One of the best places you can go for photographic equipment is your local hardware store. Bungie cords, tarps, and various other items that can be transformed into valuable photography equipment. For today’s post you’ll need to steer your shopping cart to the paint department. All a professional background is is a large piece of cloth with some type design painted/dyed on it, or it may be a solid color. However, many photographers, at least those that go for a more timeless look, will use a simple canvas background. Canvas provides a neutral color background that help the subject pop, but it also provides a texture even when working with a relatively shallow depth of field.

If you go to a fabric store ultra-wide canvas can be quite expensive, running 100.00 for a 9′x7′ seamless piece. For some pros this seamless quality is worth the extra money, but with the advances of digital post-processing a little fabric seam can be removed in seconds. With this in mind, enter the aforementioned paint department and look for the canvas painter’s drop cloth. These run in two larger sizes, the most commons ones being 10′ x 12′ and 8′ x 9′, with the larger being priced between 24.99 and 29.00 depending on your area. The smaller on is usually priced from 17.99 to 19.99. It’s an excellent deal when compared to the 100.00 of the fabric store canvas.

However, quoting countless TV infomercials, “But, wait, there’s more!” A large canvas is just like any other fabric, meaning it can be painted or dyed, just like those other multi-hundred dollar backdrops. If you happen to be handy with some spraypaint, or even regular paints you can create a wholly unique background that only your studio has. You can also custom tailor the background for your subject, and even charge a premium for the service.

Below is an example using a plain canvas backdrop that I bought in a local hardware store for 18.99 plus tax. As you can see with some simple retouches you can get an alternate color to the neutral tone that is inherent to common cotton canvas. You can look at the other images in my gallery and my flickr page for other examples of this look. I tend to use this plain background because it is a timeless look, with no tacky background graphics to date the picture. You can also see the subtle texture that the un-ironed canvas gives to the image which adds elements of depth.

The most basic rule of composition that you will read about is the rule of thirds. This is basically done by dividing the frame into 6 compartments using 2 lines. The rule of thirds states that the images “heavy” points should rest along these lines instead of in the center like most people who are used to simple snapshots. While there are situations when a centered subject is more pleasing, though even in these images it is best to create “lines of tension” along the criss-crossed lines. As you can see from the example’s main subject, the red sumac, falls on the line to the left of center.

Aesthetically speaking, this creates tension between the various parts of the image, it draws the eye in a type of circular pattern. The eye is naturally drawn to the bright red, up the plant, then into the negative space on the right hand side. There is also an out-of-focus item that lays along the right line as well, but it is muted by comparison so it doesn’t detract from the image as a whole. By shooting the image this way, the viewer is sure to see the whole picture, and not just a small portion of it.

You might thinking about portraits since the normal portrait requires one to center the subject, at least marginally. But within the confines of a “head shot” portrait the most important part to be in focus is the eyes. In the typical portrait the eyes will lie on the upper horizontal line, so the rule of thirds is followed.

I know I promised a longer post, but after i started typing I realized that it is less deep of a topic as I previously thought. Its actually pretty straight forward and easy to implement, even for the average user. So keep the rule of thirds in mind when you’re out shooting pictures and you’ll be sure to have a more professional look to your images.

Have a great day!

So, instead of leaving you high and dry this weekend, I thought I would post a fun tutorial on a type of time lapse trick photography. Ever wanted to hold fire in your hands? Well, now you can … sort of. The effect is pretty simple and Ill explain it after the jump!

OK, so first off you’ll need a camera that is capable of long exposures. Generally speaking 10-15 seconds seem to be optimal for my cameras, but depending on a few variables anywhere from 5 seconds to 20 seconds could work too. Most trick photography is simply a matter of trial and error when it comes to settings. It’s digital, so shoot until you have the look you want. OK, lets get started with a look at the effect we’re going to pull off.

As you can see from the image the young lady appears to have a hovering ball of fire above her hand. The great thing about time lapse in dark locations is that you don’t see the person in the frame who is making the fireball … namely, me. Yes, its TRUE, Im in this picture. There was no Photoshopping done, just a slight bump on the Blacks in Lightroom. To understand this, you need to know a little about how a camera works. The sensor in the back of the camera works in the same way as film does, it “soaks” up light and displays an image. Too much light and the image is blown out white. Too little light, and the blacks are “flat,” meaning they contain no real usable data. But something that seems like a logical jump, but few people realize, is that if there is not enough light on your subject, but plenty on the stationary items in the shot, the main subject becomes “invisible” to the sensor. Therefore, in the above picture, the model is being lit with a cheap disposable lighter, but the lighter also creates the fire in her hand. However, because I am moving so quickly (in comparison to the available light) I don’t appear in the frame. Pretty neat huh?

So, to pull this shot off you need some models who are able to stay pretty still for the required time limit. (FYI: blinking is fine, a human blink isnt slow enough to register for a time laspe photograph unless the model does it over and over and over again) Next, you need to conceptualize the picture prior to shooting it, because you need to be able to “see” where the fire is going to be in the final image so you are able to move the lighter accordingly. Remember, the lighter is the only light source in this image, so how you image the fire should be in a location where it can also light the subject.

Next, with the lights on, activate the AF on your camera with a half-press of the shutter. From this point the model shouldn’t move. Now, deactivate AF on the camera (on most lenses this is a switch found on either the camera or the lens itself) and turn off the lights. Let your eyes adjust to the dark a little, we don’t want to be tripping over studio gear or models. Then move to the side of the model. Activate your camera with a remote method, wired or wireless is fine but I prefer the wireless options. Now place the lighter at a proper starting point to achieve the effect you’re trying for. Remember, because of the darkness the camera hasn’t take an image yet. Light the lighter(s) and move in the pattern you are going for. When finished, step out of the frame. For a camera set on ISO 100, f/22, and 15 seconds the optimal time is roughly 5 seconds. The extra time on the camera is just padding to ensure you have time to carry out the shot to completion. Then the camera shutter closes move to the camera and check out the image. Don’t turn on the lights if you plan on doing another.

Technically speaking, the model could move after you step out of the frame, but generally I ask them to remain motionless. Unless you are in a cave, it is very difficult to make a room completely light tight, so not moving just ensures the lights stay lights, and the blacks stay black. Experiment until you get the effect you like.

In post production, you could photoshop out anything you don’t like, or even touch up the “fire” if you like. Generally speaking though, I don’t like the effect this gives and try to abstain. Just increase the Blacks and Contrast in Lightroom/Aperture and crop as needed. Variations on this could be using LEDs to create “energy fields” or even a common household flashlight can render some interesting effects. A laser pointed at the subjects and slowly moved over them can also create some fantastic effects! Trick photography is all about trial, error, and experimentation. It also helps you to learn what your camera can, and cannot, do well.

Now, if you’re itching for something more extreme, keep an eye out for a future post where I show you to pull off a fire ball in your hand WITHOUT trick photography. Yes, doing it for REAL with common things you can pick up in any town, and may even have around the house already.

Feel free to join and post your trick photograhy experiments to the Three Five Photography flickr group at Three Five Photo Blog Flickr Group. Ill be back on Monday with the promised post on the Rule of Thirds. Have a great weekend!

Sorry for blurring out some of the notes, but this particular shoot idea is something that I am currently developing and I don’t want it getting out to others until I have had time to complete. It should be good though.

In another part of the book I keep small To Do lists that are I feel are more like “macro lists” which aren’t schedule oriented, and a waste to take the time to enter into my iPhone. I also keep lists of things I need to buy in the future, or people I need to contact. Another section is dedicated to keeping track of the blog posts I plan to write in the future. As I type them up, they get crossed off the list. It is also good for taking notes when you sit down with a client. You are able to take notes on your subjects, the locations they’re interested in, and even pose details if they happen to have those.

If you happen to shoot film, you can take notes on what the camera settings are with each frame. Then, you’re able to use it as a guide when you develop the negatives. This list can also include where it was shot and the time of day. I have found this tip to be very helpful to the neophyte film shooter, especially those who shoot antique full-manual cameras.

Now, don’t get me wrong, I still use my iPhone like it was the left side of my brain, but the Moleskine covers the ideas that the iPhone just cant handle. It fits easily in most pockets, camera bags, and purses. Plus, there is no crying when you drop the Moleskine on a concrete studio floor.

That’s all for now. Take care and I’ll talk to you soon.

Sensor dust is usually only seen at smaller apertures due to the corner to corner sharpness that comes from the deep depth of field. Because of this, there is a good chance you have sensor dust right now and aren’t aware of it. The best way to test for it is to set your camera on the smallest aperture and shoot a picture of a white piece of paper or a blue sky. If there is dust on the sensor there will be small dark blobs on the image. Now you have to make a choice … is the dust particles small enough or few enough that it isnt going to mess with your images. However, if you take a look at the picture below you can see what a single dust speck is capable of.

Can’t see it? I didn’t circle it for a reason, it will give you a better idea of what dust can do. If you didn’t see it, then you might not need to worry so much about the dust on your sensor unless the specks are usually large or black. However, if you spotted it right off, then you should keep reading for your options in removing this image quality killer.

Most camera manufacturer will void the warranty on your camera if you touch the sensor with anything but air. In fact, air is the only approved self-fix for this issue. Before you run to get the can of air you use to blow out the computer, know that you should NEVER use canned air for cleaning the sensor. NEVER. If you try it, you do it on your own accord. The issue with using canned air products is that it is not a truly dry source, simply turn a can upside for a second, flip it back and pull the trigger. If you look closely a fine mist will come from the nozzle before clean dry air. This quick burst of liquid will leave a residue on the sensor, which basically ruins it for taking images. Time to send it to the Pros cause you messed it up. The second reason, which isn’t as common, is that small particles of “material” can get lodged inside that little narrow tube. When you pull the trigger, and it happens to come loose, you are basically firing a little tiny air cannonball into your sensor. You don’t want that do you? OK, now read on to make sure you don’t go an muck things up.

Your primary weapon in fighting the lil’ dirt devils is a source of filtered dry air. By far the best product for this is the Giottos Rocket Blower. This is the product that most pros use. For less than 20.00 you’ll have an excellent piece of equipment that will last and last. Keep an eye out for a more detailed review of this product at a future date.

OK, first things first. You’ll need to find the “Mirror Lock Up” option on your camera. Every DSLR has this option in one form or another. Some cameras use this as a way to eliminate the vibration of the shutter action, while entry level cameras include this option for the purpose of sensor cleaning. Either way, you should charge your camera battery to 100% before attempting any of the following. The new cameras actually have a protective measure that won’t allow you to use the mirror lock up with a lens unless the battery is charged to 50% or more.

Alright … Giotto Blaster, Check. Battery charged to 100%, Check. Mirror Lock Up activated, Check. Were ready to get started. A tip to the following is to perform the cleaning in the room of your home with the least free floating dust, which is usually the bathroom. This is due to the steam from your shower pulling the steam out of the air.

Now, with the camera opening pointing DOWN activate the shutter. With Mirror Lock Up on, this will cause the shutter to open up and lock in the open position. Take your Giotto Air Blaster and insert to nozzle into the opening, while not touching the sides or the sensor. Squeeze the bulb with a quick sharp action to insure a strong blast. Remove the nozzle and then allow the bulb to refill, by doing this you eliminate sucking the dust you just dislodged from the sensor back into the bulb. Repeat this 4 or 5 times and then turn the power off to your camera to close the shutter. Now repeat the test with the smallest aperture and the piece of paper/sky. You should see a significant reduction in dust spots.

If, by some chance there are still spots go back and repeat the cleaning process. After a few times, if there is still dust in the images, then chances are you have dust that is pollen, which is usually sticky in nature. In this event there are products that allow you to clean your sensor, but personally I don’t recommend them because, as said before, they could void your warranty. So for stubborn dust … send the camera to the manufacturer.

Hopefully this post helps everyone who has dust issues get better pictures. See you next time!

If you still think these types of shots take tons of wallet draining gear, hit the Jump and think again.

As you can see this is a shot of what I threw together to get the shot at left. I have better gear, as well as a more suitable area for this type of photograph, but I wanted to show that it’s easy to get quality shots with minimum gear.

The setup, which was in the floor next to a bed, is 2 basic off-camera strobes triggered with hotshoe optical triggers. Both strobes/flashes are diffused with simple typing paper. The background is black foam core with a piece of plate glass to provide the glossy under-reflection. Shot with a Nikon D80 w/ 50mm f/1,8D lens. Shutter is set to flash sync speed of 1/200th second, and f/stop is set to 8 to control the amount of light reaching the sensor. Remember when using a flash, it is aperture, not shutter speed, that controls the exposure. So what about cost? Below is a quick rundown …

• Vivitar 5250 = ~$15-25 or less
• Vivitar 5600 = ~$10-15 or less
• 2 x Black Matte Foamcore = $7
• 2 x sheets of typing paper = Free
• 1 x 16″x20″ plate glass = Borrowed from a picture frame
• 2 x Wein Optical Triggers = ~25-35 each

So for less than 100 bucks you can be set to do this kind of photography. Sure, you could spend upwards of 1000.00 on this exact same setup by switching the old Vivitar strobes for brand new ones from Nikon or Canon. Upgrading the foamcore to seamless paper or cloth. Shoot through umbrellas, light stands, and all the other little things photogs have. But I can promise you that the outcome will be so close that you might not be able to see the difference. So get out there and try this technique. Its great for smaller things where you want to capture alot of detail. Flowers are excellent, small antiques, eBay auctions, as well as any type of creative still-life shots. But, don’t stop there, you can use the flashes as off camera lighting for portraits or any other shot to get all kinds of professional looking effects.

(Pics Link to the Full Sized Images on Flickr)

Just like with film, the amount of grain/noise is dependent upon the ISO of the camera. In analog (aka film cameras) this was/is determined by the actual film’s ISO, and in digital it is determined by an ISO setting which varies the sensitivity of the sensor. Since most of you are going to be using a digital SLR or point and shoot (P&S) cameras, I am going to focus mainly on the digital realm. Let’s start with the basics of ISO and photography. In a nutshell, the higher the ISO speed the more sensitive to light the sensor becomes. What this does is allows the photographer to shoot at faster shutter speeds in low light, which is excellent for night shots or indoor shots where light is scarce. However, this ability comes at a cost and that cost is more noise/grain in the final image.

Below is an example shot. The image was taken with a Nikon D80 through the kit 18-135mm f/3.5-5.6 lens. The left half is set at ISO 200, the right is roughly the equivalent of ISO 1600. I will admit, in this instance, I have faked it in Photoshop, hope you’re OK with that since it’s easier and still gets my point across. As you can see the left is very clear even though the light is very low inside the church. On the other side, there is a very clear grain to the image. As you can see this detracts from the image quite a bit. The sharper half was about a 1/30th second exposure and I hand held it. Obviously, 1/30th second is pushing the lowest speed one can use to get sharp images with hand-held shots, however had I upped the ISO I could have shot at about 1/160th second, which is very acceptable for handheld shots. The downside of this is the horribly grainy image you see on the right side.

You may be asking yourself what you can do about ISO to ensure you get the best quality images every-time you press the shutter release. Well, since higher ISO is bad, you simply need to make sure you keep the ISO is as low as possible. This means moving your camera from the very Safe “Auto” mode. I know, I know, you’re hands are shaking thinking about it, but trust me when I say that with a little practice you can take much better images when you abandon the Auto. most ever other mode on modern cameras will give you access to ISO control. (ie. Aperture Priority, Shutter Priority, or Manual (Av, Tv, and M on the selection dial))

With the sheer number of cameras that are out there I can’t go through all of them explaining how to use yourself, so I suggest a read through your manual. You know … that little book that you tossed in a drawer without looking in it? For those without a manual, you could probably find a PDF of the manual online at your camera’s manufacturer’s website. But, for you DIYer people, here is a basic run down. On a P&S camera there should be an ISO setting under the Menu option. On the DSLRs there is often a “min. ISO” option, you should set this to the lowest available option (usually 50, 100, or 200). This lower ISO will ensure you get as sharp an image as possible, but this usually means a longer exposure time. This of course goes back to Rule #1 about tripods. If you follow that rule, this one will be cake.

OK then, tinker around with your cameras, get those ISOs down and start getting better shots. See ya next post!

Infrared photography is an excellent option for getting intriguing shots in the middle of the day. Infrared light is defined as a band of frequencies of the Electromagnetic Spectrum that is invisible to the human eyes. Cameras, however, are highly sensitive to IR light. So much in fact that camera manufacturers go to great lengths to create sensor filters that block this light. But, like most devices, there is no real 100% solution, and therefore some IR light is able to pass through the filter. All you need to try this out is an IR filter for your lens. The filter blocks all visible light from passing through to the camera sensor, so yes, it IS supposed to be completely black. Laugh if you like, but I have actually been asked if a IR filter was “defective” because it is opaque.

IR photos generally require longer than normal exposures, amount of time is dependent on the camera and the amount of IR available. At this point it is strictly trial and error to get the right image. Be advised that the picture will come out of the camera very red, this is just the nature of how the camera reads the light. Cameras can read IR light, but obviously LCDs cannot display it, and even if they could you wouldn’t be able to see it. Therefore the camera CPU pushes the image back into the visible spectrum, and since Red is the first frequency in the visible spectrum, the image comes out red. Don’t worry though, this will be fixed in Photoshop.

Traditionally speaking IR Photos are Black and White, which makes post processing very easy if this is the look you’re going for. If you want the “false color” effect, bring up the Channel Mixer in Photoshop and invert the Blue and Red channels. Then with some slight tweaking you can produce an amazing set of outcomes that is bound only by your imagination. Get Creative! Below is one of my personal IR shots. The IR look can make otherwise mundane shots into something spectacular.

Other options include going inside to get images that shows the mid-day light spilling into the interior in interesting way. Another, is to shoot in the shadows, this too can show some interesting play between light and shadow. So what if there is no light at all? While most people put the camera away, or fire up some harsh on camera flashes, were going to try our hand at time lapse photography. Time lapse is a method where light is minimal, and works best after dark or in a dark room. It requires very long exposure times, sometimes in excess of 1 minute.

Your camera will need to have a “Bulb” mode (be aware that many times DSLRs require some sort of remote trigger to activate the bulb mode) which allows you to open the camera’s shutter for as long as you require. Long exposures allow you to pick up very faint light, or to capture light in novel ways. One such way is “light drawing,” below is an example of a light scribble made with a Nikon D40 and a LED mounted on a finger.

So, there you have it, a great tip and two new ideas on how to push the boundaries of your photography outside the basics. Stay tuned for more information and new tips!

I had planned for this to be a photo free weekend, so I left the tripod at home. It might seem strange, but I find I don’t take photography as seriously if I don’t have my tripod along. My framing and “capturing the light” skills still hold, but without a tripod I feel like my photography takes on a much more “playful” tone, and play is always good for the soul. But, my photo-free weekend didn’t happen since I did have my camera with me. Just a few of the best things though. So this leads into my rules of Photography that Illl be expounding on each day for the next several days. So stay tuned for them all.

Rule 1# If you have your camera with you, you have your tripod … period. This might seem like a no-brainer but the tripod is key to sharp pictures. I know, “but but my pictures seem pretty sharp and I dont use a tripod.” You CAN get sharp pics w/o a tripod, but never as sharp as they COULD be with a tripod. I have even gotten acceptable shots at 1/8sec hand held, but the trick is to brace yourself, hold your breath, and then shoot several shots. Hopefully one of them will come out sharp. However, the real trick is to not find yourself having to do this. USE a tripod or a monopod if space doesn’t allow its three legged brethern.

I won’t wax long on the types of tripod you should get, I will say buy the best one you can afford that you will use regularly. Buying a 1000.00 tripod is a waste if you aren’t going to use it as much as humanly possible. For those who ARE looking for tips, I suggest the following.

Manfrotto tripod with a ball head. You can get these in a kit for about 200.00US. Trust me, for someone who shoots alot on uneven ground, a ball head will save your sanity. If you don’t shoot on uneven ground, a pan/tilt head is acceptable but overall I still prefer the ball head for its ease of use and application in the field. While the Manfrotto tripod/heads are the best cost to quality ratio in my opinion, there are other choices such as Gitzo and Slik. Both also make excellent tripods, in fact the Gitzo mountaineer carbon fiber models are considered, by many, to be the creme-de-la-creme of tripods. But again, the best tripod for you is one you’ll actually use, but again, try not to be too frugal in getting one, it’ll pay off in the long run.

For those REALLY new people, I suggest buying gear from B&H Photo or Adorama. All of my gear has been purchased from these two locations, and they come highly recommended by me.

Thanks for reading and I’ll see you tomorrow.

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