[Photography] Put the Fun Back into Your Photography with a Cow Safari

Whether you are a pro photographer or a dedicated amateur, sometimes when you are photographing a lot you can get so caught up in achieving the perfect image, that you lose the sense of fun that got you interested in the first place.

Actively putting the fun back in can not only help you to enjoy your regular photography work more, and assist in getting your photo mojo back, but can inspire new ideas you otherwise might not have come up with. My favourite way to do this is a Cow Safari. It’s kind of like an African safari, but with cows.

Why cows? Well, for a start they tend not to eat you as much as lions and it’s much cheaper than a trip to Africa. Cows are not the most athletic of creatures, they tend to just stand around a lot and are not well camouflaged, so are pretty easy to capture in a photo. They generally hang out in very picturesque areas, perfect for a day out photographing.

Cows make a great safari subject and are generally vegetarian so your risk of getting eaten by one is fairly low. Can’t say the same for lions.

However, if you don’t live close enough to a cow hang out, you can make up your own safari. For example; if you’re in the city, maybe a pigeon safari, or seagulls if are near the beach. Perhaps a people walking their dogs safari, or even a flower safari – it doesn’t really matter, just so long as you can find your subject in various different places that you can travel around to easily over a few hours, a day, or even a road trip weekend.

My first safari was some years ago by the seaside with my father, the subject was seagulls. We set up a small wager, winner gets bragging rights. There has been no definitive winner, because the safari still continues years later. Even when we’re in different parts of the country, there is an occasional exchange of seagull photographs. It’s been inspirational, I’ll be bogged down in the photographic process and my phone will light up with something like this:

A photograph sent to me by my father while on a seagull safari. I don’t think that seagull is very well, in fact I don’t think it is actually a seagull, I suspect foul play! Photo credit: Chris Hawkins

The main point of the safari is to step away from your usual photography routine and just enjoy taking photographs for the sheer sake of doing so. No planned images, no trying to achieve anything or get that perfect shot, just fun photographic play time with the idea of loosening and lightening up a bit as a photographer, and not taking yourself or your images too seriously.

Once you take the trying hard part out of the picture, you can get back to experimenting, and maybe surprise yourself, just like you did when you first fell in love with photography. Of course you may not end up with anything worth saving, and that’s not the point of the exercise. But, then again, you never know what you might come across in your travels.

Had I not been out on a cow safari, I may have missed the opportunity to capture this cow doing a remarkably good impersonation of a horse.

Your safari is a great time to experiment with things you might not normally try when you’re too busy trying to get that perfect shot. Try the lens you haven’t really played with yet, test out some of the features on your camera you haven’t gotten around to trying. If you are a pro who is dedicated to manual setting, maybe just try out some of the Scene Modes, or vice versa, play with manual settings if it’s something you have not really tried. Maybe even pick up one of those cheap disposable film cameras, or test out some different mobile phone apps.

Use the photographic time-out to slow down and experiment with things like mobile phone photography apps. 

How to Conduct Your Safari

Step 1: Grab a fun friend or two

They don’t necessarily need to be photographers, although I’m willing to bet they’ll end up taking a shot or two on their phones. Encourage them to bring a camera, or bring one for them. They could also come in handy as a model.

Safari fun is best shared.

Step 2: Bring some supplies

Depending on where you conduct your safari, you may not be close to a convenient cafe or food place, so why not take your own. Pack a few sandwiches or a whole picnic.

Maybe pack a healthy picnic for your safari. It’s all healthy as long as there’s some fruit right?

Step 3: Get out there and have fun

Jump in the car, on your bikes, the train, or get your walking shoes on and head out. You can map your trip beforehand, or perhaps toss a coin for which direction to go, as you step out the front door. Just so long as you travel around a bit, and have a few different spots to stop and take some photographs.

It’s thumbs up for the cow safari. My little friend here really got into the spirit of the day. He even took some great photographs and video on his portable gaming device. By the end of our safari he wanted to know how much he had to save up to buy a camera. Safari success!

Safari Tips:

• Experiment: Use the safari to experiment with different lenses, settings, or cameras.
• Go Mobile: Don’t disregard the phone camera, even if you are not a fan of phone photography.
• Do variations: Try all versions of the above at each place you stop. See how each setting/lens/app deals with the same situation.
• Don’t trespass on properties, as much as you might be tempted to slip under a fence to get that perfect cow shot, these animals can be dangerous, as can farmers who don’t appreciate trespassing.
• Don’t hassle the cows. If they are close to the fence, keep a distance and approach very slowly. If they start to get up and move, back off. No shooting off a flash in their moo-ey faces.  The same applies to other subjects. Just be kind and respectful.
• Set up a challenge with your co- safarians (I think I just made that word up), such as best, funniest, or worst pic of the day. Just don’t get too serious about it!
• Keep it going in the processing stage: The fun doesn’t have to stop when you get home from your safari, take the same approach to editing. Use some of your images from the day to experiment in your editing program with different effects and techniques that you wouldn’t normally try.
• Take it global: You could do your safari with online friends, just set up a date or an event on Facebook. In this day and age of instant online access, you can safari with friends from around the world.

The final shot on our cow safari, taken through the car window on the way home.

Above all, have fun, relax, enjoy, laugh, play. This is about taking a photographic break of sorts and getting outside your normal photography practice. You never know, you may end up with that coveted perfect shot in the process. Or, maybe not. It doesn’t matter, as long as you were having fun with your camera. Although I am sure you will end up with at least one shot that makes you smile, and I would love to see that shot or any others you take on your safaris.

Please do share in the comments below, any safari shots inspired by this article or from a previous safari, or any tips or safari ideas you might like to share with fellow safarians (yup, it’s a word now). They don’t have to be great shots! It’s about sharing the experience and having fun with your photography.

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[Photography] How To Transform Your Photos In Just One Click

We’re super-excited to let you know about a brand new dPS product that’s just launched, to help you transform your photos into stunning images with a single click:

A mega pack of 101 Lightroom® presets (Please note: a copy of Adobe Lightroom is required to use these presets.)

Best of all, for a limited time, the pack can be yours for the special introductory price of just USD $20 (that’s 60% off).

Check it out now!

Following the incredibly popular preset offerings in our 12 Days of Christmas and Mid-Year Summer sales, we’ve been inundated with requests for more…

So we decided to bring in pro photographer and Lightroom expert, Cole Joseph, to handcraft the first ever dPS set, including 7 high quality collections:

• Plush Portraits – bring the “wow” factor to your portraits while preserving natural skin tones
• Lively Landscapes – add vibrance to your lush landscape images
• Street Grit & Grunge – give your photos a unique and cutting-edge look
• Bangin’ Black & White – for images with classic charm, romance and soul
• Sleek Sepia – stylize with a cross-toned black and white edit
• Classic Vintage – step back in time and relive the good ol’ days
• Quick Adjustments – quick and easy fine-tuning to simplify your editing process

With 101 presets to choose from, Cole’s done the hard work for you so you can get the perfect edit for every photo without any fuss.

Simply apply the effect and adjust as desired… It’s that easy!

You’ll save a whole heap of processing time, while giving your images an instant “pop”.

See Cole demonstrate in this video:

If you haven’t used presets before? No worries. Full instructions are included in the pack and as with all our products if you pick it up and don’t find it’s for you – you can ask for your money back anytime within 60 days and we’ll give you a full refund.

Transform your photos in just one click.
Pick up our 101 Lightroom Presets Pack today!

*Please note: a copy of Adobe Lightroom is required to use these presets.

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[Photography] Beginners Guide to Using TTL Off-Camera Flash

So you want to use off-camera flash. But why? Your camera has that hot shoe there for a reason, right?

There are two things that you may not realize:

1. That many DSLR-speedlight combos are capable of wireless off-camera flash using through-the-lens (TTL) metering without any additional equipment
2. That using off-camera flash can take your photography to an entirely new level both in quality and creative potential.

Many references to off-camera flash talk about sync cords and wireless transmitters, when in fact, many DSLRs with a built-in pop-up flash have the ability to wirelessly control a speedlight. Likewise, many hot shoe mounted speedlights are fitted with an optical receiver to be wirelessly triggered.

Look, no wires! On camera pop-up flashes are often capable of optically triggering speedlights.

The least painful way to cross the proverbial bridge into the realm of wireless off-camera flash – often referred to as a remote or slave flash – is by utilizing your camera’s ability to act as a remote trigger for a flash combined with TTL metering.

Most Nikon cameras from the D70, and flashes from the SB-R200 and up; and Canon cameras from the 600D (T3i) and flashes from the Speedlite 90EX and up offer these features, but check the manufacturer’s website to be sure what setups will work. There are also a wide selection of other brands of flash, often less expensive, that offer similar features.

A TTL-equipped flash is manufacturer specific. The TTL feature of a Nikon dedicated flash will only work with Nikon, however, it could possibly still be used in manual mode.

In a nutshell, TTL is the way that the camera sets the exposure and flash intensity automatically by firing a nearly imperceptible pre-flash, taking an exposure reading, and adjusting settings accordingly. Nikon calls it i-TTL and Canon has dubbed it e-TTL but it’s basically the same deal.

For wireless off-camera flash functionality, the built-in flash on your camera is set to send an optical signal to your flash which triggers it.

This photo was taken simply with a hot shoe mounted flash set to TTL metering and the camera set to aperture priority. Shot at 200mm, f/5.6 at 1/60th of a second with the flash pointed at a low white ceiling. Nice soft, even lighting.

Exact same settings as the photo above except the flash was setup off-camera in remote mode, with TTL metering. It was placed at 45-degree from the subject and aimed towards the food. Voila! Directional, moody lighting.

First time users of this method will think they just discovered sorcery. Partly because it’s such a cool trick and partly because it is easy to achieve awesome results right away. Manually controlling an off-camera flash isn’t the end of the world but it requires more thought and consideration to balance the flash and camera settings to achieve desired results.

If you have a camera and a hot-shoe-mounted flash unit that are capable and you haven’t taken advantage of it yet, this is the point where you should start getting excited.

Setup for Nikon Equipment

Camera Settings (menu locations may vary depending on camera model)

1. Open the Custom Settings Menu
2. Scroll down and select menu “e” – Bracketing/flash
3. Choose e3 on the list – Flash cntrl for built-in flash
4. Choose the last selection on this list – Commander mode
5. The first line item is Built-in flash, scroll right to highlight the Mode column. If you haven’t messed around with this it will probably be set to TTL.
6. Scroll down until it reads – –. This means that the camera’s built-in flash will only trigger the off-camera flash and won’t add any additional light to your exposure.
7. No need to change it but note what channel is selected as your flash will need to be set to the corresponding channel.
8. Press OK.
9. Pop open the built-in flash.

Flash Settings (varies depending on flash model)

Users of Nikon speedlight models SB-600 and SB-800 are looking for this symbol indicating the flash is ready to be wirelessly triggered. The SB-800 selection is also marked Remote.

On some Nikon flashes you are looking for a curved arrow symbol that signifies it is set to be controlled wirelessly. On some models like the SB-600 and SB-800 this is accessed in the Custom Settings menu while the SB-700, SB-900 and SB-910 have a dedicated switch to set the flash to Remote.

Setup for Canon Cameras

Camera Settings (may vary depending on camera model)

1. Press the Q button to open the menu.
2. Cycle through until you reach the Built-in flash func. menu setting identified by a flash symbol. Press the Set button to select.
3. Choose the middle menu item called Easy wireless flash shooting. This setting can also be found in the first page of the shooting menu under Flash control.
4. No need to change it but note what channel it is set to as your flash will need to be set to the corresponding channel.
5. Pop open the built-in flash

Flash Settings (varies depending on flash model)

On Canon a flash you need to set it to slave mode. Some Speedlite models have a dedicated switch for this setting, and others require you to hold down the zoom button to switch it on.

The system is an optical one, meaning that the receiver on the speedlight needs to “see” the signal from the on camera flash. A direct line of sight is recommended but I have found that you can often hide the speedlight slightly behind a wall or other object, and it will still receive the signal.

Other than the signal being interrupted by physical objects, it can also be finicky in bright daylight, and the range is limited compared to radio frequency triggers.

Simply getting the flash off of the hot shoe and a couple of feet to the side casts more visible shadows and gives the photo more dimension.

Editor’s Note: If you have a system other than Canon or Nikon consult your camera and flash manuals for the settings. We apologize if you feel left out, but we are not able to cover every brand and combination in the scope of one article. 

Notwithstanding the limitations of the system, it’s an ideal introduction to off-camera flash with minimal investment of time or money – especially if you have the equipment already.

These are the very basics. Both Nikon and Canon systems are very flexible, and expandable, with the ability to adjust flash intensity from the camera, add additional flashes in groups, and in some cases, trigger other flashes from a master flash adding more versatility and utility.

After you get the system working its magic and have officially entered the  realm of off-camera flash, there are innumerable adjustments to make both on the flash and camera to gain more control, and fine tune your lighting to create the photo you see in your mind.

A Few Quick Tips

• Very bright ambient light and flashing lights can interfere with the optical triggering
• For best results, point the receiver window on the flash (usually covered with red plastic) toward the camera and rotate the flash head if necessary
• If the background is too dark, try decreasing (slowing) shutter speed and/or increasing the ISO

If you want your subject and background to have more even lighting, take a look at Dragging the Shutter: Balancing Fill Flash with Ambient Light

For more technical information about flash placement, have a read of Working with Off Camera Flash and TTL.

Just starting out with off-camera flash? Let’s hear about your experience and see your results in the comments below.

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[Photography] How To Quickly Focus Stack an Image in Photoshop

Four-image focus stack of sunset in Bishop, California. The foliage in the foreground was just inches away from the camera.

When you take into account all the different ways to get a tack sharp image, it can be quite overwhelming. I’ve been photographing landscapes as a full time photographer for six years now, and have tested just about every method out there. Focus stacking is just one more option, but it is one of my favorites, if the conditions are right.

Focus stacking is a life saver when you have a foreground subject that is very close to the frame, and a background subject that is equally important to the image. This happens quite a bit in landscape photography when using super wide angle lenses! Some will argue that hyperfocal calculations work in these situations too, and while they certainly can, I personally don’t like hassling with the charts and measurements unless I really have to.

Two image focus stack of Lily Lake near Estes Park, Colorado.

One of the most important things you can do out in the field is to inspect your shots instead of just assuming you nailed it. You’ll find articles all over the place making fun of photographers for chimping, but the ability to zoom in on all the tiny details of your shot is a major advantage over the film days.

When I’m taking pictures of a magnificent sunset, I’m working fast and keeping my head on a swivel. When I take a shot, I’ll quickly review it and zoom in all the way on my main subject. Then, I’ll zoom in on the other parts if they need to be sharp as well (sometimes they don’t). If you have a really close foreground subject and it’s tack sharp, but the mountains in the background are just a bit soft; this is a good time to consider focus stacking.

Two image focus stack at Great Sand Dunes National Park in Colorado. One for the sand that was less than a foot from the lens, and one for the background.

The best part about focus stacking is that it’s super easy! Just put your camera on a tripod and set your lens to manual focus. I use live view on the back of my camera to zoom in as close to my subject as possible and turn the focus ring on my lens until I see the subject become tack sharp. Once you’ve gotten that shot, scroll around the image and see what is soft in the background. If the mid-ground is soft, turn your focus ring until it’s sharp and take the same picture with the same settings. Then, dial the focus ring for the background and take another shot. That’s it until post processing!

Stacking the Images Together in Photoshop

Final image from the video. Three image focus stack from Zion National Park.

When Focus Stacking Doesn’t Work

In all the images above that had foliage in them, there was virtually no wind at the time I took the shots. The foliage was perfectly still. If the wind is blowing and the leaves are swaying back and forth, focus stacking is going to be a nightmare, and isn’t even worth bothering with in most cases.

It’s also important to note that having the entire image in sharp focus isn’t always the best artistic approach to a scene. Sometimes having your subject sharp and the background soft will do a much better job of drawing the viewer’s eye where you want. It really just depends on the situation.

Conclusion

Focus stacking is just one trick to have in your bag, and this is just one method of doing it. There are also third party programs like Helicon Focus to consider. I personally haven’t used the program but have heard great things about it.

Have anything to add to the article? Let me know in the comments below!

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[Photography] 6 Ways to Use Color for Eye Catching Compositions

A painter only needs to look at their palette before applying color to the canvas. Photographers have a different challenge, as they must locate their tones by studying a scene. Of course, this can be easy to bypass when you’re thinking about shadow, highlight, depth of field, shutter speed, and all of the other technical details that go into a photo. Still, as the great painter Kandinsky said, “Color is a power which directly influences the soul.” To use it in your compositions can infuse your work with a new level of sophistication.

1) Background Separation

To maximize the effect of bold colors, you’ll want to start by looking for dark, muted backgrounds. This type of stark contrast will deemphasize the surrounding areas, bringing the viewer’s attention directly to the subject. Of course, mixed lighting can trick even the most sophisticated metering systems. For the most accurate exposure, use the camera’s internal spot meter to take a reading of the brighter part of the scene. By purposely underexposing by approximately half a stop, vibrant colors will take on a deep, rich tonality.

2) Just a Dab of Color

If you want to draw people into your photograph, try including just a small amount of color. This subtle method gives your subject importance by allowing it to stand out from the rest of the frame. These thoughtful compositions are aided by a different approach to photography. Instead of working to add more visual interest, you want to eliminate any competing colors, and simplify the frame. While looking through the viewfinder, check all four corners carefully for distracting elements.

3) Cut the Glare

Each autumn, brilliant displays of fall foliage attract scores of photographers looking for that classic outdoor landscape. Yet, in many of these scenes, the glare of wet shiny leaves will actually detract from the desired color. An inexpensive solution is to add a circular polarizer to your kit. As you rotate the front element of the filter, you’ll actually see the surface reflection disappear to reveal only color. For added warmth you can even adjust the white balance using the cloudy or shade preset.

4) Make it Glow with Backlighting

Of all the directions light can come from, perhaps there’s no finer option than shooting directly into the sun. This is particularly true when working to emphasize color. When lit from behind, your subject will appear to glow. If the contrast is too great, eliminate the sun from the frame. This will make for a more even exposure, while still providing the dramatic benefit of backlighting. If you’re not comfortable with metering manually, take several shots using exposure compensation. Bracketing this way is a quick way to handle an otherwise tricky scenario.

5) Set the Mood

For added impact in your outdoor photography, consider using complementary colors. Although blue and yellow reside on opposite sides of the color wheel, they can be used together with outstanding results. On one side of the spectrum, blue is ideal for creating a quiet introspective mood. Warmer tones however, will infuse your subject with a dynamic energy. Each are effective on their own, but when used simultaneously, the contrast will bring attention to your main subject.

6) Use the Silhouette

During the magic hours around sunrise and sunset, you’ll enjoy a splendid display of color in the sky. Meanwhile, your subject will likely be in heavy shadow. If you properly exposed the subject, the sky would become pale, or even washed out. One simple option to retain the vibrant color is to create a silhouette. This is especially useful with moving subjects when HDR is less than ideal. To do this, simply expose for the sky, and let the subject’s tonality fall to black.

Conclusion

To fine tune your vision, give yourself an assignment where capturing a specific color is the only goal. For example, head out for a photo walk with no specific objective besides seeing and shooting – red. Rather than looking at subjects literally, you will be thinking in color. By studying the world around you with this in mind, you may be surprised at just how many opportunities reveal themselves. With practice, you’ll soon recognize color as an essential element of composition.

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