For most photography, I recommend keeping post work to a minimum. Quick crop, perhaps a small exposure adjustment: done. For some types of photography, like press photography, adjustments of any other type are forbidden.
But for some, they’re necessary. Even an iPhone product shot like this, of my Glycine watch, needed some TLC:
That’s one of my watches. Click on it to see the full version. And notice how perfect it looks. No dust at all, no smears or scratches, great contrast, and so on. All watches always look hyper-perfect in all ads.
And that’s because they’re hyper-edited. Things like focus stacking, and expensive editing.
In mine, above, I removed every speck of dust using the healing tool in Lightroom. Then I increased local clarity and decreased exposure on the watch face. I added a tad of sharpening and then noise reduction. And although small, the effects of these edits are important.
The good news: most of these edits are easily doable in Lightroom. For a commercial advert, you need Photoshop, but for everything else, Lightroom is fine.
It is minus 28 degrees Celsius. Yesterday, I taught a Creative Flash Photography workshop in Timmins, Ontario. Here’s a sample!
Some creative gel use:
A snapshot showing the setup for the next shot:
And here’s the shot!
…which also works in B/W:
A simple one flash grid portrait:
And two together:
Fun was had. Flying me out to anywhere for a workshop like this is worth your time: hands-on learning so beats only reading a book or watching a video!
Especially when shooting with flash, your camera (though not necessarily your flash) needs to be in manual mode. I’ll show you why.
This is Aurele Monfils in Timmins today, in auto mode:
And here is Aurele in manual mode:
In manual mode, I made a few adjustments. Namely:
- Shorter shutter speed
- Higher ISO
- Flash TTL minus one stop (FEC, Flash Exposure Compensation).
After these, as you can see the dashboard is no longer unnatural looking, and you can actually see what little late afternoon sky blue there was.
Why you use a Shampooey Goodness light… from today’s corporate shoot. With, and without.. I am sure you can see the difference.
QED. You need that hair light, and you need to aim it very accurately, so as to avoid hitting the face or shoulder. You need to use a snoot.
A repeat post from 2015, showing that things do not change much…
I very often hear people who are a little ahead of themselves. They do paid portrait shoots before learning how to focus, that sort of thing. They do not want to learn formally, for instance from a course, or books, or seminars; and yet they expect the knowledge to come to them for free, somehow.
Wishful thinking, and you know it. So let me grab a few of these things by the horns. Starting with portraits. You are doing a studio portrait; you have a backdrop; but the rest is mystery. So your images end up:
- Badly lit.
- Under- or overexposed.
- With a background that is sharp instead of blurred.
- With the subject not separated from that background.
- Out of focus.
- With the background white, not coloured even though you use gels.
That is because you never learned the basics. But there is good news: studio portraits are simple. All you need to learn is:
- Lighting. A main light, 45 degrees away from subject. A fill light, same on other side. Hair light, opposite main light. See diagram, from my new book:
- Exposure. Set your camera to manual mode, 1/125 sec, f/8, 100 ISO.
- Turn the flashes to half way (obviously the flashes are on MANUAL too).
- Now meter the main flash. Adjust main light until it reads f/8.
- Same for hair light.
- Fill light: meter this to f/4 (i.e. adjust this light until meter reads f/4 when it flashes).
- Background light: same as main light, again.
- White balance to “Flash”.
- Focus using one focus spot. Focus on the eye using that one spot.
- Use a lens longer than 50mm. I prefer my 70-200 or my 85mm prime.
- Move subject from background as much as you can. Then you can gel the background light. If, whoever, much of the normal light falls on the background, you cannot gel. Test this by turning OFF the background light: the background should be dark.
- Turn subject toward main light, then head slightly to you.
That really is all. Click., You have a competent portrait.
What you must not do is pretend that no learning is necessary. Go find a course, go buy my e-books; read this free resource www.speedlighter.ca; take private training; sign up at Sheridan College; : whatever you can do, do it now.
It really is simple. But not as simple as “I just bought a camera and next week I am shooting a wedding”—and believe me, I have heard that very statement more than once.