It’s almost summer and Julie Powell begins this week’s wrap-up photographing kids and water balloons. Michael Muraz squeezes us and his lights into an impossible to light bathroom and tells us how he did it. Chris Anson enhances landscapes in Luminar. Bob Coates shows how to work when the light is just not right and Scott Wyden Kivowitz shares a black & white photo of the liberation of a WWII concentration camp then turns it into color.
Enjoy these five posts from the many featured this week on Photofocus!
Interior photography: Lighting an impossible bathroom - When photographing residential interiors, I sometimes use extra lighting to improve the final images. Today, I want to go through how I shot an impossible bathroom and solved my issues with some creative lighting. To start, here is a frame with just the ambient light. My main issue was that the bathroom was literally surrounded by glass, which meant a lot of reflections, including my own. The bright mirror lights were also not great. So you can understand the setup, I created the lighting diagram below, with the bathroom floor plan. Keep in mind the two thin bathroom walls (left and bottom) are actually made of glass and the shower on the right also has a glass wall. So that’s literally three out of walls made of glass, plus the mirror! You can see the position of the camera, as well as the two lights I’ll be using. Given the ambient lighting that you can see in the first image, my goal is to light the bathroom to balance the mirror lights with the general lighting. The only way to light the inside of the bathroom is through the door, where I placed my first strobe and umbrella (the light on the right on the diagram). To remove the reflections in the glass wall, I placed a second light to light the wall from behind (the light on the left on the diagram). My settings were 1/50s, f/8, ISO 100. As you can see below, the lighting is much better inside the bathroom. It’s balanced and we have few reflections in the glass wall. However, my second light was creating two huge hot spots in the mirror and on the glass wall on the left of the frame. I needed to fix that in a second frame that I would blend later in post-processing. I moved the outside strobe so it would be behind the bathtub in the composition, which creates better lighting on the mirror and left glass wall. On top of that, I shot a couple of other frames in which I was lighting specific areas like the sink and bathtub with a speedlight. I also bracketed ambient exposures as a point of reference. In post-processing, I first blended the two main frames with lighting to get a good base. I then blended in the flash exposure on the sink and I used an ambient frame to brighten the bathtub. I finished with some cleanup and sharpening. You can compare the before image with ambient lighting with the final image below:
Using Accent AI 2.0 and other AI tools to enhance landscapes in Luminar - In this article, I’m going to show you an example of how I use the AI tools found in Luminar 3.1.0 to enhance landscapes and in particular, how the new Accent AI 2.0 filter does a much better job than the original Accent AI did. We’ll also take a look at the AI Sky Enhancer, Foliage Enhancer and Sunrays filters, which also use AI (artificial intelligence) to enhance their results with your photographs. So what’s different about Accent AI 2.0 over Accent AI 1? What I’m seeing is that Accent AI 2.0 does a much better job at analyzing the photograph and enhancing the areas of the photograph more selectively. It has gotten more intelligent at enhancing details and colors within the photograph without it looking artificial. The other thing I like is that if Accent AI 2.0 doesn’t find it can it improve an object in the photograph, it leaves it alone. You can find even more information about how it works here. What’s the visual difference? I’m such a visual person that seeing the specs of what’s improved is helpful, but I need to see what it looks like. With that in mind I’m going to show you the impact these filters have on a photograph, so you can see for yourself. Of course, I suggest you download the free trial and test it with your own photographs and see how it works for you and then decide. First, I’m going to show you a direct comparison using a DNG RAW photograph from my Inspire 2 drone with X5S camera using only Accent AI and Accent AI 2.0. Then I’ll add other AI options in Luminar 3 to finish the photograph with comparisons at each step. In the photograph below I’m am comparing Accent AI to Accent AI 2.0. I based the amount setting on what was most pleasing to my eye. AI Sky Enhancer The AI Sky Enhancer works very well. In fact, I’m sometimes surprised at how well it works and how fast it is. In particular how fast it is compared to how long it would take me to create a similar look. Why is it so good? The filter uses “hundreds of thousands of images with different amounts and different types of the sky” to evaluate the photograph and determine what is sky and what isn’t and how much adjustment to apply to each part of the image. You can find even more information about how it works here. So next, I’m taking the previous image with only the Accent AI 2.0 applied and adding AI Sky Enhancer to the photograph. Foliage Enhancer The Foliage Enhancer filter is a powerful tool for bringing out the colors and details of my landscapes foliage. Now, this is a filter that I use sparingly because as good as it is, I still find it applies more saturation and color to my photographs than I prefer. So I will often apply it at a stronger setting and then using the brush tool, I will paint it on, little by little until it pleases my eye. For me, this is how I get the best results from this tool. You can find even more information about how it works here. In this next photograph, I’ve used the same settings for Accent AI 2.0 and AI Sky Enhancer and added a bit of the Foliage Enhancer. Sunrays The Sunrays filter is a very cool filter for adding just a touch of sun glow all the way to more powerful changes in light and adding the rays of the sun can really change and enhance the look of a photograph. Like the Foliage Enhancer filter, I find that I most often with use the brush tool (see example below) to apply exactly how much I want to the image. You can find even more information about how it and other filters here. I also find that the Sunrays Filter works well with some photographs and not with others. I tried it on the example photograph I’ve been using and didn’t find a combination that looked good to me. So I found another of my drone photographs and I’m using that for this example. I’m also applying a bit more than I would normally, so you can easily see the effect of the filter. So there you go! You can see that Luminar 3’s AI filters can quickly and easily help you to enhance and create beautiful photographs. But don’t take my word for it. Download a free trial and see how it works for you on your photographs and then decide.
Black and white vs. color: Which has more emotion? - I feel like this topic is one that can be debated from here to eternity. It’s a fun discussion where everyone is right. Which has more emotion, black and white photographs or color photographs? I wanted to bring this up because while testing ColouriseSG for a video (below) I chose to use a photograph with great meaning to our family and to many others around the world. The photo you see here was taken on the day that my wife’s grandfather was liberated from the Allach concentration camp (a sub-camp of Dachau) in Germany. In fact, he’s in this photo wearing a long coat. As you can see, the photo is filled with emotions like joy and pain, but it’s also filled with hunger and grit. When I came across ColouriseSG I knew I had to test it with this photograph. Not only for my curiosity but to bring some new life into a photo that has impacted our family in so many ways for years. ColouriseSG is free to use (for now) but only allows for photos to be uploaded one at a time. While the process of colorizing photos is fast (it does it in seconds), bulk processing is impossible. The other thing with the software is they specify it works best with large files. So instead of using the scan of the image which we have in our family, I searched the web and was delighted to find a very large scan of it on the Holocaust museum website. When I uploaded the image to ColouriseSG I kept my eyes closed. When I opened them I immediately smiled. The photo I have been looking at in black and white, for so long, is now in color, and it took no work on my own part. I can see how dirty the people were, what color clothing some of them are they’re wearing. I can see how accurate the homemade American Flag was and so much more. Their smiles come to life when they’re in color. So this brings us back to the beginning. Looking at the color version below, which has more emotion in your opinion? Comment and share your thoughts. Look at ColouriseSG in action
How to cope when you can’t wait for the “right light” - As a professional photographer, you have to be able to deliver a solid product no matter the conditions. When a client tells you they want a photograph of over 60 people during midday light, you need to produce. The challenge Precision Nutrition called for a photoshoot at the Enchantment Resort in Sedona, AZ. I was tasked with making a group photo in 90-degree heat with the sun driving straight down. I knew I could tame the harsh shadows with fill light. But, upon arriving I was also confronted with strings of lights over the scene. That was a problem. The client wanted a red rock background and sky in the photo. And, not only would the strings of lights blight the background, but they would also rain down shadows on my subjects. I didn’t freak I knew I had Adobe Photoshop in my pocket. As the sales manager at Enchantment put it, “You can use your magic eraser.” The plan and gear I added a large couch and two chairs to help break up the posing utilizing the arms as well as the seats. I set two powerful Paul C. Buff White Lightning X3200 flashes on thirteen-foot stands camera left and camera right. The lights were tilted toward the sky to feather the light so it was not blasting the foreground. Power was adjusted, measuring with a light meter across the entire scene to match the light intensity from the sun. I normally would like to bounce light into umbrellas to soften the light a bit. Wind gusts made this untenable so only seven-inch reflectors were used. A tip here: make sure your lights are placed high enough so shadows fall behind the next row of people. If the lights are too low those shadows cast can get ugly fast on the people behind. Use a sandbag on the stands if the wind is blowing. The camera was a Lumix G9 mounted on a Sirui 20X Ball Head. I placed myself in each part of the scene to learn what it would take to get people into position. Remember, it is hot and the sun is beating down. People cooking longer than five minutes in the Arizona sun start to look toasted. Execution The group was gathered in the shade until everyone was assembled. Nothing worse than people sweating in the sun waiting when the call goes, “Hey! Where’s so and so??” I made a game out of getting everyone into position as quickly as possible. Some laughing, joking and the repositioning of a few folks was followed by moving the camera position for final tweaks to ensure all faces are visible. About eight frames were made. As I made each image I tried to ensure that at least everyone had one good expression with open eyes. Then a few extra frames were made showing some excitement. Then the group was turned loose. The total time from moving into the sun, posing and image capture was about five minutes. Three minutes to pose and two minutes to make images. Post-production With a group this size, I always plan for a few head swaps. The camera needs to be on a tripod and locked down tight. Making changes becomes a case of picking the image with the least amount of negative expressions, closed eyes, etc. Then I placed an image with the better expression over top with a black filling mask. Painting white in the mask reveals a better expression. As they say on the shampoo bottles, lather, rinse, and repeat until complete. The last bit of post was to work with Photoshop’s Patch, Stamp and Spot Healing tools to remove the strings of lights. The shadows cast by the lights needed to be attended to as well. Yours in Creative Photography, Bob
Summer photography fun with kids: Water balloons - Have you ever considered water balloons as a type of child-friendly extreme sport? When you bring some photographic elements into it, it can be. This one is perhaps not for the littles, but for older kids with a bit of adult supervision. It provides for some awesome fun (for the adults as well). But beware, it does get a bit messy and you will end up getting wet! So pick a day that is nice and warm and not too windy. Requirements The setup Find a large area with a fairly non-distracting background and set up a backdrop stand or use a low tree branch, this is what you will hang your balloons on. We frequently use a local park. Try for some shade, as too much bright light in the wrong direction can make it difficult to shoot. Using the string, tie the balloons to your hanging option. Be careful to hold the balloon from the bottom as you tie it, to prevent it from breaking too early. An optional extra to make the photos more interesting is to add a few drops of food dye to the balloons when you fill them with water (an eye dropper is great for this). Another tip — we took a wheelbarrow and used it to carry the filled balloons. We had 20-30 filled up at a time. That way you can keep shooting and don’t have to stop to keep filling balloons. Once you have everything set up for the balloons, it’s time for the camera and settings. You want a fast shutter speed to capture the action. I suggest between 1/800 to 1/1250s (unless you are filming slow-motion) as a good range. I used an ISO 320 to get my shutter speed up to high enough speeds. F-stop, well I would suggest f/4.5 — f/6.3. The balloons can move quite a bit, so a good midrange F/stop is preferred over a high one. The lower range could slow your shutter speed up. You could use a tripod, but I actually found it a bit of a nuisance, as the balloons often moved once hit and I lost them out of frame. The shot If there are a few people, take turns in throwing the dart at the balloons — it can take a few tries to get this right. To catch all the action, I started shooting when the dart was thrown and kept shooting until after the balloons burst. I recommend using a camera with a fast burst rate (if possible) and use an SD card with a higher transfer rate (mine was 90MB/s). Also, make sure your card is empty BEFORE you start, as this will fill it quickly. Yes, there will be A LOT of photos to delete to find the gold! Try shooting with just one balloon to start with and then move to two or three at once. Another option is to stand directly next to the balloon. Hold the balloon in one hand and then pop it with the dart — you WILL get very wet, but it’s loads of fun. If you are feeling brave, try squeezing with your hands (you will get even wetter). Don’t forget to pick up all the balloons pieces once you have finished. Leave the area as clean as you found it, if not quite a bit wetter. Oh and don’t forget the sunscreen while you are out in the sun, it is easy to forget. Check out our other tips on how to get your kids involved with photography this summer!
