

I do realize that 99% of the portrait world is comprised of vertical imagery, but if you’re looking to differentiate yourself right away and establish some characteristics of your style that differ from that of others, horizontally composed headshots are a good way to start.

Also, the reason that portraits have always been traditionally held vertically is that when casting agents are flipping through stacks of resumes and headshots, they’ve done so much in the way someone would flip through stacks of paper (with the paper situated vertically). However, now that casting agents are just as likely to flip through digital images in an actor’s directory as they would a physical stack, the requirements aren’t as stringent as they used to be. 

The second thing you’ll notice about this headshot is that, not only is there absolutely no negative space whatsoever at the top of the image, the head itself has actually been cropped and cut off somewhat. 

This too is a bit more common of a headshot practice (I say common as in enough photographers do it, though it’s still far from widely adopted technique). 

The reason I went ahead and did this is because I wanted to fill the frame with as much of the subject’s face as possible – as that will produce the most impact possible. If you’re asking why I didn’t simply do that by cropping more of the shoulders instead, it’s a balancing game of push-pull, and you learn over time when to push and when to pull. 

This being said whether you choose to crop the top of the head off or not, avoid negative space at the top of your image at all times in your headshots. A sliver may be fine, but how much of the person’s face you can fit in a headshot directly correlates to how much impact that image is going to have – and you’re wasting it by placing a bunch of negative space at the top of your photo.

Equipment for Headshot Photography

A photographer’s equipment list is a list that’s singular to them and them only – and many photographers use one tool while another photographer in the same field will use another. How you develop your taste in style ultimately comes down to you, but there are certainly some base points you can use and go from there.

Lenses – 85mm and above

Just as the debate will never end between iPhone and Android, the debate will never likely end on what constitutes the best lens to use for your headshots.

That being said, honestly anything over 85mm is really going to be fine, and I can’t think of too many use cases where any one lens is going to be significantly superior to any other (if shooting outdoors or doing an environmental headshot, you can achieve more bokeh at 200mm than 85mm, but that’s maybe one of the few advantages any one lens has over another, and best left to a different discussion). 

For example, four lenses I’ve used interchangeably over the years for my headshots have been the following: 

85MM Sigma Art 1.4 
70-200 Nikkor 2.8 
105MM Z Mount Nikkor 2.8 
120MM Fujifilm F4 (granted, this is for a different system, as I have a Fuji GFX 100s) 

As far as the above four lenses go, if you’re asking why I one day used one lens and another day used another – it was more than likely because one was simply already attached to my camera at the time. Or because one involved walking to the end of my studio to grab while the other was right next to me. Any one of the above lenses is not going to vary wildly in its results (the 120MM Fuji is technically for a medium format back, and even then, the difference isn’t going to be super noticeable if the headshots are going to be used online). 

The important thing, however, is that none of the lenses go below 85mm (yeah sure, the 70-200 goes to 70, but I always just set the focal length to 85mm anyhow). 

The reason why not going below 85mm is important is because of the crop and composition of your headshots. Once again, headshots are the most tightly cropped of all images within the portrait family, and they’re the most aggressively composed. Given this, trying to take anything below 85mm with an equivalently tight crop will produce image distortion (in this case, your subject’s face would have a barreling effect) and deform your subject.

The reason for being at 85mm and above is that it will allow you to achieve a tight headshot crop while at the same time being far enough away that you won’t have to worry about your subject getting distorted at all. 

CaptureOne Distortion Panel

If you do find yourself below 85mm and need to take a headshot, one of the ways in which you could avoid distortion is by backing up and taking your photo at a slight distance from your subject; but then of course you’ll have to crop in on said subject in post in order to achieve a genuine headshot composition and thereby lose sharpness and resolution that you would have otherwise had with a more suitable lens. 

50mm is passable

You may have read and heard that 50mm is a good lens for headshots, and while I agree with this to an extent, only do so in a casual headshot setting. Are you a headshot photographer new to the industry and being paid a beginner’s rate for your work? Are you just doing something light for a friend? Sure and then, by all means, go ahead and use a 50mm if it’s all you have.

However, if you want to be a serious headshot photographer and one that commands rates in excess of $800-$1000 USD, you’re going to need a dedicated headshot lens and one that is at 85mm or above. As far as focal lengths go, for portraiture work I only use primes (outside of the 70-200 Nikkor I own). If someone is paying you a healthy fee for a set of headshots, you really shouldn’t be using a lens that’s going to distort their face in any way. 

Backdrop

I use grey or white backdrops in my corporate headshots and pretty much never deviate from those two colors. Every now and again I’ll get a client that will want to use some specialty color, like blue, and I’ll do my best to talk them out of it.

The reason I’ll do my best to talk them out of it is because they’re going to use their headshot in a ton of different places – many of which blue won’t fit in too well with. And so, with this said, you want to future-proof your client’s headshot and do your best to ensure it fits in as many places as possible. 

Camera Body

When it comes to camera bodies, my advice is to get the best one that you can afford. I am not saying get the best one available – I’m saying get the best one within your budget. Also, if you can afford to start off shooting full-frame, you absolutely should start off with a full-frame body, and to be honest, I’d rather start off with a second-hand full-frame body purchased off eBay (say, a Nikon 610 that you could pick up for $400ish dollars) over a brand new cropped sensor. 

Headshot Lighting

The overwhelming majority of headshots you take over the course of your career are going to use soft light – with hard light headshots reserved for editorial or fashion photography only. For this reason, I’m not going to touch on hard light at all in this article because its application is too narrow and niched and, as well, too complicated.

You can also read our article on lighting for headshot photography.

Outdoors

I rarely do outdoor headshots anymore, though there’s a time and a place for them. If you’re doing a shoot outdoors, try to aim for a cloudy day and one that isn’t too sunny. Cloudy days provide much more even lighting (even in the shadows), and all you ever really need for them is a reflector, your camera, and a subject. 

In-Studio

The selection of modifiers, softboxes, umbrellas, and reflectors for in-studio work can be a bit overwhelming – so where does one start?

Key Light

First of all, let’s start with your key light and its modifiers and go from there. 

Right now, I go back and forth between a 48” Profoto Octabox and a Parabolix 45 Parabolic Reflector with a white diffuser panel as my key lighting, though to be honest I’ve used and gotten away with modifiers earlier on in my career that were half the size (23”). The type of strobe you use can be pretty much anything, as headshot photography isn’t really demanding on your lighting equipment and doesn’t require super fast recycle times. In fact, during the first three years of my career, I used speed lights for my headshot work. 

For corporate headshot sessions I like to boom the light out over my subject and point it facing down and directly at the subject’s face. This particular form of lighting is called butterfly lighting – for the butterfly-shaped shadow that forms underneath your subject’s nose. It’s usually the most flattering form of lighting as it’s one of the most effective ways to light your entire subject’s face and minimize shadows. 

If you’d like to take a look, you can see my example work here: Corporate Headshots NYC.

If I’m doing an actor’s headshot, I’ll typically place my key light in a loop position. Loop lighting is far and away the most widely used and most widely flattering form of lighting that works on pretty much everyone. It is called loop lighting because the nose produces a small shadow in the shape of a loop that lies right next to it. Instead of being boomed out overhead (which requires not just a lightstand, but a boom as well), a loop light has much simpler requirements, and one only needs to place a light at forty five degrees from the side and pointed forty-five degrees down atop a lightstand. 

Fill Lighting

And so, now that our key lights are set up, where do we go from there? Both lighting configurations (be it butterfly or loop) are going to produce shadows in areas where the light falls off. In butterfly lighting, the shadows are going to be under the nose, eyes, and chin. In loop lighting, the shadowed area is going to be on the side of the face opposite the light. 

In case you don’t know what fill lighting is, it’s a light you place on your subject, usually on the opposite side of your key, that’s used to fill in the shadow areas where the key can’t go. It’s usually half the power of the key. 

Earlier on in my career, I almost always used a second light for fill; especially when doing butterfly lighting. Typically, what I used was a small light stand with a speedlight attached to the top and a shoot-through umbrella in front of it, and these would be underneath my subject and pointed up into her/his chin. 

After a while, however, I switched over to using large reflectors (especially when doing in-studio work). The reason I switched over to using large reflectors (in my case, 40” foamcore), is for a couple of different reasons. For one, the lighting is just softer and more even coming from a 40” slab of foamcore as opposed to a 23” umbrella. And secondly, it produces much more flattering catchlights in the eyes of the subject. 

At any rate, if you’re shooting using a butterfly lighting configuration, your fill light would be under your subject’s chin, whereas fill for a loop light would be on the other side of your subject altogether, at about half power. 

While there are other lighting configurations for headshot photography, the above two (butterfly and loop) could literally carry you through a multi-decade career.

Camera Settings for Headshots

ISO

ISO is your camera sensor’s sensitivity to light (I’m disregarding film because if you’re shooting on film, you already have a pretty good understanding of ISO). Also interchangeably referred to as film speed, it determines how long your shutter has to be open or how much light will be needed to properly expose an image. The higher the ISO, the less light will be needed to create the exposure, though more grain will appear in the final piece. Studio photographers almost always use 100 or below ISO, as they’ll typically be working with high-powered strobes. 

Aperture

Aperture is the hole or opening through a lens that permits light to pass through. The wider the hole, the more light that’s able to pass, and the shallower your depth of field because. Aperture is measured in F stops and goes from F1.4 all the way up to F32 (F32 is a bit of an extreme, and usually only older lenses stop down to this figure).

Shutter Speed

Shutter speed is the measurement of how long the camera shutter will stay open to expose the image. If you’re working in a studio environment with stroboscopic lighting, 1/200-1/250 will almost always be what you will be working at for headshots. If you’re working in a daylight studio or with continuous lighting, you may find yourself down as low as 1/60th of a second. Anything lower, however, and you run the risk of motion blur.

The Settings I Use

As far as camera settings go, I almost always shoot at either 100 or below for ISO, with a shutter speed of 200 and an aperture of F5.6-F8. If I’m using a macro lens (which allows me to get closer to my subject at the sacrifice of depth of field, I’ll lean towards F8/F9). 

You may be tempted in the beginning to shoot wide open; as a blurred background with an in-focus subject is the hallmark of professional photography, but after awhile, too much of use it results in it’s loss of novelty and it becomes just another parlor trick. I once met a photographer that shot at F1.8, in-studio, day in and day out, and all I can do is look on that practice and shudder.

Your Style is the Only Style

I just came across an article on headshot photography that recommended you have a pre-consultation with your client and ask them such questions as ‘what style of headshot would you like?’ 

That’s one of the most ridiculous things I’ve ever heard.

The style of headshot that person wants is the style you shoot in. Period. They’re coming to you and hiring you for a reason – because it’s your style that person is requesting, and it’s your style that’s going to convey that client’s value to the world. If a client comes to you requesting that you shoot in another photographer’s style, your best suggestion is to tell that client to go hire that other photographer then, in the event they like his or her style so much.

The work you do is the work you produce and at the end of the day, that’s what you’re conveying to the world. There’s one style of headshot you currently produce, and that’s the style you shoot in. 

If you look at all of my headshots, a lot of them will have characteristics that differentiate them from one another, but at the end of the day, they’re all unifying me.

The Jawline

The two most defining traits a person has in their headshots are the eyes and their jawline.

If the most defining characteristic in the image is the shirt they’re wearing, then either they need to change shirts, or you need to do a better job with their headshot. 

This being said, not all jawlines are created equal, and some people may need a little bit of help coaxing theirs out. 

One of the ways in which you can help a person define their jawline is to have them lean forward slightly, almost jack-knifing themselves towards you. If they complain that it feels awkward, then you’re on the right track. If they continue to complain that it feels awkward, remind them that you’re the professional (remind them in a nice way, of course) and that this will help with the end image.

What leaning forward does is it automatically makes the person’s face extend forward a little bit, which will tighten up the skin underneath the jaw and help accentuate the area. 

As far as the positioning of the jawline goes, it should usually be either level with the camera or slightly lower. Never have the person lean back, as that will bring the chin up and away from the camera, and then they’ll just look like a rapper on an album cover. 

Remember the Alamo. Remember the jawline.

The Eyes

The eyes are the focal point of every headshot ever taken. This is an unbreakable maxim. This being said, your camera focus should always be on the eyes (I typically use one focus point on my camera and will have it focused on one side or the other). 

If the person is turned at an angle, the eye closest to you should always be the one you focus on. 

From a compositional standpoint, if you’re going to use the rule of thirds in your image (say you’re shooting horizontally), then you’ll match up an eye to one of those thirds.

Talk

The worst thing you can do is sit in silence the entire time – not saying a word while quietly snapping away. It’s offsetting and generally makes people uncomfortable, which will affect your image.

I’m a fairly conversational person and when I have people over to my studio, I typically engage with them throughout the course of the entire shoot. Not only does it make the time go faster, it also produces better images.

Pricing

Professional photography has a lot of people in it that play the ‘monkey see, monkey do’ game, in that if you ask them what their rates are, they’ll quote you a price and, after you ask them where they came up with that price, they’ll shrug and say ‘I dunno. I mean, that’s what my competitor is charging.’ 

You need to set your own prices, regardless of what other people are charging, and with respect to your level of experience and how much you feel you’re worth. If you’re just starting out in the industry and your calendar isn’t even remotely booked up, you really shouldn’t be charging $800 for actor headshots simply because you see other people doing so on Google. 

When I first started doing headshots, in the very beginning I charged around $195 and went from there. After I started getting some experience and the quality of them went up, I increased my rate to $295 and kept going from there. At this point, I’ll usually quote an actor somewhere in the $900-$1000 range for headshots and a corporate professional anywhere from $495-$1000+. 

This being said, don’t worry about what other people are doing. Focus on yourself and worry about yourself – things will fall into place thereafter.

Clothing

Clothing to me has always been pretty straightforward, but the advice I always give to people is to dress as if they were going to a slightly upscale lounge function. You know, not too dressed up while at the same time not too dressed down; a healthy splitting of the middle.

It also depends on their industry. A guy in finance I would encourage to wear a suit and tie, whereas someone in tech, at a startup for instance, I might instruct them to wear something more casual.

For actors, t-shirts are always a go-to, though you should have them bring along a few different outfits, just in case. Avoid loud patterns and colors that will overwhelm the image, as you want the focus to be on your subject and not, say, his canary yellow tank top.

Conclusion

This is everything I can think of for now that my brain is able to produce with its headshot experience in the NYC area. Take note of the above points, though, and if you have any questions, you can always drop me a line at info@joejenkinsphoto.com.

With the above taken into account, however, and a determination to get better at your craft, you’ll be up there with the best of them in no time at all.

The post Headshot Photography – A Definitive Guide appeared first on Great Big Photography World.

What’s in your camera bag?

• Canon 6D mark II
• Sigma Art 35mm F1.4
• Manfrotto tripod

How is photography making the world a better place in 2024?

In today’s world, where digital tools continually blur the boundaries between reality and fiction, I firmly believe that photography’s unique strength lies in its storytelling ability. Images serve as the primary communication medium for nearly everything, whether edited, polished, or reinterpreted. Photography is intrinsically linked to the human touch and experience; it offers a meaningful connection to reality and the multitude of stories we have yet to tell.

What emerging photography trends do you foresee gaining popularity in 2024?

Especially in the realm of conceptual/fine art photography, I’ve noticed a craving towards authenticity and unfilterness.

Raw & unpolished outdoor scenic portraiture: A departure from the meticulously curated compositions and color palettes (Wes Anderson-esque) that have dominated recent years.

Maximalism & baroque lighting: Embracing dense images full of textures, characterized by high contrast yet soft lighting. Arfully unpolished: : a “no-make-up makeup” approach, a casually disheveled look that leaves behind overly staged scenarios.

If you could pick a photography mentor in 2024, who would you pick? Why?

I’m going to cheat a bit and choose two:

First, Brooke Shaden. Because regardless of the year, she is always a beacon of creativity for the conceptual portraiture realm.

Secondly, Rob Woodcox. He has been consistently brilliant for years. But just when you think he’s hit the top, he flips everything around and breaks all the rules bringing the medium to new, innovative depths.

The unavoidable question: How do you see the use of artificial intelligence or machine learning impacting photography in 2024?

As a conceptual photographer, I’m excited about the possibilities that AI and visual tools bring. They’re expanding the horizons of experimentation, making composite work and editing less reliant on finding the perfect stock image.

Photography can’t match the “over- perfection” of digital creations, so a shift toward hyperrealism and raw aesthetics might be the way for both to coexist in the creative sphere. On the flip side, as AI-generated images gain quality and accessibility, the worth of a photographer’s craft could become harder to discern. Certain photography niches more than others (stock photography is the first that comes to mind) may feel the impact more significantly than others.

What is your favorite photography- related book or resource that will continue to have a significant impact on your career in 2024? Why?

It is a bit of a left-field choice, but it will have to be “The Dictionary of Obscure Sorrows” by John Koening. g. While not a photography book per se, my work being heavily conceptual, this collection of his—collection of brand new words to express feelings we don’t have (yet) words for —has been my primary source of inspiration this year, and I’ll carry it into 2024 for sure!

What is your go-to method for overcoming creative block and finding inspiration in 2024?

I toggle between two strategies in this scenario:

One is shifting my energy to different mediums or projects, although consciously avoiding those that might frustrate or fuel perfectionism.

The other approach is a “JUST DO IT” mindset. When I’m in a healthy mental state, I directly face the challenge. With paper or an app, I freely note down ideas with zero expectations; something may eventually click.

Also, actively engaging in conversation with creative friends and, being a nature- portraiturist myself, exploring new locations. If nothing sparks, at least I’ve had fresh air for the day!

Just experiment and see what clicks for you.

Silvia Travieso

If you could give one piece of advice to a beginner in photography, what would it be?

If you’re feeling that creative itch, let it out. Instead of just thinking about it too much, grab a camera and take some shots, whatever comes to mind. Embrace your lack of knowledge, rules, techniques or equipement—just experiment and see what clicks for you, what makes you happier; yes, happier. Try not to aim for perfection as much as you can. Take terrible photos and laugh about it.

Do- try- fail- have fun.

Can you share a specific tool, technology, or software that has revolutionized your workflow and significantly enhanced your creative process as a photographer?

It may sound silly and outdated, but as a creative-slash-conceptual portraiturist who heavily edits her photos, I can’t believe it took me so long to start editing with a graphic tablet! It completely changed my workflow and made me feel so much more in control of my pieces. As well, staying up-to-date with the new tools and developments in my editing software is crucial to feeling comfortable with my creative process.

What is your biggest strength and your biggest weakness as a photographer in 2024?

I would say my biggest strength lies in, after many years of struggle, finally being able to recognize and embrace my own personal visual style. Being able to communicate through images and telling stories that can resonate with people.

On the flip side, I struggle with the invisible pressure to keep up with the latest trends and the heavy shift towards video content. As an intense editing photographer, I also find it challenging to strike a balance between dedicating an obsessive amount of time and detail to each piece and remembering that we exist in a fast-paced, high-demand consumption cycle of visual content.

What is the biggest challenge in your photography genre in 2024? What are the solutions?

Fighting the sentiment of needing to “compete” with AI images, I’m concerned this might lead people and clients to undervalue the effort, process, and craftsmanship behind creating compelling conceptual images.

What is the most important factor to consider when choosing a photography niche or specialization in 2024?

That you like it and feel passionate about it.

The post Interview with Silvia Travieso on Photography Trends appeared first on Great Big Photography World.

Likewise, there is the principle of reciprocity in photography. Many claim this to be one of the most crucial technical concepts to grasp as an aspiring beginner. But what exactly is the law of reciprocity in photography? And is it truly as clear-cut as the name makes it sound?

Today, I will be examining just that in this comprehensive overview of reciprocity in photography and all there is to know about it.

What is Reciprocity?

Let’s start with the basics. What does the principle of reciprocity aim to explain?

In simple terms, reciprocity is a direct and inverse relationship between multiple factors. Increase the value on one end, and the value on the other end drops. Vice versa, the same applies of course. Think of a seesaw, and you get the broad idea.

In a very similar fashion, the so-called law of reciprocity in photography describes the relationship between your main exposure controls – namely shutter speed and aperture – and exposure times.

In a nutshell, exposure being in a reciprocal relationship means that opening the aperture by one stop (i.e. from f/2 to f/3.5, for example) is equivalent to lowering the shutter speed by the same amount (such as from 1/100 to 1/50). The inverse relationship, of course, also holds true the same way and vice versa.

Reciprocity is such a powerful principle because it allows you to handle exposure time holistically. Instead of asking yourself, ‘What aperture settings do I need for this shot?’, you can change the question to, ‘What EV (exposure value) am I going for?’.

When you realize that any single EV can be represented by a wide variety of aperture or shutter speed settings, then you will see how reciprocity allows you to achieve much more diverse-looking photographs than you may otherwise have thought possible.

Photographic Stops and How They Relate to Reciprocity

For reciprocity to work out, we need some kind of universal unit to compare exposure settings on equal terms. After all, shutter speed is measured in fractions of a second. Meanwhile, the common notation for lens apertures are f-numbers – fractions of the aperture width and focal length.

With these kinds of vastly different units in place, how do you honor reciprocity? How do you make sure as a photographer that you truly increase or decrease both values by the same amount?

The answer lies in stops. In photography, stops are the unit we use to compare all exposure settings under equal terms. This does not just include shutter and aperture, mind you, but also ISO numbers!

One ‘stop’ of exposure expresses the same amount of light passing through the lens opening, no matter which setting you manipulate to add or remove that stop. For example, moving from f/11 to f/8 is a difference in EV of one stop. The same goes for doubling your shutter speed from 1/25 to 1/50. Take away a stop on one setting and add it with another – this is reciprocity made easy!

While the principle is simple, defining a stop in hard numbers is actually a very involved affair. That a shutter speed of 1/25 lets in twice as much light as 1/50 of a second seems reasonable enough. But how is it that the difference in light between f/11 and f/8 and between f/2 and f/2.8 is equal?

The answer lies in the shape of the aperture as a geometric circle. Since the area of a circle is governed by the equation pi*r², aperture f-numbers do not correlate with the amount of light they represent in a linear fashion.

Fortunately for the mathematically challenged, pretty much all modern cameras and lenses automatically compensate for this. Whether apertures on the lens ring or shutter speed in-camera, everything is incremented in whole, halves, or sometimes even thirds of a stop.

This means that you don’t need to worry about doing math in your head to figure out how many stops a change in aperture equates to in order to dial in the appropriate shutter speed. Rather, one ‘click’ on your shutter speed dial is guaranteed to correspond to one ‘click’ of the aperture ring in any direction!

Same Exposure, Different Shutter Speeds

Try this easy experiment to put reciprocity to the test.

Pick a subject and scene of your choice. Preferably do this in an outdoor setting where the availability of ambient light won’t be an issue. Now, guided by your camera’s light meter, choose a combination of aperture and shutter speed settings that gives you a satisfying exposure.

After taking the shot in this way, go into manual mode. Try to assess the scene and change the shutter speed to a different value than what you just used. Now, assess how you will need to adapt the aperture setting to compensate. Take the same shot again.

For maximum effect, let the camera stand in place on a tripod so the composition does not change.

How many differences can you spot despite the equivalence in EVs between the two shots? Which do you prefer? Keep going and take and re-take more attempts in the same manner to figure out where your sweet spot lies.

Choosing Shutter Speed with the Reciprocal Rule

Now, you should have a basic grasp of what reciprocity means in the context of achieving pleasing exposure. However, today’s lesson does not stop there.

Reciprocity has many more applications in live photography than merely allowing you to intelligently combine shutter speeds and aperture settings.

For example, consider the reciprocal rule, widely taught in many photography and film schools.

The reciprocal rule states that you should always set your shutter speed to the value of ‘one over focal length’ or faster. For example, when wielding a 50mm lens, your slowest shutter speed under the reciprocal rule should be 1/50.

How the Reciprocal Rule Works

Let’s take a look at the rationale behind this rule.

The basic guideline that the reciprocal rule expresses is the inverse relationship between focal length and camera shake. In other words, a longer lens magnifies more strongly, rendering small involuntary movements more grave in the final image.

Thus, increases in focal length require a corresponding increase in shutter speed to offset the visible shake and mitigate blur.

Note that this inversely proportional relationship is not the same as I described in the general definition of reciprocity above. Reciprocity in photography does not describe one specific relationship. Rather, it’s the general nature of reciprocal relationships between exposure factors overall that matters.

Put another way, reciprocity can take many forms, and this reciprocal rule merely concerns one of these. Hence, you may, in other contexts, also see entirely different relationships between other exposure factors referred to as ‘the reciprocal rule’.

Shortcomings of the Reciprocal Rule

As for the rule above, note that it comes with a few limitations. For one, steadying your camera on a tripod removes the need to adhere to minimal shutter speed settings.

A stabilized camera can shoot photos at a much slower shutter speed without incurring negative effects of shake or blur. Hence, the ‘one over focal length’ rule is only valid when shooting handheld.

There is also the issue of sensor size. The ‘one over focal length’ paradigm, where it does hold true, is intended for use with 35mm full-frame sensors. Larger or smaller sensors alter the angle of view, which is akin to zooming in or out. This completely changes the equation since the apparent camera shake will be visible at different thresholds.

Applying the rule to an MFT (Micro 4/3) sensor, for instance, results in a baseline of ‘two over focal length’ instead. This is because the MFT format has a crop factor of 2.0 in reference to 35mm full-frame.

Reciprocity Failure and Why It Matters

Knowing about the principles behind reciprocity and how ubiquitous they are in photography can feel very powerful. Suddenly, you have access to an entire framework for judging exposure time and settings accurately without any tools!

It’s not that simple, unfortunately. There are certain cases where one kind of reciprocity may break down. As a whole, this is known as reciprocity failure.

The most significant case of reciprocity failure applies to the reciprocal relationship between shutter speed and aperture. Let’s talk about how that works.

When a Slower Shutter Speed Isn’t Enough

In everyday photography, the law of reciprocity is an incredibly useful tool that you can use to find the combination of shutter speed and aperture setting inputs that you need for your shot.

The greatest thing about reciprocity is that it allows you to make adjustments to one factor, compensate with the other factor, and still end up with the same exposure. At the same time, the variances between exposure factors can create creatively unique images.

Under certain circumstances however, reciprocity breaks down. This mostly happens when taking long exposures, and in particular in film photography.

At an exposure time of multiple seconds or longer, the amount of light that you need to get equivalent exposures to a shot taken with a wider aperture-shutter speed combination dramatically increases. The linear and inversely proportional relationship simply stops working, in other words. In such a scenario, you need to make manual adjustments to keep getting accurate exposures.

Fundamentally, this happens because the chemicals that give the film its sensitivity to light can actually become exhausted. When this happens during a longer exposure, the overall ISO of the film decreases.

How to Address Reciprocity Failure

Now the question is, of course, how do you know how much exactly to compensate for reciprocity failure? How do you know how much additional time to keep the shutter open compared to what your meter suggests? Thankfully, there’s no rocket science involved.

Almost every film type experiences reciprocity failure differently, so manufacturers are kind enough to include tables and references of recommended settings on the packaging. When in doubt, check the official website.

In cases of uncommon or low-volume film rolls, which may not have as much helpful documentation available, there are also plenty of mobile apps you can download to calculate reciprocity failure automatically.

Simply use readings from a light meter as a reference and plug in the corresponding values. Finding the correct exposure is then just a matter of switching to manual mode and making the right adjustments to the shutter speed.

This case of reciprocity failure only applies to film users. Digital cameras are immune from the loss in light sensitivity as there is no chemical reaction to worry about. Because of this, reciprocity failure is largely treated as a film-only phenomenon that digital shooters need not worry about.

Utilizing Reciprocity to Find the Right Aperture and Shutter Speed

Used effectively, reciprocity can be one of the most powerful tools you can have as a photographer. It works with every kind of camera and gear, and it can streamline the entire process of determining the right exposure without relying on external tools.

The best thing you can do while you’re still learning is to practice reciprocity with the help of a light meter. Begin by setting a manual ISO value as low as possible, given ambient light conditions. Proceed by manually setting the aperture and shutter speed to the values suggested by the meter.

Take a test shot using these settings so you’ll have something to compare to afterward.

Now consider the effects of, say, a faster shutter speed on the final image. Think of what kind of photo you are aiming to capture and how a change in exposure settings could help you get there. Try to achieve this by just manipulating one value first.

Let’s say that you decide to open up to the maximum aperture because you desire the thinnest depth of field that you can get in this shot. Using reciprocity now, without relying on the light meter, try to adjust the shutter speed so that the exposure value (EV) of your shot remains constant.

When you’re confident, take the shot and compare it with the test photo you just took earlier. What stands out? How may you improve? How did your meter help, and where did it fall short?

Use this experience as a guideline to improve your skills and judgment. With time, you will find that you’re able to use reciprocity as an intuitive tool and that it will complement your photographic workflow quite naturally.

Good luck, and have fun shooting on the way there!

The post The Reciprocity Rule in Photography appeared first on Great Big Photography World.

I have crafted a strong set of headshot lighting ideas that are unique and new. By taking basic concepts and elevating them with small changes, these setups are a more modern way to provide your clients with beautiful images that have a powerful impact.

Importance of Lighting in Headshot Photography

When a professional comes in for a business portrait, they need their image to showcase their personality and company brand in a way that is highly professional (and of course, attractive!). The lighting plays a vital role in creating such effective portraits for your business clients. Even if you would like to use natural light, there is a way to wield the light that still creates a headshot your client will love!

When I began crafting my lighting setups, I saw my business increase dramatically. My clients loved sharing their images, their experience in my studio, and referred others to me consistently. If you would also like to see your business grow, start by perfecting your lighting so your client’s new, professional headshot images help them achieve their career and business goals.

Lighting Setup 1: Timeless Light

This type of lighting is typically called Rembrandt Lighting. Named after the famous Dutch painter, Rembrandt lighting is a classic technique that adds dimension and depth to a headshot. It involves positioning the key light at a 45-degree angle on one side of the subject’s face, creating a triangle-shaped light on the opposite cheek. This technique is particularly effective at highlighting facial features and creating a sense of drama.

Gear Used:
1- Monolight (like my Elinchrom 500)
2- 1 large reflector board, like the V-flat featured
3- A large, round reflector with a stand
4- A 7′ Westcott umbrella with diffuser (and stand)

One of the reasons I love using this type of headshot lighting technique for my business and corporate clients is because of how classic and flattering this light is. This lighting works well with nearly any backdrop. 

I prefer to adjust my large Westcott umbrella until the light is soft and subtle. The beauty of this lighting setup is that it is beginner-friendly. If you are just opening a photography studio or collecting professional photography lighting gear, you can affordably create powerful headshots with just one big, soft light source and a reflector or two.

This classic image lighting style carries dynamic impact and professionalism, which is what every business person is looking for in their headshots. 

The Timeless Headshot Lighting Setup

We are looking for a soft triangle of light on the cheek opposite the umbrella.

I start with my monolight at low power and adjust up until I have the correct exposure. 

Angle the umbrella slightly downward, and ideally, position it just above eye level (or as high as you are able in the case of a lower ceiling, as I have). 

Position the umbrella just in front of the subject so that it “throws light” in front of the client. This feathered light will help the light travel to the other side of the face. I face the umbrella slightly toward my client and toward the V-flat in front of him or her. You can experiment with how directly the umbrella faces your client.

Place the white side of the V-flat opposite the umbrella to soften the shadow side.

Create a “clam shell” with the umbrella and reflector for extra softness under the chin, and a beautiful catchlight in your subject’s eyes.

Here are more examples of this classic setup for professional business headshots:

Lighting Setup 2: Power Light

My unique Power light headshot lighting idea is best used for professionals who need to communicate strength, such as high-end realtors, sales people, lawyers, and actors.  

Gear Used: 
1. 2 Monolights (like my Elinchrom 500s)
2. 2 large reflector board, like the V-flat featured, black side facing the subject
3. A large, round reflector with a stand
4. A 7′ Westcott umbrella with diffuser (and stand)
5. 100cm Rotalux Octobox (with speedring and stand)

With only 2 light sources, we can create an edgy, powerful image for your clients that looks like it came straight out of a high-end magazine. This look is consistent, flattering, and has a serious “wow” factor.   

The Power Light Setup

We want a strong, front-on light with rich but still soft shadows.

– “Sandwich” yourself between the 7’ umbrella (behind you) and the Rotalux (directly in front of you, just above the client’s eye level). 

– Place the reflector, white side up, flat and at your client’s waist.

– Position 2 V-flats on either side of your client. Use the black side to create this powerful, carved-out look. 

– Take test shots and adjust the lights’ power and height of the light sources as needed.

– If you need more fill under the chin, you can slide the umbrella a foot or two off to the right or left behind you.

Here are more examples of this strong and effective headshot lighting:

Lighting Setup 3: Punchy Kick Light

Often, a client is looking for a headshot that is bold, bright, and powerful, or sometimes your subject’s hair or outfit is so close in color to the backdrop that it can seem to disappear. Create separation, and add “punch” by adding 2 kick lights* to the Power Light setup.

Gear Used: 
1. 4 Monolights (like my Elinchrom 500s)
2. 2 large reflector board, like the V-flat featured, white sides facing the subject
3. A large, round reflector with a stand
4. A 7′ Westcott umbrella with diffuser (and stand)
5. 100cm Rotalux Octobox (with speedring and stand)
6. (2) Photoflex Medium LiteDomes with fabric grids, equipped with speed rings and Elinchrom 500 Monolights, on light stands

“Kick lights” are lights from behind that highlight the hair and shoulders of your client. 

The Punchy Kick Light Setup

This is my most in-depth lighting setup. This robust headshot lighting uses 4 lights to create a bright, bold look. We want a strong, front-on light with rich but still soft shadows.

It takes a bit of experimenting to find the perfect light power for each subject, as skin types, clothing, and hair colors vary.

Here are the important factors that create this winning, vibrant look:

– Place your gridded softboxes behind your client on either side, slightly higher than his/her shoulders, and angled slightly downward. Use the white sides of the V-flats and the silver side of the reflector.

Note: The grids direct the light specifically where you aim the boxes and also prevent the kick lights from creating flare or haze in your camera.  See that nice highlight on her hair above? That’s kick light magic!

– Use silver side of reflector.

– Point the gridded kick lights at a 45-degree angle toward the shoulders.

– Adjust the height of the key light (Rotalux Octabox) as needed.

– Position the white side of the V-flats as close as possible to the subject.

– “Sandwich” yourself between the 7’ umbrella (behind you) and the Rotalux (directly in front of you, just above the client’s eye level). 

– Place the reflector, white side up, flat and at your client’s waist.

– Position 2 V-flats on either side of your client.  Use the black side to create this powerful, carved-out look. 

– Take test shots and adjust the lights’ power and height of the light sources as needed.

– If you need more fill under the chin, you can slide the umbrella a foot or two off to the right or left behind you.

Here are more examples of this wonderful, punchy headshot lighting:

Lighting Setup 4: Outdoor Natural Light

Often, your clients want a look that is outdoors with more natural lighting. To achieve a professional-looking image in all-natural light outside, shoot when the sun is low (but still full power), and place your subject with his/her back to the sun. I like to shoot at 8:30 am or 5:30 pm during the summer months.  

Gear Used:
1 large, white reflector board, like a V-flat 

You can either put your subject directly with their back to the full sun, or for a softer look, find a shaded area to stand your subject in, but one that is still close enough to the sun to be able to reflect light back on to your subject with your open V-flat.

Use a wide aperture (1.4 or 2.8) and see how nature can look just like modern art as your background.

The Outdoor Natural Light Setup

Stand your V-flat up, directly facing the sun. Nestle yourself in the “crook” of the V-flat. Have your client stand 3-4 ft. in front of you.

This look is bold, bright, and very well-lit.

PRO TIP: Getting unwanted lens flare? Put on your lens hood or hold a piece of cardboard over the top of the lens to shield it from the direct sun. 

Want something a bit less bright? Find a touch of spotted shade (like from tree branches) to create a softer look. Here, I found a half-shaded area to position my V-flat near. 

Here are several more examples of outdoor natural lighting for headshots using only a V-flat reflector:

Conclusion

Mastering the art of headshot lighting is crucial for any photographer seeking to capture compelling and professional portraits. By utilizing techniques like the ones I have shared with you today about professional headshot lighting, you can elevate your headshots to the next level.

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