What Are “Stops” in Digital Camera Settings? |  |
- What Are “Stops” in Digital Camera Settings?
- Applying the 3 Light Studio Setup to Outdoor Portraits
- Concert Photography: Maneuvering the Crowd and Getting the Shot
| What Are “Stops” in Digital Camera Settings? Posted: 09 Jun 2013 04:45 PM PDT Probably one of the most misunderstood terms in beginner photography is “stop.” Imagine hearing, “I need three stops of brightness. Stop up the ISO 200 to 400, stop down the speed from 1/60 to 1/30, and stop up from (f-stop) 5.6 to 4.” It’s statements like this, and the mathematical explanation, that cause most people to leave their camera on Automatic mode and never venture into manual modes. The reality is that the math and “how it works” doesn’t really matter.  “focus on the sun…” captured by Mark Peregrina (Click Image to See More From Mark Peregrina) A 9 year-old can understand how to use a microwave, but 1 in 5,000 people (if that) understand, truly, how a microwave works. Many professional photographers have no idea about the inverse square law and how it functions to calculate aperture size. However, every single one of them understands how stops are used. On the other hand, there are quite a few nerds who can rattle off the math, but cannot control a camera whatsoever. The purpose of this article is NOT to explain how stops work, but instead explain how they are used to become a better photographer. One of the main reasons that the term stop is so confusing is that has multiple meanings (only two of which are important for this article). This is going to be a bold statement and I’m probably going to get hate mail for saying this, but the only important thing that really matters about the word stop (as far as taking better pictures goes) is that it indicates that something is doubled or cut in half. At our photo studio in Nashville and Louisville, we have all kinds of books and charts which talk about stops, but at the end of the day, a stop really is just that simple. Memorize this: A stop means doubled or halved. 1 stop up, means doubled. 1 stop down means cut in half. 2 stops of light up means four times the amount of light (double then double again) and 3 stops of light down means 1/8th the light (cut in half, then half again, then half for a third time).  “Emergency Pants” captured by Jim Worrall (Click Image to See More From Jim Worrall) As an example, imagine you are out in the sun and you need a pair of sunglasses that block exactly half of the sun hitting your eyes. You could say, “Hey. I need a pair of sunglasses that block 1 stop of light.” After you put them on, the sun is still too bright, so then you say, “Actually, I need a pair that only allow a quarter of the light in.” In other words, two stops down of light. The first stop cuts the light in half, and the second stop cuts that half into another half, which results in a quarter of the original. 1/8 is 3 stops down, 1/16 is 4 stops down, and 1/128 is 7 stops down. In photography, this is exactly how we speak when talking about adjusting light. If we need to double the amount of light let into the camera, we “stop up” the light by one stop. If we need to cut the light in half, we “stop down” the light by one stop. If we want to allow in 16 times the amount of light that is already coming in, we need 4 stops of light (the first doubles it to 2x, then doubles it again to 4x, then 8x, then 16x). Remember, each stop either doubles or cuts the previous in half. The main reason photographers use this terminology is to have a common language to measure light adjustments that everyone can agree on. (Again, I’m simplifying here, and will get more hate mail, but I’m not a purist and this is the easiest way to understand this). How to actually apply a “stop”There are three main controls on a camera: ISO (sensitivity), Speed, and Aperture. EACH ONE has different sets of numbers, but the one thing they have in common is that increasing or decreasing each one of these controls has the effect of doubling or cutting the final light in half. Tattoo this statement on your forehead and internalize it; this one concept will completely revolutionize your ability to understand how to control the light in your picture (let’s face it, without light, all of your pictures would be pitch black, and people would make fun of you). The ISO is how sensitive the film or sensor on your camera is. It’s commonly measured in 100, 200, 400, 800, etc… Forget the technical of why these numbers exist, and just remember that going from 200 to 400 means 1 stop of light UP, and going from, say 1600 to 200 means 3 stops of light down (cutting your number in half 3 times from 1600 to 800 to 400 to 200). The shutter speed is how fast the aperture opens and closes. So, 1/30 of a second is twice as long as 1/60th of a second. Because the aperture is open twice as long, it lets in twice as much light. Therefore, 1/30 is one stop up from 1/60. 1/240 is 4 stops down from 1/15. (Again we go from 1/15 to 1/30, then to 1/60 to 1).  Photo captured by Tomas Eriksson (Click Image to See More From Tomas Eriksson) The aperture is the opening in the camera which allows light in and it’s measured in what’s called f-stops and the numbers are displayed in a series like 1.4, 2, 2.8, 4, 5.6, 8, 11, 16, 22. Again, forget for a moment why these numbers are in this series and just remember that 11 is two stops up from 22 (here a smaller numbers means a larger opening and more light). 5.6 is 4 stops down from 1.4. Bringing it all togetherUnderstanding that all three controls are in increments of “stops” is the key of enlightenment. If you take a picture at ISO200, 1/60, and f8 and you need the picture 4 times brighter, you now understand that there are three options: 2 stops up from ISO200 to ISO800, 2 stops up from 1/60 to 1/15, or 2 stops up from f8 to f4. Each of these decisions will have a creative visual effect, but they all will have one thing in common: Allowing four times the light into the final picture. About the Author For Further Training:There is a downloadable multimedia tutorial with videos that teaches you how to take control over your camera, and get creative and confident with your photography. By combining illustrations, text, photos and video, it will help you get control in no time. Includes a bonus Field Guide—a printable pocket guide with some of the most essential information beautifully laid out inside. It can be found here: Extremely Essential Camera Skills Go to full article: What Are “Stops” in Digital Camera Settings? |
| Applying the 3 Light Studio Setup to Outdoor Portraits Posted: 09 Jun 2013 02:36 PM PDT In today’s portrait photography photo tip we are going to wrap up our discussion of the three light set with a quick review and an example of how to build a set–with no lights! Just because you don’t have any studio lights, doesn’t mean you can’t shoot quality images. Here is a quick review…Most good portrait photography requires three light sources. Light #1 – This is the main (key) light and is used to establish the pattern and overall exposure settings. Light #2 – This one is the fill light and is used (or not used) to fill in the shadows created by the main. This one should be set at the same or less intensity as the key light so that it doesn’t cast its own shadows. Light #3 – This is the background (separation) light and is used to visually separate the subject from the backdrop. It is placed behind the subject and can be aimed either at the background or at the subject. When aimed at the backdrop, the separation light creates a lighter area behind the subject so that he or she doesn’t blend into the background. Adding colored gels can make the backdrop any color you desire.  “Model Portfolio” captured by Shaunna Marie Brunk. (Click image to see more from Shaunna Marie Brunk.) When aimed at the subject, the background light creates a “halo” or “rim” of light around the subject. It’s this rim of light that separates the subject from the background. This light is generally a bit brighter than the main light. The vast majority of amateur photographers never attempt the three light setup, and their portraits suffer because of it. Give it a shot! Once you are comfortable setting up and shooting with a three light set, you will never go back. By the way… if you have been avoiding the three light set because you don’t have three lights–that’s no excuse! Here is an example of a three light set…First we set our model so that the sun is at her back (out of view of the camera). This will create a rim of light around her and visually separate her from the background. This is light #3.  “Amber and Amy” Captured by Glass potraits by elijah. (Click image to see more from Glass potraits by elijah.) Then we use a reflector placed in front and to the side of her. This will reflect the light from the sun back into her face and–depending on where we put it–will create whatever light pattern we want and establish the main exposure settings. This is light #1. We can move the reflector closer or further away from our model to get the exposure we want. Ideally, this is an exposure of half a stop or so less than the separation light. Another reflector set at the correct angle and distance from the model will fill in the shadows and become our fill light–light #2. The above three light set is easy to create, costs next to nothing, and gives you professional quality portraits. Add in the fact that commercially-made reflectors can fold up to a very small size; you can toss a few into the trunk of your car and always have them available!  “Model” captured by Trandinhkhiem. (Click image to see more from Trandinhkhiem.) Your mission–should you decide to accept it –is to give it a try. Practice this until you are comfortable working with a three light set–then go out and buy whatever lighting equipment you want. You’ll know what you need, and it won’t end up in the closet where you store all your unused photo gadgets! Today’s portrait photography photo tip demonstrates that you don’t need actual lights to create a three light portrait photography set! Reflectors and the sun will do the job very nicely! About the Author: Go to full article: Applying the 3 Light Studio Setup to Outdoor Portraits |
| Concert Photography: Maneuvering the Crowd and Getting the Shot Posted: 09 Jun 2013 11:25 AM PDT Band photography can be an exciting and fun genre to get into, and it’s great for building your portfolio. Newspapers and magazines will be willing to pay for great images of the local music scene. Of course, like any other type of photography, it has its own tricks and obstacles to overcome. And many of these obstacles are physical, such as the crowd of people you have to wade through to get the shots that you want. This video covers a unique perspective of a photographer shooting a live concert. The little video cam attached to the photographer’s DSLR shows you how he maneuvers the crowd, frames his subjects, and waits for the right moments (for those of you reading this by email, the video can be seen here): Some tips for shooting live bands:
 Things happen quickly on stage. Be ready if you want to capture the best shots. Go to full article: Concert Photography: Maneuvering the Crowd and Getting the Shot |
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