We had an article about panning photography a couple of month ago, you can read it here – Panning Photography.

In General panning is all about capturing images while the main photographed object is in some kind of move, what kind of movement? Any type, it can be a car just passing  by  or driving away, a scooter or an athlete running. Panning is known by effect created by following the photographed object while this camera movement to keep track of the main subject creates a blurred background behind the photographed model. To achieve this you have to shoot at slower shutter speeds than you would have if you just wanted to shoot a clear image.

The two key points to great panning effect:

1.The camera and the photographed subject are moving together synchronized as one body.

2.The camera’s shutter speed has to be slow enough to let the panning effect take place. Not to slow so the photographed object will be blurred too and not to fast so the blur effect will be created.

You can see that both rules mentioned above are kept. The first – being in sync with the model isn’t so hard in this case, as we sit in opposite sides of a carousel, so we actually move together , but the trickiest part here is to set the proper shutter speed , this one was perfect at 1/25th sec and a wide 24mm, but the lens is Canon 24-105 f/4 with IS, so if you don’t have IS so should set your gear at least a half stop faster. The fun thing here is that you can do this trick with almost any pocket camera that will allow you basic manual settings.

If you’ll try slower shutter speeds you’ll get a decent amount of blur on your object, this what you might get if you go at 1/8th sec:

So what about you? Show me what you can do!

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This time I want to introduce you with Matan Eshel a very talented proffesional Photographer from Israel, mainly photographing landscape,portraits and fashion photography. You can see some of his beauty work in his online gallery – Matan Eshel Photography .

Matan writes here on his view on creating 3D view in photography, so please read and comment below for further questions or i

In our everyday life we see the world in 3 dimensions Height, Width and Depth. But unlike in reality pictures are 2 dimensional, the lack the 3rd and arguably the most important dimension, Depth.

Adding Depth to an picture can be done with a very basic but very complex tool… Light.

Light can give your picture Depth both figuratively and physically. Technically a picture is light. Or rather a picture is  light captured on by your camera weather its digital or film.
Lighting in 3D, or more correctly Lighting the 3rd dimension, what we will be talking about, It doesn’t matter how you light it, weather its Natural lighting, Studio Lighting or like what I’m will be using “Strobist Lighting”.

For those of you who are unfamiliar with concept of being “Strobist”. It’s using your run-of-the-mill flash off camera, and in that seemingly simple action, a whole new world of creative lighting is opens up to you. For those of you who want to learn the basis I suggest you read David Hobbie’s, Blog,  Strobist.Com. It’s excellent! And if you are gonna learn this stuff, learning it from the guy who practically invented it, is the way to go.

But time to get Down N’ Dirty and start talking about 3D lighting.
So how do we take a picture, that while has only 2 dimensions feels realistic and that has depth?
Like we said before Light, or the Lack of light. Lighting an Object in a specific way and creating shadows or just areas which are less lit can give us that depth.
I’ll show you how each photo was made, but  I’m going to focus on the Idea of “lighting in 3D” and less about the technical aspect because there are people, like David Hobby that explain far better than me.

So let’s get to the first picture,

Now aside from the Black/White conversion I didn’t do any Photoshop to the picture.
This very serious looking man is in fact my Dad, whom took a few quick shots of for an article I wrote at the time but it’s very relevant to us here, why?

Take a close look at the picture, now it might have different issues with it, but what I want you to focus here is on the light and the lack of light in different parts of the picture. See how shadows created giving the sense of texture? it is the lack of light in the some parts of the photo. Such as the shirt, the shadow to the side of right on the head, the shadows in his forehead. Those elements help you define depth in a 2 dimensional photo. Now let’s jump over real quick to the technical side, the set-up is rather simple a reflective Umbrella located to the left tilted down towards my subject.
Here is a picture:

Ok, so let’s break it down why did I place the lighting there? Approximately 45 degrees from the subject (it’s a bit warped I shot the set-up with a Super-wide angel lens).  Placing the light at an angle to my subject, and not with On-Camera Flash allows me to move freely without having to worry about the lighting. But the main point here is that placing the flash at an angle allows me to create shadows and the harsh light on my subject. Placing light at different angles weather it’s sideways or Up/Down can and in most cases will change the whole picture. it will also Make or Break a picture.
Since I wanted to give my Dad a certain look, a harsh, very serious look I chose to use strong shadows that would show off his “Personal texture”.

What did you Use?
I used a Nikon SB 28 with a radio transmitter (Cactus V4 to be exact) as my light source and placed it on a light stand. The Flash was pointed into a reflective Umbrella. What is a Reflective Umbrella?
Quiet Simply, Exactly what it says, the internal Part of the umbrella is reflective and bounces light back, it helps you control where the light is going to hit. it also makes your light source bigger.
If you are unfamiliar with them I suggest you read about them on link I gave you at the beginning, there is a whole article dedicated to them.

But let’s take it a few notches up, and get more a little more technical to help understand the idea behind all of this. Here we won’t just be using shadows to define an object, but also use different “Levels” of light. What do I mean by “Levels”? Levels refer to the intensity of the light as it falls onto the object. In this picture you will see how the light falls differently on different parts of the object. This picture has a much more complex set up but the idea is the same to use light to define an object.

It’s not easy but take a few moments and try to see if you can reverse engineer the picture, reflections are normally the best way. You look long enough and try to analyze it you can see that it isn’t a single light source. But the idea here was that shadows and the and different levels of light would help me define the bottle and give it a feeling of depth. By the way has been Photoshoped but no changes to the lighting were made mostly contrast, cleanup and color. And the picture isn’t a hidden ad, it’s just to prove a point

As you get better and more familiar with lighting reverse engineering photos will be easier and will help you better understand how a picture was made. It’s also a good way to practice your lighting, a good website I highly recommend is Strobox.com , it’s a community site where people not only share their photos but how the made the photo, how the light was positioned, it  helps a lot.

Anyway back to the picture of the wine bottle…
Figured it out yet? Don’t feel bad if you didn’t like I said it’s rather complex…
Here is a picture of the set up

First the Gear that i used:

1. backdrop – a reflector turned to its black side to used to as a background
2. Front Light – A Nikon SB 26 with Rogue Honey-comb on it to focus and to light the label
3. Back Light – 2 Nikon SB 28′s with Laccolite Hotrod Strip Softbox
4. Base – Simple black cardboard that you can buy anywhere with a sheet of plastic to give it some additional strength.This is a 3 light set up, I’ll break it down to 2 parts:

• “Carving in light” – shaping
  The first part are 2 of my most trusted flashes, Nikon SB 28′s in long softboxes (Lastolite Striplights) , positioned at both sides of the bottle slightly to the back (I’ll explain why in a bit why they are position to the back). Those lights are designed to define the outlines of the bottle, take a look at the picture again, see those 2 white strips at the sides of the bottle? Those are the 2 flashes in softboxes on either side, here is a photo just using those 2 lights
• 

See how the sides of the bottle are well lit and yet how the center of the bottle is getting less light?, that is  exactly is why I positioned the Flashes slightly to the back.
For those of you Unfamiliar with softboxes, they are pretty much the same Idea as the reflective umbrella but just another step Forward. They increase the size of your light source and allow you control just as the ordinary reflective umbrella but to a much greater degree, they are considered a must for every studio photographer.

Back to the picture at hand, I wanted define the edges but without getting too much light on the center, because I wanted to center to be at “A higher level” then the sides so the label will be clearly visible.

• “The Punch” – the key light

Now it’s time to light the key element of the picture, which in this case is the label of the wine, I used a 3rd flash using a Honey-Comb (Or Grid) which is used to focus the light in a round pattern to light. Honey-Combs/Grids are part of Constrictive Lighting – Limiting and controlling you light with great precision. In this Case I used a Rogue Honey-Comb which is a wonderful little product I was asked to try out. The flash here is quiet close to the bottle to get as accurate as I could but without the Honey-Comb it would have blasted the whole bottle, and that would defeat the whole point of this exercise. As I said before the honey-comb limits the light and also shape it in a round pattern the center of the bottle. The honey-comb was set to 16 Degrees -When using Grids or honey-Combs you will often see a degree number that specifies exactly at how constrictive it is. O.K after that not-so-short explanation let’s see what we got.
here is the final result

The front flash adds another level of light and defines the label
The Honey-Comb restricts the light from going to places we don’t want it to go.

What I want to say here is whether its multiple light sources or a  single light source, can help you create different levels of light, shadows and tell whole stories just with light.
Always keep in mind when you are shooting with artificial lighting (whether it’s in an environment with or without natural light), where your lighting is in regards to you subject, if it’s a person moving around or an object, because it is that light that will define your subject and will help you express yourself in the picture.

Anyway I hope you enjoyed this piece…

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As I promised in the previous post, I have some new stuff, this time I’m showing a simple setup using two lights.

This setup is based on the previous one, you can read here (Dramatic Product Photography using just one light and a grid) while adding a new light to paint the background.

The main light aimed at the object from above and through a simple EBay grid for flash and the second one is from low-behind with some small flash gel pack you can get a amazon for about 10$ and my DIY Gel Flash holder .

I include here an image of the setup:

 The flash on the floor is directed to the wall behind the miniature toy lighting the background and the main light lighting the bear from above.

 So how would you do it? Please cpmment your thoughts below!

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Hey, I remmeber a piece at McNielly about using an umbrella over your models head pointet from above just down on him.This makes a very dramatic look to the model (I didn’t found the image that I reffer to as it was on one of his DVDs – recommended) .

So why don’t make the same thing with your product phtographs?

I acctually made that setup in about 10 minuts, pretty fast. So what do do and how?

Part one – one light:

What I used here?

1. Small model doll.
2. background- none (there is a wall just 10cm behind).
3. One flash (580EXII) shooting throught a grid.
4. Testing exposure.
5. Image settings : Canon 5DII, Canon 100mm, f1/16, 1/125sec, ISO 1250 Canon 580EXII 1/32 full power.

Take a look a the fast product photography setup:

I must say that it was realy about 10 mintes to set up,so you are welcomed to try it yourself too.

Next apisode will be about two lights similar setup but much more colorfull, so keep visiting.

Feel free to comment here for more tips and thoughts.

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Hey, I’ve wondering on dpreview lighting forum (very recommended) and read one of those posts about pop flash diffusers. One of the things that I don’t like about Dslr cameras and digital cameras that use a built in flash is the look of a direct flash, so I always recommend to add some popup flash diffuers to your popup flash. Those are very handy and you can get on from amazon for about 6$-7$, thats nothing in compare to the price of your digital camera (You could see a the bottom of this review links to the popup flash diffuser that I use .

But why I writing that after I already had a post about popup flash diffusers? There was a guy on that thread that continued saying that those popup diffusers are crap and just don’t worth a cent…I personally love those guys that offer to through your pocket or simple digital camera and buy a more professional camera just cause its better in some conditions… Well I said, I have to see if the Puff does some difference. It is a one minute test so don’t judge the photos for their art quality, but only answer the question whether the 6$ gadget makes its job.Here are the pictures:

Well as you can see,this 7$ popup flash diffuser does its job.You can easly see the defuused shadows on the subjects background! I bought it and used it every time I could and recommend anyone to keep a puffer in hand when using a popup flash.

The only thing you have to keep in mind when using it (as any other diffuser) that you’ll to over expose the image, about 1/2 stop to companstate you flash power lost made by this diffuser.

Buy it here:

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One of the most popular question on the web, when starting to learn photography is how do improve your product photography.

Somehow you don’t have to own an online ebay shop in order to be interested in product photography.It simply a common task to do when you start to explore your photography.You don’t have to ask a model to participate in a shootout, you can do it in your bedroom or living room, you can use studio strobes or a simple reading lamp.

So I can’t put the finger why, but every one will do that in one way or an other.

Surfing over flicker.com (which is a great site for photography inspiration) I found this simple setup which I thinks beats my simple product photography tutorial. All this guy uses is a couple of papers arranged in a simple “box” setup for white background and reflector. The only downside for this is that it will suit only small product as this setup is small. Shooting this lens that he did is already to big. So check it out and start learning and experimenting!

Credit for Josh Liba.

Here is a link to Josh’s Flickr gallery: Josh Liba

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Panning is a very nice and simple photographic effect, that is very simple to implement.I’m pretty sure had some panning in your photography even if you didn’t want to.For getting the panning effect right you have to follow the basic steps that I’ll talk about in the following post, the base for a prefect panning is slow shutter speed,not to slow and not to fast.

Get in to read more:

So what should you do to get a great panning? simple:

1. Set your camera to Tv (Time variant) control, so you’ll the control for the time the shutter will be open.
2. Do some tests to get the idea about the perfect time.The picture of the motor cycles in this post where taken about 1/8th sec – 1/15th sec.Those object where moving about 30km/hour and about 20m away from me, so if you are about to photograph faster moving vehicles or taking the panning pictures closer you should make the exposure for about 1/60th-1/30th sec.
3. Test and improve- Change your shutter speed and compostion for better panning photographs.
4. How to take the picture? set the focus on the moving object,drag the shutter and while dragging the shutter, pan with the moving object.
5. Follow the object – start following the object some period before  you drag the shutter and continue your movement a brief moment after the shutter has dropped. This will prevent surprises and will make you movement more smooth as you take the picture.
6. You a tripod – To get sharp it will be a nice idea to use a tripod or monopod for extra sharpness.
7. Test and improve- Change your shutter speed and compostion for better panning photographs.

Here are some examples of pannings that I took while we where traveling in Italy, only there you’ll find so “sexy” scooters for your panning photographs.Share your tips and pictures with as!!!

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Lately I find it very fun to shoot some films with old and not automatic film cameras. I find it a joy to use those metallic old age cameras, and the look of the developed photographs is something different from the digital cameras too. There is something about the film you use instead of the digital sensor, and I think much of the difference in the outcome is about the optics. They definitely used different glass back then, no L DG or any other marks on the lens, but simple 50mm f/1.4 manual and thats all!!!.

Some of the cameras that I own has built in light meters, in my Russian Zenith ET the light meter doesn’t work any more and in my Pentax the light meter works, but only with a battery the is very hard to find in Israel.

So I got my self the light meter my father used some 20 years ago, when there where no alternatives or built in light meters. The only thing was that he didn’t really remember how to operate it. After some research here is my “crash manual” on how to use your old light meter.

For starters, this is my light meter, an old Weimar Lux nova.

How to operate your old light meter:

1. first of all,set your film ISO speed (figure 1).Move the brown circle to match the film speed.In the image it is set to 200ISO or 24DIN (probably the eastern European method).
2. Point the light meter front panel to the direction you want to take the light meter from.
3. In the bottom of the light meter the is a needle that will move when you direct the meter to different light scenes.The number the needle will point to is the exposure number the meter took.In figure 2 you’ll that the needle is pointing on something between 4-5 (4.6+-).
4. Move the big white circle, so the small arrow in the little gray window will point on the number the needle shows.
5. Now you got the camera settings you need on the top of the light meter. You could choose on of the suggested settings .Figure 3 shows that if you set the camera on aperture f/1.4 then you’ll have to set the shutter speed to 1/500th sec.

Thats all!!!

Figure 1

Figure 2

Figure 3

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My wife’s sister is an architect and as one she starts to work on an online internet portfolio. Many times before she goes out for a location, she asks me for some tips about how to shoot better photographs than using the automatic (P,Av,Tv) modes. So I have to be the one that instructs, tip and help. I must admit that I had no experience shooting indoor architecture photographs automatically the first step will be to find pictures of such work and try to figure out what the photographer did there.

If you’ll get some architectural or lifestyle magazine you see that most of the pictures have the same “look” and many things in common:

• Almost all of the indoor architectural photographs look as shot with available light.
• Images are sharp with good depth .
• Some parts look a bit over exposed.

So if you ask yourself how to get those results, here are my tips for better Indoor architectural photography:

• Use a wide angle lens. to get all the room in the frame, use a wide angle lens. 24mm for FF camera (17mm APS-c ) will be a must in that type of photography. If  you can rent or borrow perspective control lens, which will get you strait lines instead of curved walls at the corners of the frame (with normal lens, even the best ones) .
• Use available light. To get the natural photo look use the available light. Even in places that don’t offer to much f that light you’ll have to manuver your equipment to get as much light as possible. The majority of pictures that I see don’t use flashes or strobes for the set.If you’ll take 90% of the IKEA cataloge you’ll sunshine rooms , so get it natural with ambient light.
• Small aperture. Of course you want the room to be sharp and crisp with no out focused areas. Thats why you will want to get your aperture small as possible. No less than f/11! It will be very important if you want your architectural photographs to look  sharp.
• High ISO. This will help you get more natural light in the picture and smaller aperture. If you use a resent  DSLR camera you shouldn’t be afraid to get a good clean image even at 800ISO.
• Long exposures. After the first two tips, here comes the number one tip, why you won’t need to use flash strobes. Take long exposures, as long as 2 seconds isn’t unusual for that type of photography. The long exposures will let great natural light in the frame, sometimes just one big windows and the home lights will be enough. If there are people in the frame (the house owners) ask them to try to stand still for the exposure, to make it look as if its not a long exposure picture.
• Use tripod. A tripod will help you get those long exposures sharp.
• Use a remote trigger. When having long exposure, you will want to eliminate the shakes you will cause when pressing the shutter release button. Use a remote trigger if possible. If you don’t have on, just set the shutter delay option.

More tips:

HDR. If you don’t have any light in the room or just a small window that won’t get you light for the entire room, try to use the HDR technique.

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If you are into home studio photography,a good start be getting an umbrella softbox also known as brolly.

Here are the basics steps to connect your umbrella softbox to a small camera flash.

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