ACTIVE D-LIGHTING

Dear reader, if this entry or my other blog entries don't answer your specific photography questions, you can call me on the phone anytime for advice by clicking here.

Newer Nikon D-SLR cameras have a function called Active D-Lighting. When I bought my D300 years ago, the manual said this about D-Lighting: "Active D-Lighting preserves details in highlights and shadows, creating photos with natural contrast. Use for high contrast scenes, for example when photographing brightly lit outdoor scenery through a door or window or taking pictures of shaded subjects on a sunny day."

I find the function works very well for interior architecture and design. The following shot was taken in a beautiful home in Mexico, during one of our San Miguel de Allende photo workshops. The scene was such that when I exposed for the house interior, the door light was blown-out. When I exposed for the door light, the house interior was far too dark. Normally this would be solved with strobes or multiple exposures, however this was not necessary due to the Active D-Lighting option.

Fortunately professional level Nikon features are now starting to find their way into sub-$1,000 camera bodies. The Nikon D5000 for example has Active D-Lighting, 720p HD Video, and the much appreciated ability to take time lapse footage, all for a price below $1,000. Now is the time to experiment with new photographic subject matter, especially as our tools are getting cheaper and more sophisticated each year.

Mark's photographic prints for your wall can be purchased at www.markhemmings.com
Mark can be hired as a photographer or filmmaker via www.hemmingshouse.com

EXTERIOR ARCHITECTURE

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Most photographers know that one of the best times to get exteriors is after sunset when the sky has the same luminosity as the interior artificial light. In the winter months this is easy, because the sun sets early in the Northern hemisphere. I would also like to recommend photographing in the same manner with pre-dawn light. This method is harder because it means getting up very early, but the results can be excellent.

Morning pre-dawn light looks quite different than evening views. If the exterior job that you are doing is worth the time, why not do the same scene late evening, and early the next morning? Both scenes will have great light, but the two photos will have significantly different hues and tones.

I took this photo a few weeks ago for friends at the architectural firm Murdock & Boyd, of the E. & P. Senechal Centre in New Brunswick.

Mark's photographic prints for your wall can be purchased at www.markhemmings.com
Mark can be hired as a photographer or filmmaker via www.hemmingshouse.com

BACKGROUNDS

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An enjoyable client of mine is Happinez Wine Bar. Each month I am asked to do the Wine of the Month photography, which always stretches my creativity. This month's wine was a deep, dark bottle, and was perfect for a high contrast and graphic treatment.

This post is simply an encouragement to try various backgrounds that at first seem ridiculous. This bottle was photographed at our studio, on top of our ping pong table! For those who know ping pong, you will recognize the white line.

When trying various backgrounds for your subject matter, keep in mind that contrast adjustments will usually aid your photograph. In this instance, I set the camera to maximum contrast, for deep blacks and crisp whites.

Mark's photographic prints for your wall can be purchased at www.markhemmings.com
Mark can be hired as a photographer or filmmaker via www.hemmingshouse.com

ABSTRACT PATTERNS

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It is always wise to build up a collection of stock pattern/texture photos. This image is of a window drape with nice warm, late evening backlighting. As it is out of focus, it can be used within many different graphic design or montage experiments.

Look around your house, and when light is shining on a textured or patterned surface, photograph it slightly out of focus, and keep it for later use. The more stock images of this sort that you have, the more tools you will have at your disposal for interesting design or montage projects.

Mark's photographic prints for your wall can be purchased at www.markhemmings.com
Mark can be hired as a photographer or filmmaker via www.hemmingshouse.com

MAGAZINE WORK

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Even though you may not be doing magazine work now, in the future you may need to know how to create space in your photo for text. If possible, it is wise to create a few variations of the same photograph to allow for magazine titles and other text. If creating various copies is not realistic, create your composition to allow for space around the subject for graphic design work. My photo below was composed in such a way as to allow for a text addition at the bottom of the image.

Composing is easy when you have a client who gives you exact specifications. When in doubt, however, choose a wider composition. In the television industry this is called the "TV Safe Area", whereby you compose wider than necessary to account for different viewing platforms.

Mark's photographic prints for your wall can be purchased at www.markhemmings.com
Mark can be hired as a photographer or filmmaker via www.hemmingshouse.com

RGB COLOR

Dear reader, if this entry or my other blog entries don't answer your specific photography questions, you can call me on the phone anytime for advice by clicking here.

Before any color space experts get angry at my gross simplification, please be aware that this blog is primarily aimed at those learning photography. So . . . in easy to understand terms, your digital camera has an option of different color spaces. sRGB is the most common, and Adobe RGB is the usual choice for professional photos that will be printed.

Your camera is probably set to sRGB by default, however you may be able to change it to Adobe RGB or other color spaces. If you are not a working professional, you can probably stick with sRGB.

This blog post is an encouragement to utilize sRGB for all photos that will end up on the web. If your photo does not have a color space saved, or is in another color space, it would be wise to change the photo to sRGB prior to uploading it to the web. Open your photo in Photoshop or another image editor, and then save the photo with "save as". There should be an option to choose a color space for the photo prior to saving the image to the hard drive.

The above photo from yesterday was taken in Adobe RGB for professional printing, however for this blog I changed it to sRGB, resized it, and it is now properly displayed for the web.

Mark's photographic prints for your wall can be purchased at www.markhemmings.com
Mark can be hired as a photographer or filmmaker via www.hemmingshouse.com

FIRE AND STROBES

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It is often difficult to capture fire with strobes or flashes. To get good images of fire it is best to use natural light, and let the shutter stay open as necessary. There are circumstances however when you may need to use strobes to light people or places, but need natural light to capture the flow of fire.

A local bartender named Shawn Horgan from the Alehouse in Saint John, New Brunswick asked me to do a shoot of the above drink, lit on fire. We lit the scene and subject with strobes, but found that the fire was very weak in appearance. An easy fix was to create two exposures; one for the subject (strobes), and one for the fire (natural light). As soon as we took the first photo with the studio lights we immediately took a second photo in Aperture Priority mode with no flashes. The result of the second photo was a nice flowing stream of fire. Since the pictures were taken so quickly one after the other, the subject didn't move at all.

In Photoshop, I simply cut out the fire and pasted it over the first photo. The results look realistic, and everyone involved was happy with the final product.

Mark's photographic prints for your wall can be purchased at www.markhemmings.com
Mark can be hired as a photographer or filmmaker via www.hemmingshouse.com

DRAMATIC LIGHTING

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The greatest light in my opinion is dark ominous clouds with a late evening, horizontal blast of warm sun light. The directional sunlight is due to a break in the clouds at the horizon, and this light illuminates the landscape while the sky stays dark. This contrast makes for very dramatic photos!

When you encounter such a scene, make sure your camera is on its highest contrast setting, and try underexposing a little bit. This photo is untouched, straight from the camera. It was shot at a historic village in New Brunswick called King's Landing.


Mark's photographic prints for your wall can be purchased at www.markhemmings.com
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DIRECTIONAL LIGHTING

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One way to create strong dramatic portraits is to use one single overhead light. This will create deep shadows under the eyebrows, and will accentuate strongly defined bone structures. In normal portraiture this style is usually not welcomed, but for fashion and fine art shoots, it will work nicely.

These are mannequins that I photographed a few years ago in New York city.


Mark's photographic prints for your wall can be purchased at www.markhemmings.com
Mark can be hired as a photographer or filmmaker via www.hemmingshouse.com

DSLR's FOR THE CAR

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I looked up in the sky the other day and found another sun dog!

Many great photographs happen when you are out living your normal life. Most often however we don't have our camera with us at that opportune time. Freeman Patterson mentioned in one of his books that he keeps a spare camera in his trunk for such occasions, and it is a good idea. If you are a Canon shooter you could invest in a used Rebel DSLR, or if you are a Nikon shooter any used DSLR models will work for a backup camera. While it is a bit risky to keep camera equipment in your car, you can reduce the impact of an incident by purchase a used consumer model and kit lens.

Mark's photographic prints for your wall can be purchased at www.markhemmings.com
Mark can be hired as a photographer or filmmaker via www.hemmingshouse.com

SMALL INTERIORS

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Have you ever needed to photograph a bathroom? It is very tricky due to the size of the space, and lighting issues. Often you will need to rely on the ceiling light, which creates unpleasant shadows. A way to make small spaces more attractive is to take a bedsheet and pin it up (if possible) at the four corners of the ceiling. The bedsheet will sag a bit in the middle, which is fine. The single ceiling light now acts as a giant softbox, filling in harsh shadow spaces.

Here are the problems with this approach: You may not be at liberty to pin a sheet up on the ceiling. Hopefully you can find some other solution for the bed sheet; as long as it fills most of the ceiling, and of course covers the ceiling light, it should be fine. Problem number two is the diminished light strength, due to heavy diffusion (the bed sheet). The solution is to have a longer exposure.

Mark's photographic prints for your wall can be purchased at www.markhemmings.com
Mark can be hired as a photographer or filmmaker via www.hemmingshouse.com

PHOTO ASSISTANTS

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This week's blog post is not so much a photo lesson, but an admonition to avoid deleting photos in-camera. During each photo shoot I get my assistant Jon or Jen to stand in for the subject so I can adjust the lighting. In the past I would always delete these test shots, even if I did not need to delete them due to a large memory card. A few weeks ago I decided to collect all the pics of my photo assistants posing for the camera. The results are fantastic, and I plan to put them on my website when I get a few more images.

If you can avoid deleting photos in-camera, who knows what kind of jems you will come up with. I realize that it takes extra time during post-processing, but I have found that many of my favorite shots through the years have actually been the test shots, that I normally would have deleted.

Mark's photographic prints for your wall can be purchased at www.markhemmings.com
Mark can be hired as a photographer or filmmaker via www.hemmingshouse.com

STROBES OUTDOORS

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I shot this iPhone pic of my assistant Jon as we were setting up for an exterior portrait shoot. I didn't realize until later how funny the picture turned out, as it appears that Jon unwittingly became a conductor of electricity.

When using strobes outside in full sunlight you can run into problems. The prominent issue is the fast shutter speed and high "f" number required to make a decent exposure. It is best to use manual exposure mode for shoots like this, with your shutter speed set to 1/200. This number is a safe average of most camera shutter sync speeds. If you have a faster shutter speed than what your camera is made to handle, the strobe or flash will have no effect.

Next, your aperture, or "f" number will probably be quite high because of the locked shutter speed of 1/200 and the bright daylight. You may find that the proper exposure is f8, or f14. This can be a problem because when the aperture number increases, less light is available from the flash/strobe to the subject. It is not that the flash or strobe becomes weaker, rather it takes a more powerful flash to counteract the smaller lens opening.

If you find that you need more flash power even though it is broad daylight, but you are at max power on your flash or strobe, then try these techniques:

Use a polarizing filter on your lens. This will drop your aperture f-number down approximately two stops (depending on the type of polarizer). When you use a lower f-number there will be more effective light power traveling from the source to the subject.

Another option is to simply place the lights closer to the subject. This instruction may seem laughable due to its obvious nature, but many new photographers do not realize that effective light power increases when the distance between light source and subject decreases.

Mark's photographic prints for your wall can be purchased at www.markhemmings.com
Mark can be hired as a photographer or filmmaker via www.hemmingshouse.com

EMOTION AND GEOMETRY

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I rarely have success with silhouettes, but I do enjoy this (almost silhouette) photograph of a young boy in the Magdalen Islands. There is enough exposure to see the boy without blowing out the background, and the low sun supplies the image's warmth.

In most of my images I try to combine two major elements; emotion and geometry. My favorite images emote a sense of mystery or contemplation, set in a composition of rectangles, circles, and/or triangles.

When learning how to craft good photographs, ask yourself what emotion is presented to the viewer, and what compositional design elements are supporting the subject matter. In this case, the boy presents the viewer with a contemplative scene, set within a triangular composition.

Mark's photographic prints for your wall can be purchased at www.markhemmings.com
Mark can be hired as a photographer or filmmaker via www.hemmingshouse.com

MID-CENTURY MODERNISM

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I was staying at a hotel in Caracas, Venezuela a few months ago, and when I looked out across the street I was taken by a tile design on the side of an apartment block. I immediately thought "late fifties" era Modern, and as I got closer I read the inscription, "E. Tamiazzo, Hecho En Caracas, Oct. 1955".

No doubt most of the city dwellers walk by that piece everyday without noticing it. It often takes fresh eyes from outsiders to appreciate the qualities of particular cities. I did a search for Tamiazzo, but nothing came up under English Google results. Maybe a Spanish speaking person can help me out with a bit of information. The remarkable thing about this mural is that the individual tiles were only a few inches square. It must have taken a long time to create the wall art.

When photographing artwork on buildings, a good way to present the artwork is to make the structure darker than the mural. The structure is necessary, to show the viewer the context of the artwork, but it should remain secondary in importance. Place your camera on high contrast, and if needed, increase the contrast afterward in an image editing program. Most of the time you are looking for a gritty, high contrast scene, especially if you are shooting in a city environment. If you are a RAW shooter, you can also try the "clarity" tool in Photoshop Raw converter. This tool will keep light levels relatively stable, but will increase the graphic appearance of the image. As in my above sample photo, try to arrange the composition in such a way that the building also acts as a design element with vertical or horizontal lines.

Mark's photographic prints for your wall can be purchased at www.markhemmings.com
Mark can be hired as a photographer or filmmaker via www.hemmingshouse.com

JAPAN & NIKON D90

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With regards to talking about D-SLR filmmaking, I am a bit outdated dealing with the D90, especially with the recent introduction of the Nikon D300s. However, it takes awhile to put short films together, and this one that I did in Japan was shot entirely on the D90. The future looks bright for creating films on these new and relatively inexpensive cameras, considering each new model will benefit from the shortcomings of the last model. Hope you enjoy the film, and to see it larger on Vimeo, click on the "JAPAN" link below the film.

JAPAN from Hemmings House Pictures on Vimeo.

Mark's photographic prints for your wall can be purchased at www.markhemmings.com
Mark can be hired as a photographer or filmmaker via www.hemmingshouse.com

STAR PHOTOGRAPHY

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Most of you know how to take great star trail photos, where you set the camera on a tripod at night and keep the shutter open for a few hours. The result is beautiful streaks of colored light streaming through the night sky.

I had a need recently to photograph non-moving stars. This is tricky for most photographers, due to the lack of professional camera equipment. The ideal situation would be a 50mm f1.4 lens with a professional camera body that works really well in low light situations. For the amateur photographer with normal equipment, here are some guidelines. Keep in mind that the results may have a lot of "noise", due to the high ISO settings. You may be able to reduce this problem by increasing the contrast of the photo afterward in an image editing program.

I will admit that the stars are starting to streak in this image, however in doing the tests with normal consumer equipment, these were the best results that I could come up with. So . . . in your camera menu turn off Active D-Lighting (if you have it), go to maximum contrast, set the white balance to 5600K, or Daylight, focus to infinity, and then put the focus on manual, set the exposure to manual, and place your camera on the tripod.

I am going to assume that you are using a lens that has a fastest aperture of f4. If your lens has a lower F number than that, all the better! Adjust your manual exposure to a shutter speed of 30 seconds, set your lens to the widest zoom (which will reduce the appearance of streaking stars), and adjust your ISO setting to 3200.

You are now ready to take the photo. Trip the shutter with either a remote shutter release, or use your 10 second timer. If you need to physically press the camera's shutter release, it probably won't be detrimental, however using a remote release technique is a good habit to get into. 

When you look at your photo on the computer screen, you will see that the results are quite mottled and grainy. Try adjusting contrast to increase the brightness of the stars, and decrease the mid-tones. For more advanced Photoshop users, you will already have other methods for noise reduction.

Here is a basic chart for different f-stop and ISO combinations, depending on the type of lens that you have access to:

F5.6 - 30 seconds - 6400ISO

F4 - 30 seconds - 3200ISO

F2.8 - 30 seconds - 1600ISO

F2 - 30 seconds - 800ISO

F1.4 - 30 seconds - 400ISO

The reason that I have chosen a 30 second exposure is that it is the easiest shutter speed for those who are learning new techniques. 30 seconds is usually the longest shutter speed that a camera can offer you, prior to manually keeping the shutter open. 30 seconds is also a fair balance between brightness levels and keeping the stars relatively still!

Mark's photographic prints for your wall can be purchased at www.markhemmings.com
Mark can be hired as a photographer or filmmaker via www.hemmingshouse.com

RAINY DAY PHOTOS

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I would like to encourage you to take nature photographs when it is raining. Most photographers have a hard time with this because of the hassle, but it can be done by using a tripod and an umbrella. It is even better if you can convince a friend to come out and hold the umbrella!

I have photographed Japanese bamboo forests many times in the last 10 years of my Japan travels. A rainy day in Kyoto initially looked like a disaster, until I started shooting. The colors of the bamboo were very rich, with a nice sheen and texture. I was pleasantly surprised! My day was salvaged by a simple introduction to watery surfaces. As long as you avoid including the sky in your composition, you will find that photographing nature scenes in the rain can be quite rewarding. Watery surfaces can provide a whole new dimension to old locations that you have photographed ad nauseam. If you are shooting macro scenes of flowers and plants on a dry but overcast day, try bringing a spray bottle full of water. The colors will pop out, and your shots will go from good to great!

Mark's photographic prints for your wall can be purchased at www.markhemmings.com
Mark can be hired as a photographer or filmmaker via www.hemmingshouse.com

NIKON 35mm LENS & FOOD PHOTOS

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A friend of mine recently bought the relatively new Nikon AF-S 35mm F1.8 lens. I have been using it lately for food photography, specifically menu items that don't need to be blown-up beyond 8x10 inches. The most important aspect of the lens for me is the ability to get in very close to the subject matter. The closest focus distance is 30 cm, which is quite valuable for certain types of food photography. The closer your lens is to the subject, the more options you have for creative depth of field experimentations.

While professional food photographers might not use this lens because it is not full frame (DX, used with normal consumer Nikon DSLR's), it is a great lens for practicing the art of food photography. A good way to start shooting food is to offer menu photography for your local diner or family-run restaurant. They probably won't have money to pay you, but why not work out food credit? When you get confident in your food lighting skills, and are ready to handle larger commercial jobs with dedicated photography budgets, you will already have a decent knowledge of how to present and light the dishes.

Mark's photographic prints for your wall can be purchased at www.markhemmings.com
Mark can be hired as a photographer or filmmaker via www.hemmingshouse.com

ELEMENTS OF COMPOSITION

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Compositions can be created by many different design elements, such as color, texture, shapes, lines, differing sizes, etc. Next time you take a picture that you like, ask yourself which design elements are at work in this photograph. Sometimes fewer design elements are better, especially for Asian inspired scenes, and at other times the more compositional elements the better, such as high impact magazine ads. 

When I took this Barrios picture from a train station, the scene seemed happy and carefree. I looked behind me, and the same type of houses, on an almost identical mountain, seemed depressing and dangerous. Why the difference? The other neighborhood was in the shadow of the mountain, the houses weren't painted and there was a bit of cloud cover on that side.

Two almost identical scenes, but with vastly different emotions being portrayed. In this instance, color and brightness were the design elements that significantly altered the composition. The next time you are out shooting, use the following design elements to your advantage, and always work toward an image that portrays any kind of emotion. Below is a general list of design elements:

http://en.wikipedia.org/wiki/Composition_(visual_arts)

• Line - the visual path that enables the eye to move within the piece
• Shape - areas defined by edges within the piece, whether geometric or organic
• Color - hues with their various values and intensities
• Texture - surface qualities which translate into tactile illusions
• Direction - visual routes which take vertical, horizontal or diagonal paths
• Size - the relative dimensions and proportions of images or shapes to one another
• Perspective - expression of depth: foreground, middle ground, background
• Space - the space taken up by (positive) or in between (negative) objects

Mark's photographic prints for your wall can be purchased at www.markhemmings.com
Mark can be hired as a photographer or filmmaker via www.hemmingshouse.com

CARACAS MODERN

Dear reader, if this entry or my other blog entries don't answer your specific photography questions, you can call me on the phone anytime for advice by clicking here.

Although not an expert, I am a big fan of mid-century modernist design, architecture, and art. A recent trip to Caracas, Venezuela was beneficial for me in many ways, especially as I was able to document modern design via still cameras and video. Caracas went through a modernization period in the 1950's that removed much of the Spanish Colonial style that is throughout Central and South America. While a trip to Caracas can easily be depressing to those who do not appreciate mid-century design, for those who are inclined, the city is quite valuable.

The Humboldt Hotel is a great example; it was opened in 1957 by Perez Jiminez, but closed in 1970 due to shifting politics. Re-opened in 2002, the interior and exterior make for great photo opportunities. While the interior furnishings are new, I assume they are commensurate with what the hotel used to look like during its grand opening.

The photo lesson for today is an encouragement to always seek photo opportunities in places that you would normally consider unattractive. If you do your homework prior to departing for another country, you may be surprised by a newfound appreciation of the location's architecture, art and design history.

Mark's photographic prints for your wall can be purchased at www.markhemmings.com
Mark can be hired as a photographer or filmmaker via www.hemmingshouse.com

TRAVEL PHOTOGRAPHY GEAR

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A few days ago I arrived home from filming a television documentary on the Venezuelan Youth Orchestra. We stayed for a week in Caracas, Venezuela, going to different neighborhoods doing interviews and photo sessions with the youth. 

Traveling to dangerous cities such as Caracas can be a challenge due to the high possibility of camera theft. I remember on past trips, especially to Japan, I would take a pro body such as the Nikon D2x, with a Nikon D70 as a back-up, with a 70-200 f2.8 pro lens, an 85mm, 50mm, and 12-24mm zoom. This made for a massive backpack, extremely heavy and uncomfortable.

Lately I have been traveling professionally with the least gear possible. I am not well versed with Canon equipment, but a Nikon D90 with an 18-200mm zoom has served me very well when on the road. I have always relied on the excellent quality of prime lenses, but zooms seem to be getting better each year. The D90 and 18-200 combination is adequate for almost all magazine work, and most stock agencies will except images from this equipment. And if it does get stolen or lost, it is a much easier pill to swallow than replacing a $10,000 professional Nikon body and lens!

While I haven't tried the new Nikon D5000, it might be an even better option for frequent travelers. It is small, light, can do decent travel videos, and is priced very well for its excellent image quality (based on my knowledge of the similar D90 CMOS sensor).

Mark's photographic prints for your wall can be purchased at www.markhemmings.com
Mark can be hired as a photographer or filmmaker via www.hemmingshouse.com

BACKGROUND SHADES

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This studio backdrop is pure white in reality, but in this photograph it is gray. If all you have is a white wall to shoot against, you can change the shade of the background from pure white to dark grey. Simply move the model closer to, or further away from the wall.

If this subject was very close to the background, the wall would be pure white. If you don't want pure white, move the subject away from the wall. If your room is large enough, you will eventually get to the point where the white background has turned black.

How do you do this? Make sure that your studio lights are overpowering any ambient window or fixture lights. A good combination to start with is a shutter speed of approximately 1/200, and an aperture of f8. Place your lights slightly over the subject, in any direction that you choose. Make sure the lights aren't pointing toward the background. With this studio set-up, you should be able to effectively control the shade of the background simply by altering the position of the subject. This technique is very useful for photographers on a budget, as you will not need to purchase a gray background. 

Mark's photographic prints for your wall can be purchased at www.markhemmings.com
Mark can be hired as a photographer or filmmaker via www.hemmingshouse.com

OVERHEAD PHOTOS

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This photo was taken by me a few years ago in a special section of Kyoto called Higashiyama. Because of the crowd, I needed to hold the camera over my head to get the shot. This technique can be very effective, but also troublesome when in autofocus.

To insure you focus on what you want, even when you aren't able to see the scene through the viewfinder or rear screen, try the following:

While looking through the camera, autofocus on chosen subject. Then switch the camera to manual focus, place the camera over your head, and start shooting! The focus will remain constant while you try different compositions over your head. When you are done remember to switch the camera back to autofocus, if that is the mode that you usually use.

It is a simple tip, but it can very effective especially with darker scenes such as dusk and very early mornings.

 Mark's photographic prints for your wall can be purchased at www.markhemmings.com
Mark can be hired as a photographer or filmmaker via www.hemmingshouse.com

CLARITY TOOL

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There will be times when a commercial shoot will result in an image that is unavoidably low-contrast. If you need to photograph two dimensional subjects, such as this antique flag, you may find that even a high contrast in-camera setting does not provide the clarity that is required. Thus, in Photoshop RAW we can use the "Clarity" slider to help with our mid-tones.

Set your camera to shoot in its RAW setting, and open the resultant file in Photoshop. In most cases, the program will be set up so that the RAW converter handles the file prior to opening the normal Photoshop screen. You will find a slider called "Clarity", and by taking it to the right you will see the mid tones increase in contrast, while keeping the highlights and shadows relatively untouched.

This tool is an easy and quick way to do mid-tone contrast adjustments to flat, washed out subject matter.

Mark's photographic prints for your wall can be purchased at www.markhemmings.com
Mark can be hired as a photographer or filmmaker via www.hemmingshouse.com

THREE LIGHT SETUP

Dear reader, if this entry or my other blog entries don't answer your specific photography questions, you can call me on the phone anytime for advice by clicking here.

I took this photo for a local auction where the public bids on hiring a chef, who will come to their home to cook a meal (thus the chef's knife and wine glass!). For location portraits, it is often beneficial to have a triangular pattern of lighting. One light should be in front of the subject slightly off-center, and two lights on either side of the subject, placed slightly to the rear.

The rear lights should be behind the subject, but placed so that a sliver of light illuminates both the left and right side of the subject's head. If you try this triangular lighting technique and find that the light is far too bright on the two sides of the subject's head, simply increase the frontal light, or decrease the rear light output.

Mark's photographic prints for your wall can be purchased at www.markhemmings.com
Mark can be hired as a photographer or filmmaker via www.hemmingshouse.com

NIKON D90 VIDEO REVIEW

Dear reader, if this entry or my other blog entries don't answer your specific photography questions, you can call me on the phone anytime for advice by clicking here.

From time to time I will be giving my thoughts on Nikon and their foray into video. Despite the technical limitations of the camera, I have been able to get some really dynamic footage from three different countries so far. When it is finished, I will include on this blog a short film that I did in Japan, solely using the D90.

This blog entry is simply a reminder to check your footage for any potentially interesting still images! Even though HD video is not a great resolution for making prints, it is certainly fine for web viewing. This evocative still image is of my assistant Jon, as he was standing in while getting the manual focus right. I find the D90 has a nice "cinematic" look to it, and I am looking forward to the next offering from Nikon.

Mark's photographic prints for your wall can be purchased at www.markhemmings.com
Mark can be hired as a photographer or filmmaker via www.hemmingshouse.com

COLORED LIGHTING

Dear reader, if this entry or my other blog entries don't answer your specific photography questions, you can call me on the phone anytime for advice by clicking here.

To add drama to any product photography you may be asked to do, try using a combination of light colors. This only works however when the two types of colors are not mixed together. For example, the glass color of the bottle of wine was green, so I accentuated the green bottle by illuminating the back of the bottle with green light. The front of the bottle had a white label, so it was important to illuminate the front of the bottle with normal white balanced light (5500 Kelvin).

 

The best way to experiment with color effects is to purchase "colored gels". Any professional camera store can order these for you, and the most common are blue, green, and orange. They are sheets of colored plastic that you place in front of your light to change the color. As mentioned above, certain parts of objects may need to always remain normal white. You can do this by simply not using colored gels on that particular part of the object.

Mark's photographic prints for your wall can be purchased at www.markhemmings.com
Mark can be hired as a photographer or filmmaker via www.hemmingshouse.com

LAB ENVIRONMENTS

Dear reader, if this entry or my other blog entries don't answer your specific photography questions, you can call me on the phone anytime for advice by clicking here.

If you are ever requested to shoot in a lab environment, or other sterile location such as commercial kitchens or hospitals, always do your best to have a brighter background than foreground.

The lighter background will accentuate the viewers feeling of cleanliness and professionalism. A darker background will appear slightly depressing, and not as sterile. To get this shot, I used a Nikon speedlight and placed it on remote firing. When my normal studio strobe fired in the lab, the small Nikon flash fired inside the glass enclosure (behind the model). Had I not illuminated this background, the image would have lost almost all of its value.

Mark's photographic prints for your wall can be purchased at www.markhemmings.com
Mark can be hired as a photographer or filmmaker via www.hemmingshouse.com

NIKON D5000 OPINIONS

Dear reader, if this entry or my other blog entries don't answer your specific photography questions, you can call me on the phone anytime for advice by clicking here.

I was excited this morning when I discovered that the D5000 was in fact a reality! Very few people have seen this camera, as it is not released yet, but by reading the specs I will share my thoughts:

1. The swivel screen is excellent for photographing in large crowds where you need to raise the camera above your head (press scrums, concerts, etc.), and also great for seeing what you are filming with the video feature.

2. The camera will work very well for snapshots of people using the built-in flash, in Auto mode. My assumptions are based on the D90's excellent performance in full Auto mode, while taking family pics at birthday parties and other non-professional events. This camera, while not in the D90 class, will no doubt equal the D90 in its D-Lighting and flash balancing capabilities.

3. The video will probably be of the same quality as the D90; not so great with regards to the Jello-like effects of "rolling shutter", but very decent for low depth-of-field effects when using fast prime lenses.

4. It will be a great travel camera, just like the D90. It is small, light, unobtrusive, and relatively inexpensive considering its many features. Up until last year I would take my large professional camera bodies on international trips. I don't do this anymore; my last two trips were shot entirely on the Nikon D90, with great results.

5. Do you have a family with small children? The D5000 may be perfect for you. The video capability will be much easier than the D90 due to the swivel screen, and as mentioned above, the camera is feature-packed, inexpensive, lightweight, and it looks easy to use.

To get more information on this camera, do a Google search for "D5000". DP Review is also a great source for a more detailed study of the camera. The comments section is open, feel free to discuss and ask any questions!

Mark's photographic prints for your wall can be purchased at www.markhemmings.com
Mark can be hired as a photographer or filmmaker via www.hemmingshouse.com

DELETE LATER!

Dear reader, if this entry or my other blog entries don't answer your specific photography questions, you can call me on the phone anytime for advice by clicking here.

The attached photo taken in Tokyo a few weeks ago is one of my favorites, yet is very much unacceptable according to compositional rules and common practices. The photo wasn't planned to be a statement against established picture-space guidelines; it was a mistake! I saw the two girls crossing the street from a distance, so I quickly climbed up on top of a tall curb, but missed the shot. They were in the photo, but I wasn't quick enough to compose properly.



I was about to delete the image, but decided it would be best to wait until I reviewed all the images at my hotel. When I got the shot on the screen, I changed my opinion, and decided I would continue its existence!

This is simply a reminder to be very cautious when deleting digital images in the camera. It is often best to delete them after reviewing on a computer monitor. This time period will also give you greater perspective on what images have value, and which ones do not.


Mark's photographic prints for your wall can be purchased at www.markhemmings.com
Mark can be hired as a photographer or filmmaker via www.hemmingshouse.com

MIRRORS AND DEPTH

Dear reader, if this entry or my other blog entries don't answer your specific photography questions, you can call me on the phone anytime for advice by clicking here.

If you are doing an interior photo shoot, and the locations have mirrors, why not use them to your advantage? Mirrors have a way of creating depth to an interior image, because they give the illusion that there are more rooms beyond the walls. If you have models in the shot, position them so that they are viewed multiple times in the same image.

I took this photo of a changing room in an oil refinery. While there were only two models present, I was able to get five people in the shot (reflection in the left mirror, two reflections in the right mirror, two actual models). It may take a bit of planning as to where you need the models to stand, but it will be worth it!

Mark's photographic prints for your wall can be purchased at www.markhemmings.com
Mark can be hired as a photographer or filmmaker via www.hemmingshouse.com

BLUE COLOR CAST

Dear reader, if this entry or my other blog entries don't answer your specific photography questions, you can call me on the phone anytime for advice by clicking here.

Each year I take people to Nagano, Japan, to photograph the famous Japanese Snow Monkeys. I took this photo last week, and was struck by the emotive quality of the image. This blog entry will be old news to many of my readers, but it is worth repeating. When you have a subject that is melancholic in nature, it is usually best to use a blue filter, or a color balance that produces a cool, blue-ish hue. This color tone will accentuate the moodiness of the image.

The day was overcast, and relatively neutral in color. By placing my digital camera on "tungsten" setting (light bulb icon), the image tone is changed from neutral to blue. If you are adept with using the Kelvin scale in your digital cameras, try a very low number, such as 3500 K.

I have never used the comments option on Blogger, but it is now open, and I will try to answer any questions or comments that are posted. Thanks!

Mark's photographic prints for your wall can be purchased at www.markhemmings.com
Mark can be hired as a photographer or filmmaker via www.hemmingshouse.com

JAPANESE ART AESTHETICS

Dear reader, if this entry or my other blog entries don't answer your specific photography questions, you can call me on the phone anytime for advice by clicking here.

I am teaching photography in Japan right now, and I took this image yesterday in Tokyo. I am reminded of the classic Japanese paintings that have a far greater percentage of empty space than subject matter. If you ever give yourself photo assignments, try this one out: find scenes that allow for 5%-10% subject matter, the rest of the scene being empty.



This type of imagery is powerful, as all of the viewer's efforts at comprehending the image are compressed downward to the small (but potent) subject matter. Give it a try!


Mark's photographic prints for your wall can be purchased at www.markhemmings.com
Mark can be hired as a photographer or filmmaker via www.hemmingshouse.com

HARSH SUN, DEEP SHADOWS

Dear reader, if this entry or my other blog entries don't answer your specific photography questions, you can call me on the phone anytime for advice by clicking here.

Have you ever seen the cover photo for the Buena Vista Social Club? The scene is a Cuban street, with a man walking on one side, and an old classic American car on the other. The photo is not very good technically, but it is incredible aesthetically. The shadows are unacceptably deep, the photo is out of focus, and the man's face is hard to see. However it is one of my favorite images due to it's "soul" factor.



















If you are in mid-day sun, and you feel uninspired due to the harsh lighting, why not use the weather to your advantage? Create a low-fi image by increasing your camera's contrast, underexposing, boosting saturation, and finally, taking the picture slightly out of focus.
















My sample image is quite deficient compared to the Buena Vista image, but it gives you an idea of what is possible when you purposefully take technically poor pictures! Sometimes you will get gems that turn out to be quite profitable.


Mark's photographic prints for your wall can be purchased at www.markhemmings.com
Mark can be hired as a photographer or filmmaker via www.hemmingshouse.com

STREET PHOTOGRAPHY

Dear reader, if this entry or my other blog entries don't answer your specific photography questions, you can call me on the phone anytime for advice by clicking here.

When doing street photography, it is of utmost importance to have your camera ready to shoot. Great images present themselves all the time; most often we are fumbling with our cameras and miss the shot.

I took this shot last week in Mexico, and it was one of those images that can never be re-shot! The police turned a corner, and I had only 3 seconds to take the photo. I find that it is best (for me at least) to have the camera set to Aperture Priority, on the lowest "f" number, with the exposure compensation (+/-) set to +0.3. I set the white balance to Cloudy, to keep things warm. 

Try the above camera settings the next time you are traveling, and hopefully you will find that it is a fast combination, for capturing fleeting moments!

Mark's photographic prints for your wall can be purchased at www.markhemmings.com
Mark can be hired as a photographer or filmmaker via www.hemmingshouse.com

OVERHEAD LIGHTING

Dear reader, if this entry or my other blog entries don't answer your specific photography questions, you can call me on the phone anytime for advice by clicking here.

I am on a theme of simplicity lately, so here is another one! When approaching the direction of a project, begin the experimentation with as few variables as possible. Keep everything minimal to begin with, and increase the complexity of lighting as needed.

This illustrative image was lit with only one overhead light. I tried the same composition with additional lights, but the photos weren't nearly as dramatic. This minimalist tip is good news for those on a budget . . . never be dismayed by your lack of gear; use what you have and put your soul into it!

Mark's photographic prints for your wall can be purchased at www.markhemmings.com
Mark can be hired as a photographer or filmmaker via www.hemmingshouse.com

SYMMETRY AND ASYMMETRY

Dear reader, if this entry or my other blog entries don't answer your specific photography questions, you can call me on the phone anytime for advice by clicking here.

When a potential composition allows for perfect, or near perfect symmetry, carefully adjust your camera and tripod so that all major lines are either vertical or horizontal.

When the image is perfectly lined up, try to include an off-center subject within the symmetrical composition. This creates an interesting scenario where you have two unique compositional styles in one photo: symmetry and asymmetry.

This photo was taken last year during a trip to Hungary. It is at the Budapest Museum of Fine Art, in the ancient Rome and Greek hall.

Mark's photographic prints for your wall can be purchased at www.markhemmings.com
Mark can be hired as a photographer or filmmaker via www.hemmingshouse.com