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Feb 3, 2022

[Photography] Fill Light Photography: Your Essential Guide

The post Fill Light Photography: Your Essential Guide appeared first on Digital Photography School. It was authored by John McIntire.

What is fill light photography? And how can you use fill light to achieve stunning portraits?

Fill light is one of those essential skills that every portrait photographer should master, whether they prefer natural or artificial light. In fact, as a professional portraitist, I use fill light all the time in my own work. Over the years, I’ve developed plenty of tips and techniques for beautiful use of fill light – and in this article, I lay it all out:

A simple fill lighting definition
Why fill light is so important for portrait photos
Two easy ways to generate fill light in any situation
How to position your fill lights for flattering results

I also include plenty of fill light examples, so you know exactly what it can do. By the time you’re done, you’ll be ready to shoot some stunning portraits of your own.

Let’s get started.

Fill Light Photography: Your Essential Guide — Fill light will give you complete control over the contrast and tonality in your images. If you can master fill light, you’ll be *unstoppable*!

What is fill light in photography?

Fill light is light used to illuminate (fill in) the shadows in a portrait. It’s a form of supplementary lighting you can add to any lighting setup, which works alongside the primary lighting – that is, the key light – to create a flattering effect.

More specifically, fill light:

Enhances details in the shadow areas of an image
Reduces the overall contrast in the frame
Brings the final image more in line with how the eye sees the world (as opposed to the more limited view of the camera sensor)

Take a look at the two images below. The shot on the left lacks fill light, and so the back of my subject’s dress is completely black. When I added a bit of fill light behind the subject, however, the dress gains detail and you get a more natural result:

Now, you might be wondering:

Do I need to include fill light in every image? What if I want a darker, moodier, contrasty effect?

No, you don’t need to always add fill light to your photos. Dark and contrasty images definitely have their place (I even love them, myself!). However, fill light makes portraits look more even and natural, so when working with clients, I highly recommend it, even if the effect is very subtle.

Two simple ways to create fill light

While you can technically create fill with any method of illumination (including flashlights, neon signs, and even phone screens), there are two tried-and-true methods of filling in a portrait that I suggest for beginners:

1. Reflectors

Reflectors are the simplest, cheapest, most basic method of creating fill light. They’re also highly versatile.

A reflector is a piece of reflective material, so by positioning it carefully, you can bounce your main (key) light back into the shadows (for a diffused fill effect).

Here’s a reflector fill light example, with my key light on the left and my reflector positioned on my right:

If you’re new to portrait photography, a reflector is often the way to go. For one, a high-quality reflector will only set you back a few dollars (you can even make one yourself using white cardboard or sheets). Plus, reflectors are very easy to position, they’re quick to set up, and they require a very little learning curve, as you simply need to move the material back and forth next to your subject.

2. Flashes or studio strobes

You can always one (or two, or many) standard speedlights or studio strobes as your fill light, in addition to your key light.

A dedicated fill light will do the same basic job as a reflector, but it is infinitely more controllable: You can fine-tune the exposure and shape of your fill light with a precision that reflectors just don’t allow.

However, if you’re currently working with a one- or two-light setup, you may need to shell out for an additional light, which can be pricey. Plus, the learning curve is more significant; a strobe fill light offers plenty of power, but you must learn to adjust the flash output and apply the right modifiers for the effect you’re after.

Ultimately, the choice of fill light is up to you. If you’re serious about leveling up your skills fast, then feel free to go with the strobe. But if you’d prefer a simpler, more gradual path, a reflector might be the better option.

How to master fill light photography: tips and techniques

In this section, I offer my favorite methods for working with fill light. Most of these techniques apply to both reflector and strobe fill lighting, but I indicate up front where the techniques are only applicable to one method.

1. Start by understanding lighting ratios

Lighting ratios might sound technical, but they’re really not. A lighting ratio simply tells you how bright one light is in relation to another light.

So if your key light is twice as bright as your fill light, the lighting ratio is 2:1; if your key light is four times as bright as your fill light, the lighting ratio is 4:1; and if your key light is eight times as bright as your fill light, the lighting ratio is 8:1. The greater the lighting ratio, the more contrasty (and dramatic) the resulting effect:

Note: Fill lighting will always be underexposed in relation to your key light. If it’s even to your key light (i.e., if you have a 1:1 lighting ratio), you will get flat, no-contrast images as a result, which is rarely ideal. Instead, you want your fill light to be at least one stop darker than your fill light.

How do you set this up? The easiest way is to use a handheld incident light meter. Take a test shot while metering off your key light, then take a second shot while metering off your fill light. Compare the two exposure values. Because a single stop of exposure corresponds to a doubling (or halving) of the light, a one-stop difference between the two lights indicates a 2:1 lighting ratio, a two-stop difference indicates a 4:1 lighting ratio, a three-stop difference indicates an 8:1 lighting ratio, and so on. Then you can adjust your lighting and re-meter until you get the result you want.

If you don’t own a handheld light meter, I’d recommend simply eyeballing the scene, then adjusting your lights accordingly. The ratios are there to help, but they’re not an essential part of fill-lit portraits.

Just remember: The greater the difference between the key light and the fill light, the higher the contrast. So if you want less contrast, set your fill light one to two stops under your key light. If you want more contrast, go with three to four stops.

2. Add a reflector as your fill lighting

If you’re set on using a second strobe as a fill light, then you can skip this section – but as I emphasized above, reflectors are a great way to get started with fill lighting, and they’ll get you outstanding results with very little work.

Here’s what I recommend:

First, set up your key light so that it is shaping and lighting your subject as desired. It’s a good idea to use a standard lighting pattern, especially as a beginner. Meter off your subject and determine the ideal exposure settings for your image.

Next, evaluate the shadow areas that your key light is creating. If you’re using natural light, continuous lights, or strobes fitted with modeling lights, you can do this by eye. Alternatively, you can take a test shot and review it on the back of the camera.

Third, place your reflector so that it’s roughly opposite your key light. For a low-contrast effect, bring your reflector in as close as possible. For a high-contrast effect, move it away. Once everything is in place, evaluate the effect of the reflector (either by eye or with a second test shot).

The goal is to bring up the shadows without eliminating them altogether. If your shot looks good, then go ahead and start shooting. If your shot is too contrasty, then you’ll need to move the reflector closer and take a third test shot; if your shot is too even, then you’ll need to move the reflector farther away.

It can take quite a lot of practice before you learn to see the subtle changes a white reflector provides. The key is to shoot as much as possible. If you’re struggling to evaluate the effects of the reflector and you want to get better, fast, do this simple exercise: Start with a distant reflector, then move it closer to the subject, taking shots as you go. Compare the shots on a large monitor, and try to see the difference between each setup.

Pretty soon, you’ll see even the most subtle shifts in the light!

3. Learn to work with a second light

As you become a more advanced portrait artist, you’ll probably want more control over your lighting. That’s where strobes come in handy; while they’re harder to use for fill lighting, they do offer more control.

To get started with a dedicated fill light, place your key light in the desired position, set the power, and determine the proper exposure. (For the sake of instruction, I’m assuming that your aperture is set to f/8 and your shutter speed is set to a fixed 1/200s.) Take a test shot.

Using your test shot as a reference, place your fill light so it’ll beam light into the main shadow areas on your subject. Set the power output so that it’ll be underexposed in relation to your aperture.

(How much you underexpose is entirely up to you! If you want a stop of fill, then you can adjust the power until you get a proper exposure of f/5.6. If you want two stops of fill, then adjust the power until you get a proper exposure of f/4. Of course, if you cannot calculate the exact aperture amounts via a handheld light meter, then just eyeball it!)

Take a test shot and see if you achieve your desired effect. If the result is too contrasty, then increase the fill light’s power output; if the result is too even, then decrease the fill light’s power output. Make sense?

Here’s my final result (right), compared to the image before I added the fill light (left):

4. Learn to work with multiple fill lights (and think outside the box!)

Basic fill light setups require a single light, but you don’t need to limit yourself. You can use multiple fill lights in a single shot to illuminate your subject from different directions. You can also mix lights and reflectors for different fill light strengths.

Once you start to feel restricted by the basics, it’s really just a matter of experimenting. Ultimately, you can do whatever you want when creating a lighting setup. You’re only limited by the equipment you have at hand and your own imagination.

Also, don’t be afraid to think outside the box. I’ve discussed the two most popular methods of fill lighting – reflectors and strobes – but any light source can be your key and your fill. You can even use natural light as fill when your main light is provided by flash.

5. Pay attention to your catchlights

Here’s one final tip for you, and it’s a big one:

Catchlights – that is, the spots of reflected light that appear in your subject’s eyes – matter. Images with zero catchlights look terrible, but images with too many catchlights, or oddly positioned catchlights, can look equally bad.

So as you set up your lights and reflectors, check your subject’s eyes. Make sure the catchlights look flattering. If necessary, adjust the light outputs and positions until you get the effect you want. Only then should you move on with your photoshoot.

Fill light in photography: final words

Hopefully, you can now confidently get started with fill-lit portraits. Controlling the contrast in your images is a fundamental skill, and it’ll instantly give your images an extra level of depth.

So do some practicing. Start simple and go slow, and pretty soon, you’ll have mastered the basics!

Now over to you:

What type of portraits do you plan to capture using fill light? What setups do you plan to try first? Share your thoughts in the comments below!

Portrait Photography

The post Fill Light Photography: Your Essential Guide appeared first on Digital Photography School. It was authored by John McIntire.

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Feb 2, 2022

[Photography] How to Edit Food Photos in Lightroom (Step By Step)

The post How to Edit Food Photos in Lightroom (Step By Step) appeared first on Digital Photography School. It was authored by Darina Kopcok.

In this article, I share my simple, step-by-step process for editing food photography in Lightroom.

I’ve been editing food for years, and the workflow I present includes plenty of unique techniques I’ve gained over long hours behind the computer. I also demonstrate instructions via a hands-on example, so you can see the precise effects of each editing step as you go along.

Note that the goal of food photography editing is to keep the food looking as fresh and appetizing as possible. And although there is always room for style and artistry, the more natural your subjects look, the better.

Also, while I do use Lightroom, you can follow the same workflow in pretty much any other program, be it Capture One, ON1 Photo RAW, or Luminar AI/Neo.

I’ll be editing this image of apple pie; it comes straight out of the camera, hence the lack of contrast and pizzazz:

Let’s dive right in, starting with the first step:

Step 1: Crop and straighten your food photo

Before you start making exposure and color adjustments to your food photo, do any necessary cropping and straightening.

(Pro tip: Shoot a bit wide so you can tweak your composition in post-production!)

First, make sure your horizon line is straight. Simply click on the Crop tool icon (or tap R on your keyboard):

The crop gridlines will let you evaluate the horizon line. To subtly rotate the shot, drag the edge of the crop overlay until your image is perfectly straight.

Then check your overall composition. Are there any unnecessary spaces? Are there any croppable distractions? Do you need to emphasize the subject? Use the Crop tool to get a perfect result.

For my apple pie photo, I brought the crop in slightly on the left-hand side to cut off a little bit more of the pie:

Step 2: Enable lens corrections

Every lens produces some sort of consistent distortion, vignette, or aberration. Lightroom’s Lens Corrections panel is designed to automatically counteract these issues:

Generally, Lightroom recognizes your lens make and model, but you can always manually select the right profile if necessary. Then check the Remove Chromatic Aberration box, as well as the Enable Profile Corrections box; that way, Lightroom does its best to deal with any optical problems.

Note that, if you don’t like the results, you can always uncheck either box – or you can manually adjust the distortion or vignetting correction via the Amount sliders.

Step 3: Select the right white balance

When photographing food, it’s important to accurately display your subject – so whenever possible, I recommend you set your white balance in camera, or you capture a photo with a gray card placed in the scene. That way, you can effectively neutralize any unwanted color casts caused by your lighting setup.

If you do in-camera white balancing, you can generally skip this step. But if you use a gray card, simply grab the Eyedropper tool:

Then click on the gray card in the scene. Lightroom will instantly white balance your shot and you’ll have a perfect base for additional color edits.

If you haven’t white balanced in camera or used a gray card, you can still apply white balancing in Lightroom. The process works the same as above, except after grabbing the Eyedropper tool, you’ll need to click on an area in the image that should appear neutral (i.e., gray or white):

Lightroom will adjust the color temperature of the image, and while the result won’t be as precise as a proper gray-card white balance, I’m generally pretty pleased. And if you’re not satisfied, you can always tweak the Temp and Tint sliders until you get an effect you like.

Also, something to bear in mind: White balance can be used creatively to evoke different emotions. An imperfect white balance might be better than a perfect white balance, depending on the look you’re after. I tend to favor a cooler temperature in my food photography because cool colors give a crisp and fresh feeling to the image, while other photographers prefer a warmer, airier look.

Of course, it’s important to keep the food looking realistic, so you don’t want the scene to turn blue. Subtle adjustments are key (and I like to edit my surfaces and props on the cool side while working separately with the food).

Here is my image after white balancing:

Step 4: Adjust exposure and contrast

Now it’s time to adjust the tones of your image. Find the Exposure slider, which affects the brightness of your entire shot:

Then push the slider to either side, paying careful attention to your image. Ask yourself: What exposure adjustments offer the most tonal range? How can I maintain as much detail as possible in the shot? (Of course, don’t forget about any artistic goals; if you want to create a dark, moody shot, I’d recommend dropping the exposure, while a bright, airy shot generally requires the reverse.)

Next, find the more precise tonal sliders: the Highlights, Shadows, Whites, and Blacks. Push each slider up and down while observing your image. This type of editing is very subjective, but for my apple pie shot, the highlights and shadows were too bright for the look I wanted. I brought the Highlights, Shadows, and Blacks sliders down – and then, to create a nice balance, I boosted the Whites. (Note that my style tends to be dark and moody but with bright food, so the Whites adjustment gave the food that extra bit of pop.)

Finally, boost the shot with the Contrast slider (or make your contrast adjustments using the Tone Curve panel, as I explain in a moment). RAW photos are inherently flat, so contrast is almost always necessary!

Step 5: Adjust the Clarity, Vibrance, and Saturation

When editing food photos in Lightroom, Clarity is the most important slider.

Clarity adds contrast to the midtones, which looks amazing – though overdoing the Clarity can make food look dry and unappetizing, so don’t crank the slider up too high. For my photo, I set the Clarity slider to +42:

Clarity, Vibrance, and Saturation sliders

Vibrance is also important; it lets you subtly boost the colors without creating a garish effect. I’d recommend boosting the Vibrance slightly, especially if you want your colors to pop. Feel free to play around with the Saturation slider, too, though it’s easy to quickly overdo the saturation and make your image look ugly.

Personally, if I use the Saturation slider at all, I only nudge it up a tad (to around +5 or +6). For my apple pie image, I actually reduced the saturation to deemphasize the blues:

Step 5: Head to the tone curve

The tone curve is often challenging for new users, but it’s one of the most powerful tools that Lightroom offers. While I don’t want to go too deep into its capabilities, let’s look at the basics:

The tone curve maps out where the tones lie in your image. The horizontal axis starts with image shadows on the left-hand side, reaches the midtones in the middle, and ends with the highlights on the right-hand side.

By clicking and dragging different points on the curve, you adjust the corresponding tones in your photo. For instance, if you select the bottom left-hand portion of the curve and lift it up, you’ll brighten the darkest tones of the image. And if you select the top right-hand portion of the curve and drag it down, you’ll darken the lightest tones of the image.

Now, I recommend you start by analyzing the midtones. Are they bright? If not, click on the middle of the tone curve and bring the point up. If the midtones are too bright, bring the curve down slightly.

Do the same with the highlights and shadows. Note that tone curve editing is very subjective, but photographers often do create curves that look like a soft “S,” which brightens up the highlights and darkens the shadows for a bit of extra contrast:

And here’s my image with the above tone curve adjustments:

Step 6: Do some color adjustments with the HSL panel

HSL stands for Hue, Saturation, and Luminance – and this is where you balance colors. Note that color adjustments are even more subjective than tonal adjustments, as color gives the photograph a sense of mood.

The Hue section is where you can target individual colors for subtle shifts. For example, I find that greens almost always look off, so I slide the Green slider slightly more toward the left or right to get them looking realistic. (I’d really recommend you just play around with these sliders; every image is different, and until you have a clear editing style, there are no set changes you should make.)

In my apple pie shot, I thought that the blues looked a bit too magenta, so I slid the Blue slider to the left:

The Saturation section lets you saturate or desaturate individual colors. So if you find the blues a bit too blue or the yellows a bit too yellow, you can drop their respective Saturation sliders.

Finally, Luminance targets the brightness of specific colors. I often work with these sliders before I deal with the Saturation sliders, and again, experimentation is key!

Here is my image after applying HSL adjustments. The blues are more green, they’re a tad lighter, and they’re subtly desaturated:

Step 7: Reduce any noise

Noise is unwanted speckles of color and light that can appear throughout an image. And while it’s not often a problem when shooting well-exposed files at low ISOs, if you work with underexposed files or at high ISOs, then noise can become an issue.

Fortunately, Lightroom offers a Noise Reduction section that allows you to quickly improve image quality:

Simply increase the Luminance and Color sliders – though be sure to watch your image carefully (it can help to zoom in to 100%). If you push the sliders too high, you’ll create a plastic effect, which is not the goal!

I shot my pie image with a low ISO, so very little noise reduction was required (I set the Luminance value to 20).

Step 8: Add Post-Crop Vignetting and Dehaze

For darker, moodier food photos, Post-Crop Vignetting is a must, as it darkens the corners of the frame (plus it pushes the viewer’s eye toward your subject).

So find the Post-Crop Vignetting section of the Effects panel, then move the Amount slider to the left:

Note that the Midpoint slider controls how far the dark edges encroach on the center of your photo, while the Feather slider controls how soft or hard the vignette appears. For food shots, a softer vignette is the way to go, so I dropped the Amount slider and cranked up the Feather slider for this result:

Step 9: Do some sharpening

Sharpening should always be your last editing step.

Note that sharpening adds contrast between pixels and along edges for a more refined look – but it won’t take a blurry image and make it sharp. For a sharp image, you’ll need to use proper shooting technique (such as a fast shutter speed and/or a tripod).

Lightroom has a dedicated Sharpening section, which lets you apply sharpening and then fine-tune the effect:

Now, in food photography, you don’t need to sharpen the props and the background. Instead, you should only sharpen the food (the focus is on the food, so that’s what you should emphasize!).

Start by boosting the Sharpening amount. Then, to target just the food, simply increase the Masking slider:

And to see exactly what you’re targeting, hold down the Alt/Opt key while boosting the slider; you’ll get a black and white overlay, like this:

The farther you push the Masking slider, the more targeted the sharpening adjust will become. And once you’ve added Masking, go back to the Sharpening Amount slider and make any necessary tweaks.

Editing food photos in Lightroom: final words

Here is the before and after of my food image:

before and after editing food photography in Lightroom

As you can see, the differences are relatively subtle, but the shot is more refined and the colors are better balanced compared to the original.

At the end of the day, the best advice I can give is this: strive to make your subject look natural. While editing, ask yourself this question, “Looking at this image, do I want to eat that food?”

If the answer is “Yes!” then you’ve done a good job.

Now over to you:

Which of these editing steps will you implement in your own workflow? Do you have any other food photography editing tips or tricks? Share your thoughts in the comments below!

Food Photography

The post How to Edit Food Photos in Lightroom (Step By Step) appeared first on Digital Photography School. It was authored by Darina Kopcok.

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Feb 1, 2022

[Photography] Camera Firmware: How to Update It (and Why)

The post Camera Firmware: How to Update It (and Why) appeared first on Digital Photography School. It was authored by Roy Vieth.

Did you know that your camera can gain more features long after you’ve purchased it, such as faster autofocus, better AF tracking, and improved menus?

No, I’m not kidding. It’s thanks to something called firmware updates, and if you’ve never gone through the updating process, then you’re in for a treat.

In this article, I guide you through the ins and outs of firmware updates. First, I explain what firmware is and why it matters. Then I take you through a simple, step-by-step process for updating the firmware on your camera so you can quickly and easily upgrade your camera features.

Let’s dive right in, starting with the basics:

What is camera firmware?

Firmware refers to the software your camera uses to operate. It exists on a microprocessor inside your camera, and it controls the features and functions attached to camera menus and buttons, as well as autofocus algorithms, image processing, noise reduction, and more.

Note that the firmware differs from your camera’s hardware (i.e., its physical components) – and it is the interaction of the firmware and the hardware that allows you to set exposures, autofocus on subjects, and even take pictures.

Now, every camera is shipped with firmware on its microprocessor. And that firmware will work, generally quite well, for the camera’s lifetime.

However, every so often, manufacturers may release firmware updates, which modify the firmware to add new features and other items.

Why are firmware updates important?

Firmware updates generally contain one of two things:

Enhancements that improve camera operation (e.g., upgraded autofocus functionality)
Fixes for camera problems

So if you want your camera to operate at peak performance, as soon as a manufacturer releases an update, you should install it.

Firmware updates aren’t required. Some cameras never have updates. And others only gain minor updates or fixes, potentially offering solutions to problems that don’t interest you. Some updates add languages or add support for optional accessories (such as wireless functions or GPS modules). It’s up to you whether a firmware update is worth adding.

My opinion? Update the firmware whenever you can. It’s an easy process, as I show below, and it can offer excellent improvements, not to mention fixes for serious issues. Some firmware updates are in response to problems discovered by users after the launch of the camera, and these may be pretty major (such as battery-draining issues, unexpected camera lockup, and autofocus issues).

For that reason, I recommend you check for updates on a semi-regular basis – maybe every few months or so. I also recommend you check as soon as you purchase a new camera, because it may or may not come with new firmware already installed.

If your camera is on the older side, don’t expect frequent updates. But do check on an annual basis, because you never know what might be released.

If you’ve never checked for firmware updates, then now is a good time to do so. And if your camera doesn’t contain the latest firmware, read my instructions below explaining how to install it.

Does your camera have the latest firmware? How to check

In order to check for firmware updates, you need to know what firmware your camera is currently running.

This information is found somewhere in your camera’s menu, though finding it is different on every camera and not always obvious. Feel free to browse through all the menu pages; alternatively, just refer to your camera’s instruction manual.

When browsing, look for options such as Version, Firmware, or Firmware Version. Here’s the firmware information on my Canon DSLR:

Once you find the right item, click to open it and note down the version number.

Nikon camera firmware version rear LCD image

Then find the support page for your camera on the manufacturer’s website. Here are links to a handful of support pages:

Once on the website, simply locate your camera model. (This is important; firmware is not compatible with multiple cameras!) Then, if prompted, select the Firmware link.

Check the listed firmware version. Compare it to the firmware version number on your camera. If the website firmware number is higher than the number on your camera, then it’s time for a firmware update. If the website firmware number is identical to the one on your camera, it means your camera requires no updates, but check back in a few months to see if anything has changed.

How to update your camera’s firmware: a step-by-step guide

In this section, I offer a general set of instructions for updating camera firmware. Many cameras, including Canon, Nikon, and Fujifilm models, use this updating process.

However, you should always read the instructions on the firmware download page before proceeding with a firmware update. A mistake in the updating process can genuinely break your camera, so it pays to be diligent.

Note that you should never update firmware on a low battery. Your battery should be fully charged, because if it fails during the firmware update, you may end up with a dead camera that requires a trip to the manufacturer.

Updating firmware on Canon, Nikon, and Fujifilm cameras

Note: The instructions I share below may not reflect the exact firmware update steps for your camera. Again, make sure you carefully read any manufacturer instructions before doing any updating.

If you use a Canon, Nikon, or Fujifilm camera, you can update firmware via a memory card. Here’s how it works:

First, take your memory card and do an in-camera format. This will clear the card of all images, so make sure you’ve exported any files that matter.

Next, download the latest firmware from the manufacturer’s website. As I explained above, you can find the download link by searching for your camera model on one of the following support pages:

Insert your empty memory card into your computer card reader, then copy the downloaded firmware over to the memory card.

Make sure your camera is off, then insert the firmware-loaded memory card. Turn on your camera and navigate to the firmware version in the menu (remember, this will be indicated by Version, Firmware, or Firmware Version).

Carefully follow any instructions displayed on your camera’s LCD screen. Your camera will indicate when the update is complete, at which point you can switch off the camera and remove the memory card.

Just to be safe, I’d recommend turning your camera back on and checking the firmware number. If the listed number now reflects the latest firmware version, then your work is complete!

Updating firmware on Sony and Olympus cameras

Doing a firmware update on Sony and Olympus cameras is slightly more involved. I’ve outlined the basic steps here, but – at the risk of sounding like a broken record – you need to read the manufacturer’s instructions. Here are the in-depth instructions for Sony cameras, and here are the in-depth instructions for Olympus cameras.

You’ll need to download the relevant firmware from the manufacturer’s website, then launch the firmware update companion software (provided in the download package).

Next, remove the memory card from your camera and make any necessary changes in your camera’s menu (Sony cameras, for instance, have particular settings that should be in place). Hook up your camera to the computer via a cable.

Finally, use the firmware update software to install the new firmware, and carefully follow any additional steps displayed on your camera’s LCD.

If something goes wrong

If you follow the manufacturer’s instructions and run into an error, check the instructions again. Have you missed a step or misunderstood what is required?

If you troubleshoot and still can’t figure out the issue, I recommend contacting an authorized service center for your camera brand.

Camera firmware: final words

Updating your camera firmware offers great benefits – so I recommend you start today! If you haven’t checked for firmware updates, do it now – and if you have, make a plan to check again in a few months.

In the meantime, enjoy your camera’s current firmware!

Now over to you:

How frequently do you plan to update your camera’s firmware? Share your thoughts in the comments below!

The post Camera Firmware: How to Update It (and Why) appeared first on Digital Photography School. It was authored by Roy Vieth.

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Feb 3, 2022

[Photography] Fill Light Photography: Your Essential Guide

What is fill light in photography?

Two simple ways to create fill light

1. Reflectors

2. Flashes or studio strobes

How to master fill light photography: tips and techniques

1. Start by understanding lighting ratios

2. Add a reflector as your fill lighting

3. Learn to work with a second light

4. Learn to work with multiple fill lights (and think outside the box!)

5. Pay attention to your catchlights

Fill light in photography: final words

Table of contents

Portrait Photography

Feb 2, 2022

[Photography] How to Edit Food Photos in Lightroom (Step By Step)

Step 1: Crop and straighten your food photo

Step 2: Enable lens corrections

Step 3: Select the right white balance

Step 4: Adjust exposure and contrast

Step 5: Adjust the Clarity, Vibrance, and Saturation

Step 5: Head to the tone curve

Step 6: Do some color adjustments with the HSL panel

Step 7: Reduce any noise

Step 8: Add Post-Crop Vignetting and Dehaze

Step 9: Do some sharpening

Editing food photos in Lightroom: final words

Table of contents

Food Photography

Feb 1, 2022

[Photography] Camera Firmware: How to Update It (and Why)

What is camera firmware?

Why are firmware updates important?

Does your camera have the latest firmware? How to check

How to update your camera’s firmware: a step-by-step guide

Updating firmware on Canon, Nikon, and Fujifilm cameras

Updating firmware on Sony and Olympus cameras

If something goes wrong

Camera firmware: final words