Greetings, dear reader. I’m in touch with you, Timur Mustaev. The last article, as you remember, talked about. But what to do if there is very little light, or rather, practically no light? That's right, use additional lighting sources. But you need to do this wisely. Today I will try to tell you about indoor flash photography.
Work tool
First you need to figure out what can be useful to get a good result.
- Firstly, an external flash, and it’s better if there are several of them.
- Secondly, a white card and diffusers (why they might be useful will be discussed a little later).
- Thirdly, the ability to navigate the camera settings, no matter how strange it may sound.
Here we should make a note about the built-in flash. It’s no secret that any camera can boast of one, but you’ll hardly be able to get a good shot with it (you’ll understand why later). In general, you don't need anything else if you want to get a decent shot. For the sake of a “masterpiece” you need to assemble a studio with a softbox, flash lamps, background and so on. It's expensive and impractical. At least not in our case.
I want to warn you right away that the article is focused on using an external flash!
Process
So, we sort of figured out the necessary tools. Now it's time to tell you how to use it all. First of all, you should make several “sighting” shots with and without a flash on the machine gun. If none of these options suits you, welcome to the “creative” modes.
Mode selection
Which mode should you choose? Let's think logically. In low light conditions, we operate with three parameters: , and . All of them, of course, are important, and therefore these parameters must be used together. When using shutter priority mode (S - Nikon or Tv - Canon), you need to remember that it is not advisable to take photographs shorter than 1/60 and longer than 1/250 of a second with flash. With the first, you will get blurry, and with the second, many flashes are limited in synchronization and do not exceed 1/250 of a second.
The light sensitivity (ISO) parameter is not as global as the others, and therefore there is no separate mode for it: you can change ISO in almost any mode if necessary. It is important to remember that there is no need to increase ISO excessively when using flash!
Therefore, a frequently used solution is to select aperture priority (A - Nikon or Av - Canon). In this mode, we control the incoming light flow to the matrix using the aperture.
There are times when there is no time to bother with the settings, we just set it to program mode (P), set the ISO from 100 to 800, depending on the lighting and the camera model, and take pictures! And it is advisable to use a diffuser, more on that later.
Where should you point the flash?
This question arises immediately after installing it, provided that the flash is external. The built-in one will not work for one simple reason: it can only “shoot” straight, which is not good. Colors with it often fade into cold tones, the foreground turns out to be too bright when compared with the background, hard shadows appear, and a “flat face” effect is likely to appear.
This is also true for an external flash if you photograph head-on. But it contains rotating mechanisms, which allow us to achieve the results we need.
You can direct the beam of light at the ceiling or wall. Many photographers do this, but they can all tell you about the following nuances: the surface to which the flash is directed should not be too dark. If the colors on the ceiling are other than white, gray and similar light colors, then there is a high probability that the color of the ceiling will be obtained on the subject of photography. For example, if the color of the ceiling is blue, the light reflected from the flash will also take on a bluish tint and the subject will appear blue.
The height of the ceiling is also important: the lower it is, the brighter the light will be. If these rules are not followed, the subject being photographed will not be illuminated as needed, or the light will appear unnatural. To work with high ceilings, you can use a diffuser, which I will talk about a little later.
Important! If the ceiling is more than 3.5 m, then there is no point in pointing the flash up at the ceiling.
You should also remember the famous optical law: the angle of incidence is equal to the angle of reflection. When shooting indoors with flash, you will always need to remember it. It is he who makes it clear why it is not necessary to point the flash strictly vertically upward in some cases. It should be slightly tilted forward, but not so much that it looks directly at the object. In most cases, the best option is to tilt the flash at about 45 degrees.
White card
When taking portraits this way, you may notice that some facial features are too dark. This can be corrected by the so-called “white card”. It will allow a small beam of light to be reflected towards the person being photographed and highlight the dark areas of his face. Some manufacturers, by the way, equip their flashes with an additional LED, which can replace the white card.
Such a device can be a small piece of white paper, a business card, a work pass, a travel card... Anything, as long as it is plain white. There are flashes that are equipped with such useful little things by default. There, the role of a white card is played by a piece of white plastic. In normal mode it is hidden from view, but can be easily reached using a special button on the flash.
If you don't have a white card, don't worry. On my first flash, it was not there either, and I purchased a special device, the so-called white card reflector(I also bought it on Aliexpress). The picture below shows how it looks and is attached to the flash. One side is silver and the other is white, very convenient. It costs mere pennies.
Why is this card so useful sometimes? Everything is very simple. When we aim the flash upward, without using a card, the entire beam of light is reflected evenly onto the subject. But when we want to shoot, for example, a person’s face, the reflected light in the area of the eyes, under the nose, and so on, will not be sufficient, and a shadow will appear. We need to reflect a small beam of light, once from the flash, to get rid of small shadows on the face and add shine to the pupils. The white card on the flash is used for this purpose.
It reflects approximately 3-5% of the light from the flash, which gives the effect we need.
Using diffusers
You can direct the flash at the forehead of the subject only if a special diffuser is installed on it. There are different types of diffusers. They can be made of translucent plastic, this is a more compact option and is often used, or more bulky, made of a special rag material, but more effective.
As you understand, we are talking about diffusers for an external flash!
How is it attached? Everything is again elementary simple. Plastic, it looks like a cap that is attached to the edge of the flash. As for the rag, it is also put on the front part of the flash and attached to the back part with special clips. After installation, the diffusers remain quite stable, which does not cause discomfort when photographing.
Plastic And rag I purchased the diffusers on Aliexpress for a reasonable price and was satisfied. Just before purchasing, be sure to pay attention to whether they fit your flash model!
How to adjust exposure?
Surely, if you shoot under incandescent light, the color of your image may turn out to have a yellow tint, or vice versa, a bluish tint. The fix for this is quite simple: in the white balance settings you need to select the appropriate lighting mode. If your camera is oriented exclusively by Kelvin (the temperature of light, hence it is customary to talk about cold and warm tones), then you should remember your school physics course.
Our eyes are accustomed to the fact that during the day we perceive light of 5000-6000 Kelvin, this corresponds to normal sunlight. The flash, whether built-in or external, operates at the same temperature. In a room illuminated by incandescent lamps producing 3000 Kelvin of light, everything will seem “warmer”, while in an office with fluorescent lighting, on the contrary, everything will seem “cold”.
So, to adjust the white balance to work in the first case, you need to lower the color temperature, and in the second, raise it. Then the picture will appear normal under any circumstances. Of course, there is a simpler option: turn on the machine gun and take a few “sighting” shots, preferably against a white background. I recommend the latter option, since the device will automatically set everything up much faster and fewer moments will be lost.
Well, still try to set the white balance in accordance with the lighting. If the room uses fluorescent lamp light, then also set the camera settings to fluorescent lamp; if the room uses an incandescent lamp, similar settings must be made in the white balance settings in the camera, that is, set to incandescent lamp.
White balance is easy to edit, as long as you're shooting in RAW rather than JPEG. For example, all this can be easily corrected in the LIghtroom editor. A very good editor that is used by many photographers, including me. If you don’t know much about it or don’t understand it well, then one of the best and proven video courses can help you “ Lightroom wizard. Secrets of high-speed photo processing».
If you are interested in a more in-depth study of your camera in a visual form, you want to understand what it can do and what it is, then study the course “ Digital SLR for a beginner 2.0" Your eyes will be opened to many features of your camera that you never imagined. You will learn not just to take photographs, but to create masterpieces.
Finally, I just want to remind you that all the techniques described here were tested by me personally.
Thank you for staying with me, I really appreciate it, and I understand that my work does not remain without a trace. Tell your friends about my blog and encourage them to subscribe to it, there are a lot of interesting articles ahead of you. See you later!
All the best to you, Timur Mustaev.
Like any other photography, interior photography requires careful preparation. The purpose of the photo shoot can be anything: rent out an apartment on Avito or show potential restaurant clients an interesting interior, convey the atmosphere of an old mansion in the suburbs of Prague, or attract investors to a new creative space. General rules will be useful in any case. Let's consider what difficulties both those who like to “capture moments of history” and professional photographers may encounter.
Technical features
1. Horizon line
A tripod is vital when shooting interiors. It allows you to avoid blurred images, the so-called “shaking”. A blurry photograph reveals an amateur. Have you heard the expression “littered horizon”?It turns out that the horizon line exists not only in its direct meaning; the horizon is invisibly present in any image. Including in the interior.Simply put, the floor and ceiling should be vertical, and the walls horizontal.Like a crossword puzzle.
There is often a built-in level on the tripod head for this purpose. If you don’t have a tripod, you can install the camera on any horizontal surface; a table, chair, or a structure made from a stack of books will do. A “cluttered” horizon line can be corrected later in the editor.
On the left there is blur and a shift to the right. On the right is a clear photo with a level horizon.
2. Sharpness in every detail
General interior plans - photographs that show a lot of space, most of the room. If furniture and decor are located at different distances from the camera, be careful not to accidentally “focus” on a separate object.
All details of the overall interior plan should be sharp, both foreground and background.
When shooting general plans on your phone, do not focus on objects near you, aim at the wall, in the distance.
On the left, only the foreground is in focus, on the right, the entire room is sharp.
3. Vertical lines
The human eye is a highly precise organ. Modern technology is far from it. It happens that the vertical lines in the photo (doors, windows) do not look strictly vertical at all. The fact is that the real world has volume, and photography is just a plane, 2d. And the structural features of the optics sometimes distort the verticals. 
Here is an example of a door that “tapers” at the bottom and a “crooked” ceiling.
And this is a photo with the distortions already corrected, the ceiling and vertical lines of the doors straightened.
4. Light is the basis of photography
Light is perhaps the most important factor in a photo. Always. Thanks to light and shadow, we see objects and their shape, distinguish size and texture. If possible, shoot interiors during the day with natural light from windows - this way the colors and overall atmosphere will take on a natural look that is closest to reality. 
If there is not enough natural light, or there are no windows at all (and this happens, for example, in the bathroom), you cannot do without additional lighting. Use spotlights - floor lamps, table lamps, lanterns. You can also rent professional lighting equipment - spotlights, flashes, softboxes. 
Don't forget about possible glare and reflections that can be caused by additional lighting sources. And about the random shadow from the photographer himself.Also, unusual lighting can be a feature of the interior, and it would be a mistake not to capture it.
Life hacks from practice
5. Remove unnecessary things
Preparing for shooting is a process no less important than the shooting itself. Therefore, the first and obvious advice is to remove everything unnecessary. Unwashed dishes and scattered toys have not yet graced a single interior photo. If general cleaning was not part of the plans, the main thing is to clear the space in the frame. Sometimes, the viewer does not even realize what is outside the photograph. 
6. Shooting point
Angle is everything. Avoid shooting from corner to corner diagonally in the room. Choose an angle that will minimize distortion in the size of objects. Remember the effect of optical illusions? For example, all these doors are actually the same size: 
From a different vantage point, it becomes easier to believe. 
7. Photo style
When shooting any photo, including interiors, it is important to understand the goal - what needs to be conveyed in the photo. You can start from the style of the interior. For example, a youth loft or non-residential premises will do without additional decor: 
And to convey an atmosphere of comfort, you can deliberately “forget” a blanket and books in the living room or food in the kitchen. It was as if a person had just been here. Western designers love such techniques and often use them for filming residential premises. 
Interiors are created, of course, for people, so a living sense of presence is achieved in all possible ways: a set table, open windows and doors, accents on details. 
The hall is ready to receive guests.
The owner just went outside and will be back soon. 
A teapot and open books create a “presence effect”.
Photo selection of ideas and backstage
Before and after processing.
You will go to great lengths to find the best shooting point!
Flowers and cats will decorate any frame.
Interesting exclusive interior elements deserve special attention.
And shooting “tasty” details often looks completely different in reality than in the photo...
An unusual angle for atmosphere.
A very unusual angle.
When there is very little space.
Or vice versa, a lot.
Any room has its advantages and disadvantages. The photographer’s task is to correctly identify them and show the interior from the best side. Light, decor and the space itself are designed to serve the person - the photographer, the guest or the owner. It is much easier to take good shots in a well-planned, interesting design. If there is no worse side, then it is pleasant to photograph from any angle. Well, you understand.
Shooting indoors is a rather difficult moment for a novice photographer, because, in fact, a lot depends on the technique. Any professional will say that in a room where sunlight reaches only on holidays and, as a rule, not at all when you need to shoot, there is nothing to do without a good camera, a light zoom and an external flash. However, this does not detract from the importance of mastering the shooting technique itself, and if you count the costs themselves (camera from $3000, zoom glass from $1000, flash from $500), you get an amount that makes you think... at least that you will still need shooting technique still to master. Let's try to understand how to do it, who to deceive and what to replace in this expensive scheme, using what we have from the very beginning (i.e., from the purchase of a camera, highly preferably an SLR).
How not to shoot indoors
First of all, we should remember about the terrible shooting conditions: indoors there is an order of magnitude less light than outdoors, which inevitably leads us to using a flash, which a beginner strives to turn on in normal TTL mode, taught by the delusion that the ISO value should be set as low as possible . As a result, you get a “stunning” shot with a face against a background of black (or a color close to it) surroundings, which the flash simply did not achieve, and if there were objects closer, they will be completely overexposed. Actually, this is the position from which we will dance.
Remember the background
In fact, any indoor shoot (if not any shoot at all) is a balancing “on the brink” between blurred motion and strong digital noise. You probably know why such a dependence occurs, because... We've already heard about it. If you think that the most important thing in photography is the subject, you are mistaken. It’s just a chip on a field that consists of a background (foreground, background, middle - you’ve probably heard that too), and if the background is zero (it’s black, R0 G0 B0), the object also becomes zero. Therefore, we are trying to get the background, trying to distract ourselves from making it interesting for now.
Once in a dark room, we first increase shutter speed to the limit, at which we can shoot without blur - usually this is the inverse number of the used focal length of the lens, it can be a little longer if you are confident in your hands. For example, if you are shooting 28mm wide, the shutter speed should be no longer than 1/25s unless the subject is moving quickly, otherwise it will turn out. If the focal length increases to 80mm, and the shutter speed should be set to 1/80s. Naturally, when quickly changing plans, you can set 1/80 and calm down, but then you will lose a step elsewhere. Which one to choose is up to you, either shutter priority with the required setting, or aperture (to monitor the depth of field), you just need to constantly keep your finger on the pulse, controlling the shutter speed itself.
Accordingly, if the shutter speed does not decrease (Lo blinks in the viewfinder in place of the aperture), and there is nowhere to open the aperture, we begin to use the third exposure parameter, matrix sensitivity. Doubling the sensitivity gives us a gain of one step (the ability to reduce the shutter speed by half) - we can play with the matrices of modern devices for a long time, up to about ISO 1600 we can live very well. On an old camera like the Nikon D70, it’s difficult to go above ISO 800-1000, but these parameters are quite realistic.
Shut down the noise
Noise exists on forums, where it is discussed, discussed, created and considered. Photographers are accustomed to grain, as our eyes are accustomed to it when looking at printed photographs (otherwise why take photographs if not print them?). A modern “affordable” camera, regardless of the manufacturer, generates noise ranging from “good” to “quite tolerable” up to the ISO 1600 bar, and the resolution allows it to be further reduced to reasonable levels when printing even large formats. For posting on the Internet, you don’t have to worry about it at all (a bold statement that is only the result of omitting some caveats).
However, you shouldn’t take noise too liberally - this is an extreme that needs to be taken, nothing more. If you have the opportunity to reduce sensitivity, do not miss such chances (of course, not at the expense of what is stated above).
Pay attention to noise in post-processing- shoot indoors in , process in (for large noises, the color noise slider is moved beyond the 50 mark, the light noise slider is moved very carefully, no further than 30, which is already a lot, just to bring the noise picture to a pleasant look, and not to plastic). This will make it easier to get the most out of your photo.
Use your flash wisely
Flash indoors - not the main light, but an auxiliary one. It should fill the shadows, highlight it from the background, highlight it a little - nothing more, otherwise the photo will become indistinct. In principle, it is permissible to use it directly at the ceiling, but this is usually also an extreme, and you can’t get it right with ceilings and walls everywhere, and then you can suffer for a very long time with the color temperature due to green/red/blue/yellow walls in different rooms .
However, this option cannot be thrown away either, especially if you use reflectors like 80/20 Lumiquest, “buckets” named after. Gary Fong or just a white card - a white ceiling (no higher than 4 meters), if you point a flash at it, can become large light source. Naturally, if at the same time the shadows under the eyes “a la groundhog” are filled in successfully. It is clear that the ceiling should be white, and the walls should strive towards it.
Otherwise, the main mode of flash operation is slow rear curtain sync(in Nikon slow-sync rear, in Canon just rear curtain). There is no big difference in the curtains at a short shutter speed, but you still need to be on the safe side and “cover up” the blur with an impulse from the flash (let me explain: on the front curtain, first the impulse, then the exposure, on the rear curtain it’s the other way around, i.e. the light spot falls as if from above - t That is, if there is any shaking, the key object should be fixed by the flash impulse).
In view of what was written above, that a flash in a room is an auxiliary light, you can try to shoot without it, if you fit within the above exposure parameters, you just need to follow people against a light background, because they will be underexposed. That is, a flash, in principle, is optional (and many wedding vendors in registry offices generally take pictures without a flash).
On the other hand, you should pay attention to color temperature of light. This is already aerobatics, but you still need to know the basics. The fact is that of all light sources, only flash has the most neutral color, close to true daylight - white. All other lighting devices deviate from it - fluorescent lamps, also known as fluorescent lamps, can give a reddish or greenish tint, incandescent lamps - yellow. Daylight is also yellowish, and in the evening even reddish (these are windows, if you don’t understand - it penetrates into the room through them). All this can mix in a terrible way indoors, and here you are with a flash: the face will be illuminated white, and the background, for example, greenish (most often energy-saving fluorescent lamps are installed in rooms today) - it can take up to half an hour to correct such lighting, if you have the skills. Accordingly, it is easier to prevent a disease than to treat it - to equalize the temperature, you need to take a test shot with the white balance set to “flash”, but without a flash, then look on the screen what shade the background is painted in and add such a filter to the flash (they are called gel, although they relate to the gel only through bad translation). Accordingly, it is a good idea to have a red, green and yellow filter for the flash with an effect of no more than a third of a stop, i.e. very light (they come with good flashes; for cheap flashes they are cut out by hand from anything). Please note that filters take some getting used to. If you don’t have them, if you don’t want to fool yourself with this, just forget about it.
Choose adequate means
“Shooting indoors” is a too broad and general concept. You can film press conferences of presidents - that's one thing, you can take pictures of weddings in registry offices - that's another, or you can just have friends drinking or taking children's photos - that's another thing entirely. The difference here is in the final quality of the photograph - it is unlikely that you will be able to provide the editor with a noisy photograph of Medvedev (although they are still printed when there are no options), and even in wedding photography the customer may not be happy with this. But you can easily post pictures online from yesterday's drinking session for friends - when you reduce the images, the noise magically disappears by almost 80%. Therefore, in most cases, you can get by with existing equipment: compacts are quite suitable for everyday photography (if they focus quickly), DSLRs are sufficient for shooting weddings, only professional reporting requires special equipment. Therefore, you need to choose tools according to the tasks. Although it’s not good to say that expensive equipment is not needed... let’s explain what’s what. After all, if the equipment was not required, they would not have bought it; they would have filmed presidents with inexpensive DSLRs with whale lenses.
Camera professional reportage level (the one from $3000) can not only shoot quickly, but also shoot full frame and, as a result, has noise 2-3 steps lower (read, noise at ISO 6400 is the same as at ISO 800) , which means you can either set the shutter speed two to three times shorter, or reduce the sensitivity.
Flash($500 dollars) even with slow synchronization can give a gain of about ½ or ⅓ stop, which, in principle, is not critical, but something else is much more important - it can help freeze a small blur or simply highlight an object from the background.
Professional level (from $1000) usually, in addition to clarity, also gains a stop or two in terms of aperture - the minimum aperture number on expensive zoom lenses is 2.8, while standard ones have 3.5-5.6 (the short end loses by 2/3 of a stop, long by 2). Accordingly, although the depth of field is smaller, you can reduce the sensitivity by one or two stops (ISO 400 versus 1600 is also not bad, right?).
As a result, it turns out that professional equipment allows you to be a whole head above (or ahead, as you like) those who shoot with a regular one - a professional is guaranteed a 4-5 step head start. Actually, they don’t cost a penny either, and therefore you have to think about what is better, to spend money or to soberly assess the situation.
Walk up the steps
One step up - one step down. Each step is an increase (or decrease) in the amount of light by a factor of two, no matter how you implement it. As an option, in many models of modern devices you can now configure ISO Auto, so that this parameter does not fall below the specified value (for example, 800 or 1600, salt and pepper to taste), set shutter speed priority and, when shooting general plans (28 mm, f/3.5), set the shutter speed to 1/25s → the camera will reduce sensitivity , for example, up to ISO 200; when shooting close-ups (80 mm, f/5.6) set it to 1/80s, the camera will set the ISO to about 1250, which is not a problem for modern people. In this case, on general plans, where there is more detail in the shadow areas, we will save detail in them (this can be critical), but on large plans, where we are talking about faces, the shadows can be sacrificed a little (to kill the noise), but they will still be blurred. In Lightroom this is a matter of a couple of presets, nothing more, but the result will be different. It should, however, be remembered that such a step is only for those who have no problems with memory - they forgot to switch and got into a puddle. It might be easier to set the shutter speed to a fixed value, leaving ISO Auto - as the light improves, the device itself will reduce the sensitivity, and it will even save you when you go outside.
Don't be afraid to experiment
Actually, what is stated above is just a base, a stove from which you can already dance. Practice the technique, and once you get the hang of it, try to invent and use your own techniques (by the way, if you comment below, we won’t mind at all) - photography is akin to life itself, it is constantly moving forward, so this article, perhaps in a couple of years, will safely find its place in the trash can, and it will be replaced by a new one that meets the changed conditions.
There are many photographers who specialize exclusively in portrait photography. And their passion is understandable: portrait photography is one of the most complex and interesting genres in photography, which reveals a person’s character.
Exciting? Then you just need to learn everything about portrait photography techniques.
Camera settings for portrait photography
- It is best to use aperture priority mode. An open aperture when shooting a portrait is the ideal solution. This way you will “blur” the background, create a bokeh effect, successfully highlighting the subject. Surely you assumed that we would give you the magic numbers of perfect settings suitable for any occasion. But, for example, we cannot say anything about certain aperture values, since the aperture will depend on specific cases, shooting conditions, as well as on the capabilities of the camera and its lens.
- To eliminate grain and noise, set the ISO to the lowest possible value. These parameters directly affect the brightness of the image and need to be adjusted based on the illumination, but we recommend setting the lowest value possible. However, the extent to which noise appears at high ISO depends on your camera and the optics it uses. And therefore, the photosensitivity settings will be individual in each case. Speaking of optics: if you want to devote yourself to portrait photography, then a portrait lens is simply the perfect solution.
- Since a person cannot stand still like a statue, but play with the model the game “Marine figure, freeze!” somehow not comme il faut, to avoid blurry pictures, just set the shutter speed to 1/60 - 1/125 seconds.
- Don't worry too much about white balance. Standard settings are also suitable for any conditions. If the soul requires more creativity, then there is always a manual mode M.
- Metering mode is also an important parameter in portrait photography. Most modern cameras offer to perform the average, that is, over the entire frame. You can also apply it to a small area in the center of the frame (evaluative or spot).
Taking portraits indoors
If you are on a limited budget and do not have serious lighting equipment, and neither you nor your model can afford to rent a studio, just use the light from the window. Taking a portrait at home can be very successful if you shoot in a room with one window and light up parts of the face that are in shadow a little using a reflective screen. Place the screen about a meter or two from the model.
If you decide to shoot on a bright sunny day, when direct light mercilessly illuminates your face, we advise you to lightly cover the window with a light white fabric. This way you will be able to avoid unpleasant shadows on the model’s face (unless, of course, you wanted to turn this nuisance into the highlight of the photo).
Taking portraitsat home: practical advice
- Ask the model to stand sideways to the window at a distance of about one and a half meters. Position yourself with your back to the window so that the visual axis is perpendicular to the plane of the window.
- The background can be either plain walls or some bright element. To find the perfect angle, ask your model to walk around the room until you find the lighting conditions that best suit your idea. Since when shooting indoors you have to set a longer shutter speed, shooting a portrait with flash, unless you have a tripod, of course, is simply inevitable. Point the flash upward and attach the reflector so that it can cast light on the model.
- Here's a great lighting scheme for quality results. Use a pair of electronic flashes, which you place at a distance of about one and a half to two and a half meters from each other. Use the main light source to give your subject the desired effect, and place additional light sources as close to the top of the lens as possible, using them to highlight shadows.
Below we have described several classic lighting schemes used for shooting portraits in the studio.
1. Take two additional light sources and place them at a slight angle in relation to the model. This will help you add extra volume to your photo.
2. Direct one source parallel to the camera, place the other at an acute angle in relation to the model, securing it at a height of about three meters. Light the model's head third from behind and slightly from the side - this will allow you to create volume in the frame. Light the background with a fourth light source.
3. In order to soften the picture a little, use reflected light, which can be obtained by directing the lighting device at the walls and ceiling.
4. The simplest lighting technique is carried out using a single source - a reflective screen. The method is as simple as three pennies, but despite this, you can use it to create unusual lighting effects.
Taking a night portrait
Portraits on a black background with bright spots of color usually look very unusual and contrasting. True, such conditions require a good external flash and the absence of too long shutter speeds. For example, you won’t be able to set a shutter speed of thirty seconds. Because even the most powerful flash will not give the object clarity in such conditions, only if the model freezes in one pose for a long time.
And now we will try to describe the technique of taking portraits at night against the backdrop of the colorful lights of the city at night.
- Try setting the shutter speed from 1/15 to 1/10 sec.
- Set the aperture value not very large, in some cases f 1.8 is perfect.
- Photographing a portrait at night, as we have already said, involves using a flash. In principle, in the absence of an external flash, you can try the built-in one: just set the synchronization to the second curtain so that the picture does not turn out blurry.
- If you shoot with an external flash, you can set it up in the same way as the built-in flash. First try it on automatic; if this option doesn’t suit you, turn on manual mode and have fun with the settings all night long.
- Indirect light is best suited for this type of photography, so use umbrellas. If you have a synchronizer, place the flash on a tripod at 45 degrees, to the side of the model. This will give your photo depth and contrast.
- Want to make your background stand out more? Set your ISO settings to a high value.
Common mistakes when taking portraits
- Shooting using a wide-angle lens. Such optics are not suitable for portrait photography, as they exaggerate the perspective. If you wanted to get a comical effect, go ahead, but if the shooting is artistic, then you should not use such a lens.
- Unsharp eyes. The eyes are perhaps the most important thing in a portrait and as such they need to be sharp, especially when you're shooting wide open to limit the depth of field.
- Depth of field too deep. Shooting with a closed aperture is also not a good idea. A harsh background will distract from the main subject and the photo will not look good
- Objects sticking out of the head. This can happen if you don't pay enough attention to the background. Of course, a tree or road sign peeking out of your head can be removed in the editor during post-processing. But why burden yourself with unnecessary work when you can pay attention to the background and, if necessary, step slightly to the side.
- Wrong angle and height of shooting. The correct height for shooting is best determined based on the context of the image and the subject, but the best results, as practice shows, can be obtained by shooting from the eye level of the subject.
- Sharp shadows. Often such shadows do not provide a favorable effect for the photo.
- Red eyes. To avoid this, move the flash away from the lens (if it is not built-in, of course)
- Overkill with details. In pursuit of sharp eyes, we often forget about the rest. You should not use modes that increase saturation - they can highlight skin imperfections, which will then have to be retouched for a long time and painstakingly.
- Before you pick up a camera, you need to decide what kind of photo you want to get as a result. What is the purpose of your shoot? Perhaps it’s a business portrait, fashion photography, online promotion, or you just decided to take an artistic photograph of a friend. Think carefully about the settings and style of future shooting, based on the task assigned to you.
- Have you decided on the purpose of shooting? Great! In this case, it will be easier for you to choose the appropriate place for it. What might be ideal for realizing your idea? For an artistic photo, this could be a forest, an abandoned house, or any other mysterious place. Fashion photography can be organized in a studio or stroll through the city at night. A business portrait can be taken in a cafe or office.
- If you are working outdoors in natural light, it is very important to consider the time of day at which the shooting will take place. We do not recommend shooting in the middle of a sunny bright day, when the sun is especially merciless, because direct light, the blinding rays of the sun, will complicate your work, and it will be quite difficult to avoid overexposure.
- Don't forget about the basics of chiaroscuro, which everyone studied in art classes at school. Harsh, harsh lighting creates dramatic shadows. If such an arrangement was not included in your plans, then try to create conditions under which the light would fall on the entire object at once. Soft light can create an effect that makes everything appear flatter, but it can save you from worrying about losing detail in dark or bright spaces.
- The advantage of working in a studio is the freedom to experiment with art using artificial light sources. In field conditions, this is, of course, impossible. But in the studio, you, as a photographer, hold all the cards! We can set different light patterns, move and adjust the height and tilt of the sources in accordance with the idea. In other words, working in the studio makes you feel like a master of light.
- It is very important to organize competent work with the model. Reach mutual understanding, find contact and win over a person. Don't think that the model can read your mind - communicate with her! Talk about what pose is best for her to take, where to look. Smile, joke, create a relaxed environment in which a person will feel comfortable and can open up.
If you are interested in portrait photography, training is a must. Ours can offer a large number of various courses taught by professional photographers. Everyone is welcome!
How and in what mode to take photographs indoors? Beginning photographers have a lot of difficulties with this. The article will primarily focus on creating an artistic portrait, and not on a souvenir photo. In this case, we must not only capture some moment in the photo, but also try to make the frame beautiful and aesthetically pleasing.
NIKON D810 / 85.0 mm f/1.4 SETTINGS: ISO 125, F2, 1/125 s, 85.0 mm equiv.
From the camera's point of view, the lighting in any room will be insufficient. Therefore, you need to think about the shooting location, and do not forget about the correct settings.
Of course, there is always the option of using flash. But the built-in flash will not provide very beautiful, flat lighting, and ugly glare may appear on the model’s face. The same thing will happen with an external flash if you point it frontally, at the forehead. But if you turn it towards the ceiling, the lighting will be more natural. But not everyone has an external flash. In addition, by shooting with available light rather than with flash, you can get interesting, more interesting lighting.
To get high-quality shots, it is important to choose a well-lit place. You can take pictures near the window. It is best to turn the model slightly sideways to the window, then the lighting will fall on the face naturally, emphasizing its volume. But it makes no sense to shoot against the background of a window: the face itself will not be illuminated and will most likely turn out dark, and the window will come out too light.
Of course, it must be light outside the window so that the light falls on the model’s face. To further soften the lighting so that unpleasant contrasting shadows do not appear on the face, the window can be covered with tulle or a light curtain.
In addition to the window, there are other sources of lighting in the room. Use them! A person can be placed under the light of a floor lamp or table lamp. Compose the frame so that no extraneous, distracting household objects fit into it. On the occasion of photography, the house can also be cleaned.
An interesting technique when working in a confined space is to shoot through a mirror. When we're photographing in a tight space, shooting through a mirror will help visually expand the space in the photo.
How to set up your camera when photographing indoors? When we shoot a story in low light, the first thing we need to do is keep an eye on the shutter speed. If it turns out to be too long, the picture may become blurred both from camera shake in the hands and from the movements of our model. A person cannot completely freeze in place, so it is worth shooting at shutter speeds shorter than 1/60 s. The most convenient way to control shutter speed is in mode S (“shutter priority”).
When shooting indoors, it is convenient to use high-aperture optics. It will allow you to shoot in poorer lighting with a shorter shutter speed, and it will blur the background more beautifully. At the same time, it is not very convenient to work with long-focus lenses indoors. Therefore, for cameras with an APS-C matrix, it is appropriate to use lenses with a focal length of 28 mm (Nikon AF-S 28mm F/1.8G Nikkor), 35mm (Nikon AF-S 35mm f/1.8G DX Nikkor) or 50 mm (Nikon AF- S 50mm f/1.4G Nikkor). For full-frame cameras, 35mm (Nikon AF-S 35mm f/1.8G ED Nikkor), 50mm (Nikon AF-S 50mm f/1.4G Nikkor), 85mm (Nikon AF-S 85mm f/1.8G Nikkor) are suitable. You can use shorter focal length optics if there is not enough space for shooting, but it is important to remember that short focal length optics can distort the proportions of the faces and bodies of our heroes.
Loading...
