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lighting

Chris Gampat Julianne Margiotta's Edits (54 of 56)ISO 4001-60 sec at f - 3.2

We’re going to share with you a little fact about exposure and the way that your camera works. Are you ready?

First off, cameras are programmed to do specifically what you tell them to do. They’re not supposed to think and in fact, they can’t. If you tell it to take a photo of a scene, you have to figure out what parameters you’re telling it to use. Shooting in Auto? It’s going to do pretty much anything. Shooting in aperture priority? It will do a bit less work based on what you’re telling it to do. Shooting in manual gives you complete and full control over the results of the image, but again it’s doing what you tell it to and nothing more.

This is why working with a camera’s metering can be very frustrating when it comes to wanting to get the image that you actually have in your mind. But here’s how you navigate that problem.

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RD0_6235-Edit

All images by Ray Dennis. Used with permission.

Photographer Ray Dennis is a 29 year old creative who hails from Ann Arbor Michigan–and who is currently aspiring to own his own real estate photography business. But his beginnings are rooted in photographing car shows for fun. It became more serious and eventually Ray learned more about lighting and conceptual creativity. He came up with ways to create images that look totally surreal and did them without the use of Photoshop. Instead, Ray strived to get it all in the camera.

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Chris Gampat The Phoblographer TriggerTrap Flash Adapter review black and white (1 of 1)ISO 2003.0 sec at f - 6.4

Let’s say that you’ve got a product, portrait subject, bride and groom, or something else in your photo that you really want to make stand out from the rest of the scene. How would you go about doing this? A shallow depth of field is that many people will say to start, but that’s the most basic of methods. Indeed, there is a specific 3D effect that photographers talk about and there are also lenses with micro-contrast that can help you do this.

Believe it or not though, it all comes down to contrast.

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Screenshot taken from the video

Screenshot taken from the video

Dan over at Adorama Pro has come up with one of the coolest and smartest ways to shoot product photos on seamless white. He effectively shows you that by positioning one light correctly, using a lot of power output and adding a large diffuser you can get an image like the one above.

In the video after the jump, he takes you through the setup. He positions the light back towards the white seamless background to illuminate both that and the large diffuser that he places over the sunglasses. This is important because it means that this single, high powered light source is illuminating the background and the large diffuser to give us the image that we see above. It’s possible to do something similar at home, but you’d need to crank up the ISO setting to at least ISO 400 and you’d need a large diffuser like a shoot through reflector.

We’ve done something similar as much more scaled back, but Dan’s way of doing things is a lot better. Adorama’s video is after the jump.

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OLYMPUS DIGITAL CAMERA

While everyone wants to go out and shoot when the weather is bright and sunny, it won’t always give you the greatest exposures. For starters, bright sunny days give you lots of contrast–which you can like creatively, but it won’t give you the most versatility later on when you go to edit your images. Additionally, getting the right direction for the light can be tough too since you’re at the mercy of the sun.

Instead, the best time to go out shooting is during an overcast day. Want that classic shadowless look to your images? Or maybe a lot more versatility in your landscape image in a single shot?

Your best bet is to go shooting when it’s overcast. If you’re a beginner, then here’s why you should forget about going to shoot in the sunshine.

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yUPy2by

Image by Miguel Jalo. Used with permission.

Photographer Miguel Jalo captured an absolutely incredible image of a mosquito who landed on him and began to feast on his blood. The image was posted to the PhotoCritique Subreddit, where many also found it to be a great catch.

Miguel states that he used a Nikon 40mm lens at F16 and ISO 100 and was afraid to get closer to the subject lest it get scared off. While folks are critiquing the background and cutting off the legs, Miguel still caught the important parts of the image that otherwise make it incredible and while framing it quite well.

“I shot this at f16. Was afraind to go any further because that particular lens starts losing sharpness. Those light(s) are the result of the in camera flash not being able to (light) up the whole frame. It was one of the problems with that lens in particular, because if you wanted 1:1 magnification (true macro) you’d have to get really really close to your subject.” states Miguel.

For what it’s worth, the image is very detailed and shows us a moment that we rarely ever see and are too often too busy swatting the mosquito.