To fi nish off this chapter, I’m going to give you a few more shooting tips, mostly fun ways you can play around with light to get some really neat results. Photography wouldn’t have as much appeal to me if it weren’t for all the exciting ways to use light, along with the different settings on my camera. These are just a few of the hundreds of ways you can experiment with your camera.
THE “SWIRLY FLASH”
It’s no secret that I don’t like to use the built-in fl ash. The light is harsh and fl at, and when you photograph people in a dark setting, such as indoors or at night, it’s too easy to get a background that is dark and underexposed.
So when I’m in a situation in which I have no choice but to use the fl ash on my camera, I like to change some of the settings to give my snapshots a different look. I drag the shutter, setting it much slower than normal, usually between 1/15 and 1/4 of a second, and spin the camera on axis with the subject while the shutter is open. This keeps the person mostly frozen and well-lit while creating an interesting blur of lights in the background (Figure 10.2).
I like to call this technique my “party trick” because when I’m in a room full of people, I’ll use this method to take a quick portrait, and often it’s something that they haven’t seen done before. This technique is not limited to DSLR cameras, and I frequently show people how to set up their point-and-shoot cameras to do it. I fi nd that it adds a unique look to an otherwise boring snapshot. One quick tip: This type of image usually works best when there are a lot of lights behind your subject, such as the lights from a Christmas tree.
CREATING THE “SWIRLY FLASH” EFFECT
- Set your camera to Tv mode and start with a shutter speed somewhere between 1/15 and 1/4 of a second.
- Press the built-in fl ash button on the front of your camera.
- Point the camera and center your subject in the frame. Start with the camera slightly tilted, and then press the Shutter button to take a photo and spin the camera so that the subject stays centered in the image.
- If your fl ash is too bright, press the Flash Exposure Compensation button on the top of the camera and use the Quick Control dial to move the exposure value (EV) to the left. Take another photo and preview your results.
- If the background is too dark or too bright, you’ll want to adjust your ISO setting. The higher the ISO number is, the more ambient light you’ll bring into the background.
- If you have too much or too little blur in the background, adjust the shutter speed (a slower shutter speed for more blur, and a faster shutter speed for less blur).
- Keep adjusting the settings until you fi nd that “sweet spot.” It will be different for each environment, and there’s no single right way to do it. Just have fun with it!
Another fun technique that’s worth trying is light painting (Figure 10.3). For this, you’ll need a dark environment (nighttime is best), your camera on a tripod, and some semi-powerful fl ashlights or other light source. Shine your fl ashlight on your subject to light it, and in effect you’ll “paint” the light that will show up on your image.
But you don’t have to paint the light on something for it to show up—if it’s dark enough you can stand in front of the camera and move the light source to make shapes or spell something out. A fun item to use for this effect is a sparkler (a type of handheld fi rework that emits sparkles)—just set your camera up on a tripod outdoors at night and have someone run around the frame holding a sparkler, and you’ll create shapes and streaks that can look really cool. You could also use small fl ashlights or LED lights. In Figure 10.4 I used a small LED fl ashlight with a green gel over it to add a different color to the writing.
SETTING UP YOUR CAMERA FOR LIGHT PAINTING
- Place your camera on a tripod in a dark environment, preferably nighttime or a darkened room.
- If your environment is extremely dark, set your camera to the Bulb shooting mode with a large aperture. If you have some ambient light in your scene, set your camera to Av mode and use an aperture that is large enough to capture the light from your light painting but small enough to give you a fairly slow shutter speed—several seconds is usually a good place to start.
- Using a cable release or one of the self-timer drive modes, press the Shutter button. If you are using Bulb mode, you’ll need a cable release in order to hold the shutter open for the duration of your light painting.
- With the shutter open, use a fl ashlight, a sparkler, or any other type of powerful light source to create your image. The creative possibilities are endless!
HIGH DYNAMIC RANGE (HDR)
how to use HDR for landscape photography. But HDR doesn’t need to be limited to landscapes. In fact, you can photograph almost anything that is not moving and achieve some great effects. Figure 10.5 is the interior of a library photographed just before noon. The light shining through the windows added contrast to the scene, but by creating an HDR image, I was able to retain a lot of detail in both the highlight and shadow areas of the image.