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tongyuyang-blog · 4 years

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Capture Reflection Photography

Reflections show up often in the most impressive landscape photos. The iconic ones are beautiful snow-capped mountains with a lake in front acting as a mirror. But reflections are not only great for landscapes. Even in street photography or architecture, you can create stunning images with pools of water after a downpour. It’s not difficult to find inspiration for reflection photography. Look for a river or a lake if you’re doing landscape photography. Wait for the rain to pass and search out puddles if you’re in the city. But finding a body of water is not enough. And that’s where this article comes in. If you want to improve your photography skills with some amazing reflections, keep reading.

1. Get Creative With Reflection Photography

Photography of reflections is great for getting creative with your images. You can even use this type of photography to create your own photography style. Reflections confuse and amaze the observer. Whether it’s a puddle showing an inverted building, or an amazing landscape that boggles the mind. Take advantage of this photography trick to stir curiosity in your viewers. Use horizontal or vertical reflections. And don’t forget about sideways ones! Especially if you are shooting in an urban environment. You can use any reflection to make it harder for viewers to understand where up and down are in your image. Get them to wonder which side is the reflection, and which one isn’t! This will keep their eyes glued to your photos for longer. Try distorting reality by showing an upside down world, Inception-style. Or you can hide your self-portrait in the reflection, or a silhouette. This will make the viewer feel like they’re inside the photograph too. You don’t have to stick to natural reflections in photography either. Look at buildings, artificial pools, or even sparkling objects. They all provide great opportunities for creative reflections in photography.

2. Camera Settings for Reflection Photography

Shooting settings also play a key role in achieving good reflection photography.

Aperture

First of all make sure you set your aperture to a sufficiently small value. This can be useful in any situation where you are looking for a reflection. If you take a landscape photograph, you will probably already have a tripod. Use it to close the aperture. And don’t forget to check that the subject is in focus even in the reflected part. I start with an aperture of f/9.0 or f/10 to try to maximise the depth of field and consequently have the whole scene in focus. If it is not enough, go to f/16.

Shutter Speed

This is most important for those of you photography landscape reflections. Mount your camera on a tripod and try to lengthen the shutter speed. This will help you make the surface of the water smoother. Since the water is your reflective surface, the reflection will appear clearer and more pleasant. Extending the shutter speed also means having to keep the other parts of the composition under control. For example, clouds might start to form stripes, or you will see the sun moving inside your photograph.

3. Why You Should Not Use a CPL for Reflection Photography

The simplest way to obtain a reflection is to use a composite surface of water as a mirror. A pool of water left by the rain, a river, the water of the sea that remains on the rocks when the tide is withdrawn, a lake, etc. And under these conditions it is easy to find yourself using the polarising filter. But in this case, even in landscape photography, the CPL filter is more harmful than useful. If you read this article on the characteristics of the CPL you will understand in a moment why. Here’s the short version. The CPL filter “kills” any possibility of reflections on water and on non-metallic surfaces. Even if you are not creating a photo with reflections on the surface of the water but instead use the mirrored surface of a skyscraper, the CPL will close this possibility. So you have two possibilities: either completely avoid the CPL or use it to the maximum of its constructive characteristics. You can focus your attention and the polarising effect somewhere other than your reflective surface.

4. Forget Composition Rules for More Interesting Reflections

Photographing reflections is quite easy from a technical point of view. Once you’ve got the right weather and settings down, what will really make your image is your composition. It might be easier to photograph reflections in the city at first. You can find a puddle reflecting a beautiful 200 year old building, and that’s your shot. Fill the frame with the puddle and the building reflected in it. And you’ve got yourself an interesting image. Don’t let ‘proper’ composition rules constrain your photography choices. This is especially true of reflection photography. Some of photography’s most common rules are the rule of thirds, and not placing either your subject or the horizon in the centre of the image. When it comes to reflections, however, you’ll want to do exactly what these rules tell you not to. This is due to the precise and almost ‘geometric’ nature of natural reflections. Think of a reflection in the calm surface of a lake. It sometimes make sense to balance the composition along a central line. In fact, I often find myself placing the reflection line right in the middle of the frame to achieve symmetry. I make sure I have the same amount of sky or ‘air’ both above and below. Simple but always effective.

5. Why Angles Can Make or Break Your Reflection Photos

Capturing a good reflection in a photograph is very often a matter of getting the right angle. Reflections are generated thanks to a source of light. But this source of light can’t show up in your image. Take this image for example. A landscape photograph of a small alpine lake reflecting the dark tree silhouettes surrounding it.

When composing such a scene, you must be careful to keep the sun out of your image. If it is in your composition, it will be reflected in the lake and ruin your shot. The sun would considerably reduce the reflection of the main element and the contrast of the scene. It’ll make your reflection almost completely unreadable. It’s all a matter of finding that right angle. There’s no one composition fits all though. You have to take your scene into account, adjust your position or your camera’s, and ensure you keep the sun out of your image. That’ll be the best angle to bounce the rays of light off your chosen mirror surface.

The best time for reflections is usually in the early hours of the day or in the evening. The mist and the coloured clouds of the sunset are a great subject. Or with an overcast sky, the reflection can help to make an otherwise boring sky interesting. You can also look for shade. If your mirror is in a shaded area, this will help you emphasise the reflection. Weather also plays an important role in photographing reflections. On one hand, reflections can improve a composition when you have a grey sky or one completely clear of clouds. But some situations can complicate your life, and ruin your images. For example, too much wind will ruin your reflections. So will a downpour. When doing reflection photography, aim for calm weather, and a completely still body of water. You can’t get reflections on streams and mountain rivers. The water is too impetuous.

This article is retrieved from https://expertphotography.com/reflections-in-photography/

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sailorrrvenus · 5 years

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What a Longer Focal Length Can Offer Your Street Photography

I started photography on perhaps the most popular focal length, 35mm, in the form of my RX1R, which I shot through my time at university. From there I moved to 50mm, which was a revolution to me in the way I saw and thought about my images. I now shoot the majority of my favorite images on a 90mm, which although not entirely unconventional is still far from the “standard.”

I thought it might be useful to share some of my thoughts and images on using a medium telephoto for street photography specifically, and perhaps help some of you to try a lens you may not necessarily associate with the genre you are trying to shoot.

Distance

The tighter nature of a 90mm lens by definition will affect the distance with which you are dealing with your subjects. It means you are often further from the action, allowing you to take in not only the scene but also vantage points and angles which you may have missed if you were in the thick of it with a wider lens.

It also means achievable candid portraits at close (but not too close) distances, as well as being able to play with that extra space between you and your subject that the distance gives you.

Less Aggressive

Being further from your subject in street photography means that you are less likely to be confronted when taking a specific person’s photograph. It is also easier to play off the idea that you were photographing something else if you do end up in a confrontation. You’re able to shoot people from directly in front of them from a few steps away, whereas with a wider length you would have to stand conversation-distance from them.

Personally, I prefer shooting dead on, as it has a more intimate feeling compared to images you can tell were taken just as someone walked past someone, awkwardly positioned to the side of the frame.

Low Distortion

Longer focal lengths are of course known for their main characteristic, which is that they produce a very distortion-free frame. This lies in contrast to the more “classic” 28mm/35mm focal lengths which are some of the most popular for street photography because of their wide field of view — however, the distortion can often bend reality in ways that don’t really add anything to the image and can be unflattering to subjects.

I feel like lens design especially in recent years has done a lot to combat the effects of distortion, and I’ve used some excellent 35mm lenses which could easily pass as 50s if not for the FOV.

That said, I prefer the rendering of the mid-telephoto, and the way it defines my subjects in a cleaner, more precise way.

Straighter Lines

When shooting subjects that lie on a dead plane across from me it is really great to have all constituent elements dead on with the edges of the frame Bendy lines can occur when a wide angle is even slightly off of the plane you are shooting on, leading to odd perspectives especially in an urban city environment where I mostly shoot.

Greater Depth of Field

There are some street photographers who I’m sure would argue that bokeh has no place in street photography, and that separation should be achieved through framing and figure to ground rather than defocusing the background. I mostly agree with this and feel that the majority of my street photographs are not “bokeh shots” however I still find that on purely aesthetic terms I do like when I’m able to incorporate it into an image.

Longer focal lengths naturally have shallower depth of field, and even when stopped down to f/11 I’m able to get fantastic separation between my subjects and backgrounds.

With shorter lengths, you would need a very wide aperture, or need to be very close in order to achieve the same effect.

Composing with the Foreground

I’ve been really enjoying finding elements in the foreground to help contextualize either the story or composition of my images. Usually with a 50mm, I would be close enough that my view of my scene would be unrestricted.

With a 90mm that extra distance means I can include things in the foreground that really help to guide the viewer’s eye. I also think it really helps to lend a voyeuristic feel to an image, as if you were a character looking over someone’s shoulder rather than simply seeing whatever the photographer wanted.

Easier Isolation

I shoot the majority of my images in portrait orientation because it is easier for me to “reduce down” a scene into a “slice” of an image in vertical form rather than horizontal. A longer lens does something similar, by giving me a smaller area to work with, and really finesse exactly what I don’t want to include.

For busier environments, this is invaluable, especially on film where I cannot crop in as much as I would be comfortable with my digital cameras.

Personal Preference

I find that so many people make the decision to shoot on a 35mm or even a 50mm simply because that’s what was recommended to them at the time of buying their camera. Gear recommendations can often become an echo chamber and people become disheartened when their state of the art camera and lens combination is not delivering the results they actually wanted.

Focal length can seem different for people who simply see differently, and sometimes a wider-angle lens just isn’t for you. That doesn’t mean you can’t shoot a specific genre, it just means you need to learn how to make a length you are comfortable with work for you.

All of these points should be balanced against some of the shortcomings, or negatives I have found with shooting longer lengths. Usually even a mid-telephoto lens will have greater weight and size compared with a standard “nifty” fifty. They will also usually have smaller maximum apertures, and with the wider f/2.8 and brighter you are looking at even heavier and expensive options.

When using a longer lens it can be harder to engage with your subject if that is your preferred method of shooting, and the distance from your subject can mean that you overlook details in things like their posture or expression that you would have caught had you been closer. 50mm and 35mm for portraits definitely allow for a more intimate shooting experience.

Although I love my 90mm, I maintain that 50mm (for me) is the most versatile lens for everyday use, and is the focal length I have shot the majority of my assignments in photojournalism as well as personal documentary. In street, however, my 90mm has been producing my best results for a while. It took me some time to become literate with the focal length but now I’m confident with it I will be using it in situations I wouldn’t have previously considered – even for close quarters photojournalism, where I would ordinarily use a 50mm.

I don’t think many people aside from other photographers will care much about what focal length you shoot, let alone what camera – the results themselves will always be what stays with them. I encourage you to try a longer focal length, especially if you feel uninspired by images in the 28-50 ranges, but you may equally find that a 15mm is what gives you the most keepers. It takes a lot of trial and error before discovering a method that works to produce the images you enjoy, and I don’t think there is an easy way other than simply committing to applying that trial and error to as many options as possible.

About the author: Simon King is a London based photographer and photojournalist, currently working on a number of long-term documentary and street photography projects. The opinions expressed in this article are solely those of the author. You can follow his work on Instagram and you can read more of his thoughts on photography day-to-day over on his personal blog. Simon also teaches a short course in Street Photography at UAL, which can be read about here.

source https://petapixel.com/2019/03/08/what-a-longer-focal-length-can-offer-your-street-photography/

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pauldeckerus · 5 years

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What a Longer Focal Length Can Offer Your Street Photography

Distance

It also means achievable candid portraits at close (but not too close) distances, as well as being able to play with that extra space between you and your subject that the distance gives you.

Less Aggressive

Personally, I prefer shooting dead on, as it has a more intimate feeling compared to images you can tell were taken just as someone walked past someone, awkwardly positioned to the side of the frame.

Low Distortion

I feel like lens design especially in recent years has done a lot to combat the effects of distortion, and I’ve used some excellent 35mm lenses which could easily pass as 50s if not for the FOV.

That said, I prefer the rendering of the mid-telephoto, and the way it defines my subjects in a cleaner, more precise way.

Straighter Lines

Greater Depth of Field

Longer focal lengths naturally have shallower depth of field, and even when stopped down to f/11 I’m able to get fantastic separation between my subjects and backgrounds.

With shorter lengths, you would need a very wide aperture, or need to be very close in order to achieve the same effect.

Composing with the Foreground

Easier Isolation

For busier environments, this is invaluable, especially on film where I cannot crop in as much as I would be comfortable with my digital cameras.

Personal Preference

from Photography News https://petapixel.com/2019/03/08/what-a-longer-focal-length-can-offer-your-street-photography/

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studio77photouk · 7 years

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10 Tips for Better Interior Photography

Whether it’s of viewing what others do using their houses, or since we’ve due to a love got a buddy in property, lots of us are embracing real photography. Obviously anybody may run-around and take at a home in a couple of minutes. It might be useful, but greater pictures order a much better cost to get a home, possibly for leasing or sale. What exactly are you able to do to create your photography that is internal stick out in the others?

Well, quite a bit really. A number of it simply comes down of what an inside photo demands to some fundamental knowledge. Right surfaces, excellent perspectives, as well as lighting create a distinction that is huge towards the chance. We’re not referring to top end, multiple-lighting configurations with tilt-shift contacts below, simply getting pictures that are better.

Number 1 – Make Use of A tripod

You take portable and can go around, however for several homes, you might need exposures. High-iso may simply expose an excessive amount of sound, therefore a tripod is the greatest choice. You will slow along, however it likewise enables you to focus on the chance more. You should use the full time before you strike the shutter option to check on round the body for wayward wires, or litter, and produce the structure. Some of the guidelines that are other take advantage of utilizing a tripod aswell.

Number 2 – Utilize Live-View

I take having an X -T10, therefore everything is live-view, possibly by digital viewfinder or by display. Many cameras have a Live-View choice (in case your camera includes a movie style you probably have Live-View), meaning you can observe the chance before you go. It’s better still when the camera includes a tip display.

# 3 – Proceed broad

Capturing broad could make although you have to be cautious that you simply don’t over-do it the area look excellent. As you attempt to obtain the additional three edges in only sitting into one part appears incorrect. Don’t take action. Something within the 16-24mm variety on full-frame (or even the harvest equivalent which means 10-16mm approx.) is very good. In addition you don’t have to display everything. Your eyes and mind may complete the cushions portion of a mattress function good in a photograph, therefore half of a cupboard and also spaces. I take advantage of the Samyang 12mm contact (check charges for that contact on Amazon or W&H Image) for my broad inside function.

# 4 – Shot a couple of stage views

You will find regular sights you are able to take. A-1-stage viewpoint is capturing therefore the indicator airplane is similar to some wall. It aids and exhibits the wall in to the back-wall set a picture. A-2-stage viewpoint is where you’re firing right into a part. Three surfaces try to display, although the part doesn’t have to be focused within the body.

# 5 – Take from middle-space peak

We can’t all manage a-change contact to maintain viewpoint under control, therefore it’s really a great concept to take using the camera at or somewhat above middle-space peak. This implies the camera targeted out right to maintain the surfaces straight can be kept by you. As the viewpoint distortion you receive could be fixed in post production, it’s easier to obtain it right in-camera. This really is another cause to utilize a tripod aswell.

# 6 – Make Use of A bubble degree

Many cameras have an electric degree, although not. Actually then, some work with don’t, and the skyline point display tip. A problem of threshold also. I look for a small bubble level to function excellent, and also you observe precisely once the camera is degree, up and equally sideways and along. The latter is important to maintain the surfaces looking directly.

# 7 – Group, bracket, bracket

While filming rooms, there’s frequently an enormous selection of lighting in an area. In the lighting outside towards the room’s darkest edges. Frequently one single shot can be captured in by it’s significantly more than your camera. Bracketing is the buddy here. This implies you’re going for a regular publicity, a go one 2 stops, and 2 stops underexposed. Lightroom’s Combine to HDR purpose may be used to mix the pictures for more editing flexibility. You may also choose to utilize more pictures (4 prevents under and overexposed if you like much more permission) for instance, when you wish to exhibit the watch outside a screen.

#8 – Use fill-flash

Another method to provide the dynamic-range along is by using display that is bounced to complete the shadows. By striving your display behind you in the roof and surfaces, you may reduce the shadows. It’s feasible to get this done on camera, however it is effective offcamera also. the display can be even simply held by you inside your palm directed in the roof.

You’ll require a stereo trigger for that display, or perhaps a program with integral sparks such as the Cactus RF-sixty (cost on Amazon and W&H Image) and V6ii trigger. See the near area of the mattress in these pictures and also the distinction within the towels? That’s what load flash does. It’s delicate, but pulls the lighting within the space.

# 9 – Proceed straight for publications

With much function that was internal seen on there’s been a change towards outside pictures within the internal photography globe, the web. But printing publications continue to be available, and you’ll have to take verticals for simple journal websites if you would like your projects printed. Verticals often imply allowing spaces are filled in by the attention, therefore take advantage of structure to exhibit suggestions of the area.

#10 – Article-running miracle

Get in camera but do modify your Uncooked documents to create their finest out. While article-running in a course like Lightroom, you need to provide along the Shows and open the Shadows. Next provide the Greens right down to make sure that the distinction misplaced from opening the Shadows effect up the picture a lot of. A Quality that is little may also assist. Look for a Contact Account in Contact Modifications to fix for disturbances. Utilize Lightroom’s Erect device to repair viewpoint problems within the picture that may occur.

Summary

Ideally you’ve discovered for starting out performing internal photography, these guidelines ideal. When you have any others achieve this within the remarks below.

The article 10 strategies for Greater Internal Images by Sean McCormack seemed first on Photography Institution.

The post 10 Tips for Better Interior Photography appeared first on Studio 77 Photography Gwent Wedding Photographers.

from Studio 77 Photography Gwent Wedding Photographers http://www.studio77photography.co.uk/10-tips-for-better-interior-photography/

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