This week, Ken Lee walked us through light painting, while Julie Powell gave some tips on how to photograph kids with special needs. Then, Joy Celine Asto reminisced about the Kodak Christmas commercials of old.
Erin Holmstead presented some tips to photograph in the snow, while Levi Sim told us how to photograph portraits with one light. Finally, Bryan Esler reviewed the Sony a7C mirrorless camera.
Tips to help you take pictures in the snow - Preserving the memories of winter can be a bit tricky. Freezing temperatures and the blinding sun reflecting off the snow don’t help. Whether you have an expensive DSLR with all the bells and whistles or a simple smartphone camera, pictures outside in the snow is no walk in the park. Below I have three easy tips to help you capture snow a little easier. Keep your camera in the cold The first thing I recommend is to keep your camera cold. I know this might go against your first instinct to keep your camera warm, but that is a bad idea. When your camera has been in a warmer environment, as soon as it gets into the cold, condensation will start to gather. Oftentimes, this fogs up the lens to the point you can’t see anything. Ease into changing temperatures, and keep your camera at the same temperature as outside to ensure condensation won’t occur. Use manual mode Sometimes our cameras want to automatically dial the exposure down when outside shooting snow. This can result in the snow looking gray. To counter that set your camera to manual mode and slightly overexpose your image a little. I recommend exposing for whatever you want people to focus on in your image — whether that’s a person or a tree line. Lens hood In the winter, your photos often end up with a flare from the sun. The snow is so reflective — it’s going to happen. That’s why I recommend using a lens hood, for two reasons really. One, it is going to help reduce lens flares. And two, it will help keep the snow off your lens … both of which are very helpful while outside in the snow. Don’t forget your winter gear The last tip I’ll leave you with is this … invest in nice gloves. Winters here in Utah can be bitter cold. Trying to press a button on my tiny Lumix GX9 (B&H | Amazon) with massive gloves or when I have lost all feeling in my digits is no easy task. I love The Heat Company 2 Softshell Mittens/Gloves. They are completely insulated and wind and water resistant. They even have a goatskin palm making it easy to grip things. I would also recommend wearing gloves that are touchscreen-compatible or fingerless if you are shooting with a smartphone, or if your DSLR has a touch screen.
Portrait Tips: One light + one collapsible backdrop = $ - Unless you have a dedicated studio, collapsible backdrops are the way to go. I’ve had dedicated studios, and even then, collapsible backdrops are usually superior to full-size-need-a-huge-stand-loads-of-space-and-always-have-wrinkles backdrops. With one light and a collapsible backdrop, you could make a comfortable living. Let me show you why collapsible backdrops are so great. I have three collapsible backdrops that I regularly use and a couple of must-have accessories. Benefits Collapsing from a 7-foot oval to a 2.5-foot circle is obviously convenient for travel and storage, but collapsible backdrops are also just easier to use. You can mount the backdrop to a single light stand instead of struggling with a backdrop stand that requires gymnastics to set up on your own. I got this marvelous clip from Kate Backdrops that holds the backdrop flawlessly. It’s also easier to switch colors and styles. Collapsible backdrops come with two sides in different colors. Simply swapping the side makes an entirely different look. Since the backdrop is on a single stand, you can alter the light on the backdrop just by twisting it toward and away from the light. When you twist it away (as seen above) it becomes darker, increasing the contrast and drama in the picture. But it doesn’t alter the light on your subject so your camera settings remain the same. Chroma green/blue: Least used It’s really useful to have a chroma key backdrop for those times when you need to swap the backdrop or compile a lot of people or objects together into a single image. This kind of photography can be lucrative and when you need it, you need it. It’s my least-favorite kind of shooting to do, though, because I end up focussing so much on the technical needs that creativity is often reduced. But for $75, it’s totally worth having in your pocket. I have this one from Impact. Grey/white: Most lucrative When I travel for corporate clients, I always bring a white/grey collapsible backdrop. It makes headshots so easy. Even if my client didn’t plan to have me do headshots, if I’m ready for it I can often make a quick upsell. Headshots with it are easy and clean. I have this Lastolite model, but there are less costly choices that could be as good. I would definitely try to get the 6×7′ model over the 5×6′. You never know when you’ll need to photograph all four of the executive team at once. I’ve made tens of thousands of dollars with this backdrop. Old masters: Most fun This could actually become my most lucrative backdrop style. Peter Hurley has lately swapped his headshots from plain backdrops to textured old masters-style painted backdrops. They’re called “old masters” because they are reminiscent of the style of painters like Rembrandt, and to me, that comparison is a great start to any portrait. My backdrop is from Kate Backdrops. A typical feature of these kinds of backdrops is a gentle tonal change with a slightly brighter center and darker edges. I love that because the pictures look more finished in the camera and my subjects get excited about it. The Kate Backdrops are especially good because they have a velvety texture that makes them perfectly matte. Light shining across the backdrop falls off very naturally without hotspots. The material is also particularly wrinkle-free. I got this model from Kate Backdrops that has a warm brown on one side with a blue and green reverse side. Switching the color and tone of the backdrop to coordinate with your subject’s wardrobe can help take your portraits to the next level. When I use the warm-toned side, it somehow excites my creativity. I often switch the camera to monochrome mode, knowing that I’ll end up making many black and whites in the end. The warm tones work with an orange filter to become a little brighter in black and white. I’ve also used this backdrop resting directly on the ground and found the thin black edging fits naturally into the photo. These dramatic, contrasty, one-light pictures are my favorite portraits to make. I know I could market this as my style and niche and make a good living doing it. Whatever kind of pictures you make, collapsible backdrops can help your subjects stand out appropriately. Chroma key colors are useful, grey and white can be useful for corporate headshots, but old masters backdrops can stir your creativity and help you make wonderful portraits for your subjects. Portrait Tips come out each week, and you can see them all right here. And here’s a little help for putting those collapsible backdrops away:
Sony a7C a great option for on-the-go photographers - I have to be honest — when the Sony a7C came out, I wasn’t exactly blown away. It basically took the internals of the a7 III and moved them into a compact, rangefinder-style body. But after using it for a couple weeks … I’m pleasantly surprised. While the rangefinder style body took a bit of getting used to, it’s laid out quite well. The button placement makes sense and are easy to find by touch. The viewfinder — while small — is very bright and detailed. And that flippy screen? Well, let’s just say I’m a huge fan. Ergonomics and body styling I’ve never been a huge fan of the rangefinder-style of cameras. While they look awesome, they’re not the most practical for how I photograph. The biggest thing for me is that I’m left eye dominant, meaning my nose hits the back screen. But with the a7C, for whatever reason it felt a little more comfortable than the other camera bodies I’ve used from other companies. My nose wasn’t quite as smooshed and I could easily look through the viewfinder. The other thing I always want with a rangefinder-style body is a deeper grip. The a7C delivers. While not as deep as Sony’s other cameras, it’s deep enough to make me feel like I have a secure grasp on my camera. If you’ve used any of Sony’s APS-C cameras, the a7C will feel right at home. It’s designed very similar to the a6600, which in this case, I think is a good thing. Why mess with something so successful? Hands-on performance I used the a7C on a variety of photoshoots and did some tests with it. I had also been loaned Sony’s 90mm f/2.8 macro lens (B&H | Amazon), so that was some of my focus with the camera as well. When shooting still life, the a7C was a joy to use. Having a smaller camera for walking around was easier than having something much bigger and heavier. Autofocus with still subjects was speedy and was able to lock on pretty well to plants that moved slightly with the wind. What did surprise me is how well balanced something like the Sony 90mm f/2.8 Macro was on a smaller body. While it’s a lighter lens, it’s pretty large, and I still didn’t feel like my setup was front-heavy. When I put my Sigma 24-70mm on, it got a little heavier up front, but I still felt comfortable holding it. It’s definitely something to consider, though, if you’re planning to use larger telephoto lenses from Sony. I also practiced some longer exposure shots, and was able to achieve one second handheld. While that’s not exactly something to write home about, I can tell that it’s improved over the a7 III (which I struggle to get sharp images from below 1/40s). Being able to go up to a 1-second exposure allowed me to get sharp exposures of a waterfall, and to have the water blurred while the rocks tack sharp. Still, it would really be nice if Sony upped its game when it came to in-body image stabilization. I also took the camera to our city’s new skate park to test out the autofocus even more. Paired with the Tamron 28-200mm (B&H | Amazon), the autofocus was good, but left a little to be desired. With the same settings as my a7 III (B&H | Amazon), I had more usable photos. The a7C would regularly focus on the background, for instance, no matter what the focus sensitivity was set to. Eye AF did seem to improve slightly over the a7 III, but when a face isn’t visible (or when a mask is worn), you can’t take advantage of it — especially from far away. A couple head scratchers While the a7C definitely exceeded my expectations, there were three things missing for me. One, I’m not sure why the a7C didn’t adopt the new Sony menu style that debuted with the a7S III (B&H | Amazon) earlier this year. After all, the a7C was announced after the a7S III, so there’s no reason why it couldn’t have been added in. Two, the lack of a front dial and joystick. It took me a bit of getting used to having to adjust my shutter speed with the back wheel, instead of the front dial like I do with my a7 III. And while I don’t personally use joysticks much, I know a lot of people that do. If you’re planning on getting the a7C for a backup camera, it might be something to take into account. While a lot of the buttons and back functionality is similar, there are a few minor differences for sure. Finally, a second card slot. In today’s day and age, any camera priced above $1500 (which this is) should have dual card slots. And they should be UHS-II slots, at that. As someone who photographs a lot of corporate photographs, not having dual card slots is concerning in case of card failure. Who is the a7C for? I can see the Sony a7C (B&H | Amazon) as fitting two audiences. One, the video audience. Having a flippy screen is a great thing for vloggers, and the video specs (4K at 30p) are suitable for this audience. Those that currently use a camera like the a6600 and have been wanting a full-frame camera will be very happy with the a7C. But it’s also a great stills camera for photographers on-the-go. It’s compact and lightweight, certainly taking up less space in my camera bag than the a7 III. While autofocus isn’t perfect, it works well in most instances. The a7C may have gotten a lot of mixed reactions initially. But after using it for a short time, I recommend it for anyone looking for a small, compact, rangefinder-style camera.
Capturing great Christmas photos with special kids - Every parent loves capturing those quirky and sometimes hilarious Christmas photos with Santa, right? We spend eleven months of the year teaching our children “Stranger Danger,” and then practically throw them at Santa and then wonder why we don’t always get the results we expect. Expect the unexpected, right? Things aren’t so clear cut for kids with special needs. You have to take a different, more sensitive approach. Don’t expect miracles and you might actually see some. I sometimes run sensitive Christmas sessions with no Santa. It looks a little Christmassy, but not too much. The kids often seem to enjoy it, and I know the parents love the time and effort that’s gone into capturing something meaningful. Consider their needs Depending on the child, they each have different needs. Some don’t tolerate bright lights or loud noises. They need to feel safe with people they know and trust. Some have sensory issues or are frightened by strangers. Take the time to try and connect with them, even just a little. Don’t just jump in and throw a camera in their face — chances are that won’t go well. Find out beforehand what interests the child and their communication abilities, as each child is different. Keep things simple. Don’t set up your studio with something overwhelming — a chair and some simple decorations can be enough. Sometimes, you can even add the Christmas stuff in during the post-processing if you wish. Put things in perspective Talk to the kids at their level. Don’t be patronizing or condescending. Often, these kids cannot communicate that well but understand more than you think. They are often actually super smart. Tell them what is going on, explain what you’re doing. Offer a mini guided tour. Show them the camera and the lights, take a few photos of Mum or Dad (or both) and let the kids see the back of the camera. If they are old enough, perhaps even let them take a photo or two, with your guidance. Maybe you have an old (or cheap) camera that they can use. A special Christmas photo of Mum and Dad taken by their child maybe be just as precious as one of the child, and of course, the child will probably love it too. Some special kids love to know HOW things work. If this is the case let them be apart of the session in a way they can understand. Work on their level. If you have to get on the ground and snap them playing with LEGO, then so be it. Go with the flow Let the kids run the show (within reason) — they may not want to look directly at the camera. Watch them, observe them, have things that might grab and keep their attention. Sometimes, you may need to have Mum or Dad or a sibling in the shot with them. Don’t push, but make them feel like they have choices. Give them props they can understand and interact with like a small present they can open and keep. Perhaps Mum or Dad can provide it for the shoot. Maybe they have a favorite toy or book. Ask them to show it to you, tell you about it. Capture their enthusiasm if they show it. If they do happen to have a meltdown, be understanding and tolerant, and remember that the parents are probably having a hard time too. Give them a few minutes, but if it just isn’t going to happen, there is no point forcing everyone. Just let it go. Perhaps offer to try again another time. Don’t expect miracles Don’t force them to do things they don’t want. And don’t let the session go too long. Give the kids something to capture their interest, even if it’s a game on a mobile phone. Then capture those images. A miracle won’t always happen, but often a look or a smile might. Be ready and don’t overact. If you think you’ve got a killer shot, maybe give Mum and Dad a quiet thumbs-up and then start to bring the session to an end. But never just stop. Sometimes kids with special needs completely forget you are there and share a moment that is worthy of a shot. Sometimes if they feel comfortable and trust you they might sit on their own for a great picture or two. Don’t get greedy — sometimes a few great Christmas photos are better than one perfect shot. Don’t overthink it Do your homework but don’t overthink it. This is supposed to be fun! Children pick up on things and are often quite empathetic. If you are getting stressed out because things aren’t going the way you thought, they can sense that. So be light and bright and just go with the flow. If nothing else the parents will surely appreciate you trying to make things calm and peaceful in an otherwise hectic time. Photos used with permission of the parent.
Light painting 101: Behind-the-scenes while illuminating an abandoned bus - Light painting is a term that is often used loosely to describe any addition of light to a night photograph. Really, though, light painting is a technique that uses a handheld light source to illuminate a scene during a long exposure. You are quite literally painting the scene with light. Night photographers have used this technique for many decades. Here’s how I illuminated an abandoned bus. Cracks in the glass I love patina. The cracks in the glass caught my eye, and I wanted to illuminate that to really bring them out. I used a ProtoMachines LED2 set to a color “patented” by Timothy Little called Gas Station Teal. Using a piece of cardboard to block the light from shining directly into the camera lens, I skimmed along the cracks from the driver’s side window. I walked to the back of the bus and illuminated the rest of the interior through a window because the bus was locked. Illuminating the front From there, I walked around to camera left and illuminated the bus. This was in part to mimic the direction of the moon. Sure, the moon is in back of the bus, but it still implies directionality. I used a warm white light for this. I skimmed it off the surface so it would create texture. Illuminating the headlights This sometimes confuses people. They cannot figure out why the headlights look like they’re on. Confusion is fun. I used a homemade snoot screwed on to my ProtoMachines light and quickly illuminated this for a second or so using a warm white light. I did the same with the smaller red light on the top, switching the color to red. The snoot was handy because it forms a tight seal between the light and the tube so it would not “leak” out directly into the lens and leave an odd spot or trail. This was especially important here because the lens was very close to the bus, and I had to get very close to the lens to illuminate the headlights. The moon A 78% full moon illuminated the rest of the scene during the 3-minute exposure. This provided just enough light to illuminate the rest of the scene. I kept the scene bright enough that it would have detail, but dark enough that it would provide contrast with the bus. I hope you found this helpful!
Does anyone still remember Kodak’s retro Christmas commercials? - If you raised your hand and said “yes” to the question above, you’re in for a treat! As a film photographer, I still find those heartwarming Kodak Christmas ads fascinating. For one, we don’t see camera companies make these types of ads that way anymore. Whether it’s for the better or for the worse, we all have our stand on that. Still, I believe they are important — and charming — pieces of photography history worth revisiting during the holiday gift-giving season. So, I have hand-picked some of the most fitting Kodak Christmas commercials — and their intriguing cameras — to share a bit of holiday nostalgia with you all. I think the cameras here will either be familiar or surprising to some of you, and it would be interesting to know what you thought of them! A give and take Christmas For the first video above, let’s go all the way back to 1969. I love the simple yet heartfelt message of this commercial: “Give a Kodak gift to those you love so they can take pictures they’ll always treasure.” There are three other commercials in this video as well. Several Kodak goodies made an appearance in this five-decade-old commercial, but the Brownie Starmatic is one the stars of the show. The first automatic Brownie camera, featured a fixed focus Kodar lens, an “instant” shutter setting and Automatic Exposure control through a built-in exposure meter. The unexpected gift of Kodak Colorburst 50 Moving on to Christmas of 1979, Kodak released a touching commercial featuring the Colorburst 50, which the campaign dubbed “The Unexpected Gift.” It was a nice surprise for the gentleman then, and I’m sure it’s an intriguing surprise for many today. Also known as Colorburst 50, the Kodak EK160 was part of the company’s short-lived foray into instant photography after manufacturing Polaroid instant film from 1963 to 1969. Despite Kodak’s being different from their instant film, Polaroid filed a patent infringement suit against the company. After losing the dispute in 1985, Kodak discontinued their instant photography products, and cameras like the Colorburst 50 were forgotten. Give the gift of Kodak Disc to the family On Christmas of 1984, the company recommended gifting a Kodak Disc camera for the family. The particular model featured in the commercial, the Kodak Disc 3100, was introduced in the same year and was sold until 1987. The camera and its peculiar disc film format were innovative for its time, allowing it to enjoy a fair bit of popularity among amateur photographers. However, this success was short-lived since the image quality was poor compared to newer 35mm cameras. Got a film photographer or camera collector in the family or among your friends? Some of these vintage cameras are still around, and will still be an interesting gift for them. So, consider this list as a recommendation for giving the gift of Kodak nostalgia! Did I miss your favorite vintage Kodak commercial? Share it in the comments below!
