What mode should I use?

The most common question I hear is “what lens should I buy?”.

Boy, that is a tough one – a bit like asking “what car should I drive”. The answer: “It depends”!

Almost as often, I hear “what exposure mode should I be on?”. That one is much easier.

Photographers taking photos in Oakville, photo by Michael Willems

WHAT MODE? Photographers taking photos in Oakville

I should start by saying that here too, of course the answer is “it depends”. So instead of giving you a canned answer, I am going to explain a bit about what modes I use in my daily photography practice.

And these are:

  • The green “Auto” mode: never – but I could use it if anyone asked “let me take your picture with your camera”. The green auto mode turns your expensive SLR into a point-and-shoot.
  • Scene modes (portrait, landscape, sports, etc): never. None of my cameras have these, but even if  they did, I would not use them. They are useful learning tools, and good for people with little experience, but they take a lot of power away from you, and you should learn how to do it yourself. Use them while learning, but as soon as possible, free yourself from these “canned” modes.
  • Program mode (P): occasionally, when I am in a hurry. Like when shooting while driving a car, or when covering a rapidly unfolding even where “get the shot” is the essence. P mode means the camera sets aperture and shutter, but you can override it in this and in many other aspects, like white balance and flash use.
  • Aperture Mode (A/Av): Almost always in many situations. When I am in an environment with changing light, I will likely use aperture mode. Because of what I shoot, I am in this mode maybe 70% of the time. Aperture is very important to me.
  • Shutter Speed Priority (S/Tv): when covering some sports. When I want to freeze or blur motion. Sure, those are obvious. But also when shooting flash outdoors and I want to be sure I do not exceed the flash sync speed. In those cases I often set my shutter to 1/250th second (the fastest flash sync speed, depending on which camera I am using) and I know that I will not be needing “Fast/Auto FP” flash, which reduces my power by at least half.
  • Manual (M): Always in studios. Always when shooting indoors flash. And usually when in a controlled environment. Manual (often combined with spot meter, incident light meter, and grey card) is my second most common mode.
  • Bulb: when shooting fireworks, or other events that take a long time and cannot be metered or timed.

So that means typically I might do this – a few examples:

  • Outdoor event: A/Av mode
  • Outdoor event with flash: S/Tv mode
  • Indoor event with flash: M
  • Studio: M
  • Outdoors rugby game: S
  • Indoors hockey game: M
  • Family snaps: A/Av
  • Product: M
  • Panning shots: S/Tv

Try them all, and learn how each mode works. Especially, do not underestimate Manual, where you get full control. You need to know what you are doing, but it pays to learn.

Replacing the sun

The sun, most photographers would agree, is not the friendliest light. It is like a studio with one direct light:

  • Too contrasty for the camera’s dynamic range to handle dark to light;
  • It throws shadows;
  • It makes smooth surfaces (like, um, skin)  look wrinkly.

So you get this, of Joseph Marranca on Monday at the Mono, Ont venue of the advanced creative light workshops:

Back yard in sunshine, by Michael Willems

Back yard in sunshine

Nice, but it suffers from all the problems of direct sunlight.

When you would rather have this, two seconds later when the sun went behind a big sky-mounted softbox: a cloud.

Back yard in shaded light, by Michael Willems

Back yard in shaded light

Nice and soft. Saturated colours. Smooth.

Now the only problem is that if you want highlights, you don’t get them. Can’t we have both?

Yes. And that is where flash comes in.

In the portrait shot below of Oakville’s mayor, yesterday, I first took away the sun, using a diffuser. And then I added a flash. Off-camera , with a Honl grid and a Honl quarter CTO gel (with my white balance set to flash). Plus a bit of fill flash on the camera.

Oakville's mayor Rob Burton, photo by Michael Willems

Oakville's mayor Rob Burton, June 2010

I think that being in control is better than just relying on too-harsh direct light. Do you agree?

Flash balancing, step by step

Many of you have asked me to give a simple step-by-step instruction of how to balance light using flash. OK, so here we go.

Step one: the normal shot.

Say you are shooting outdoors. And the background is bright. So you get this shot:

Flash demo photo by Michael Willems

1. Background too bright

OK for the foreground – but the background is too bright.

Step two: expose the background right

So you need to darken it. If, say, you are in Aperture mode, just use exposure compensation of, say, -1 to -2 stops. Now you get this:

Flash demo photo by Michael Willems

2. background ok, foreground too bright

Great, the lake is visible.

But now the foreground is too dark. So you need to brighten it.

Step three: expose the foreground with flash.

OK: turn on your flash. That gives you this:

Flash demo photo by Michael Willems

3. Better, now with flash

Much better. If the foreground is too bright, use flash exposure compensation (not exposure compensation!) to darken the flash. Or if it is too dark, you are probably too far away – get closer or use higher ISO, if able.

If your shutter speed exceeds your flash sync speed (around 1/200th second), reduce it or use Auto FP Flash/High Speed Flash (in that case, get really close).

Now you can make shots like this:

A Park Bench in Oakville (Photo by Michael Willems)

A Park Bench in Oakville shot with flash

(Can you also see the half CTO warming gel I used?)

And you can get more dramatic: here, I underexposed the background by two or more stops:

A Stop Sign in Oakville (Photo by Michael Willems)

A Stop Sign in Oakville (Photo by Michael Willems)

Have fun!

Battery tips

Sunday’s country workshop in Mono, ON prompts me to talk for a moment about batteries.

Background: We used small speedlights Sunday, with simple and effective Honl modifiers and gels. The studio lights and large softboxes stayed packed away.

Tara Elizabeth in the rain, by Michael Willems

Tara Elizabeth in the rain

In a shot like this, you make the background darker by “nuking the sun”: overpowering the sunlight with flash.

Overpowering the sun takes, um, power.

In general, therefore, you will set your Pocketwizard-powered speedlites to full power. On many shots we have five speedlites firing at full power. Full power gives you not that many flashes – in the order of maybe 100 flashes if you are lucky.

To use flash effectively, then, here are a few practical tips:

  • Turn off the “Auto power down” on your flashes (this is in your flash custom functions).
  • Move the flashes as close as you can to your subject (remember the inverse square law).
  • Allow 3 or more seconds for the flashes to recharge before you shoot again.
  • Occasionally, fire a test flash to verify that  all flashes are still working.
  • Use NiMH rechargeable batteries.
  • Ensure these are “low self discharge” types like Sanyo Eneloop, etc.
  • Carry a lot of spares. Several sets per flash.
  • Before each new shot setup, replace them. So you never run out.
  • Use a “conditioning charger” that can discharge your batteries fully before charging. I have three of the Lacrosse chargers (check Amazon or the web).

And yes, go wild, and use speedlites for creative purposes!

Model Tara Elizabeth, photographed by Michael Willems

Model Tara Elizabeth

Tara Elizabeth, photographed by Michael Willems

Tara Elizabeth

Tara Elizabeth, photographed by Michael Willems

Model Tara Elizabeth striking a pose

Tara Elizabeth, photographed by Michael Willems

Tara Elizabeth and umbrella

Now what?

I shot a corporate event the other day, and it taxed me. I shall explain how, and how you can get good (meaning sharp, well lit and well exposed ) shots in bad light.

When I walked in to the venue, I saw the problems:

  1. Extremely bright on one side (direct sun); very dark on the other side (too dark to see the camera)
  2. Virtually no bounce (high black ceilings and walls)

Like this:

Venue with difficult light, by Michael Willems

Venue with difficult light

Except with 300 lawyers and corporate clients.

So I set to work. And here’s what I did.

Mitigate the problem:

  • Shoot by the window using natural light and high-ish to very high ISO if anyone looks at the window
  • Shoot outdoors, when people move outdoors.
  • Find one or two spots where the light does kinda work and concentrate on those.
  • Move people to a wall where you can bounce a bit.

Handle the problem:

  • Use super high ISO if you must.
  • Use fast lenses.
  • Shoot RAW.
  • Use TTL – and know it.
  • Watch your meters carefully.
  • Avoid moving too much – even when you move half an inch it can put people in totally different light. See the previous point!
  • Be ready quickly. I carried three cameras with three lenses. Ouch. a 1Ds MkIII with a 35mm f/1.4, a 1D MkIV with a 16-35mm f/2.8 lens, and a 7D with a 70-200 f/2.8 lens.
  • I used bounce cards (Honl Photo reflectors, and outdoors,a 1/2 CTO Honl Photo gel) and a Fong thing (I even used a Fong Lightsphere with a Honl bounce card Velcro’d behind it – worked am charm).
  • Work out your best settings for each area and if the area is consistent as an area, set those in manual mode.
  • Shoot a lot.
  • Also shoot things that do not move, like food and furniture.
  • Do more then usual post-production. Yes, some prints will be under-or over-exposed all or part, but if you know your craft and get “close enough” in camera, then you will be able to finish them on the computer.

This way I got prints like:

Indoors, in a good(-ish) area:

Good area in a bad-light location, shot by Michael Willems

Good area in a bad-light location, f/2.0, 800 ISO, 1/50th sec

Outdoors, with a half CTO gel:

A couple shot at an event, by Michael Willems using a half CTO gel

A couple shot at an event, by Michael Willems

Indoors, long and with a 7D at 3200 ISO using available light:

Naural light shot using 7D at 3200 ISO, and a long lens, by Michael Willems

Naural light shot using 7D at 3200 ISO

Food:

Food at an event, shot by Michael Willems

Food at an event

At this event I used all the tricks I know, and it was hard work. But I got good pictures, of course.

If you want to learn some of the lighting tricks of the trade, and hone your skills in the flash area, join Joseph Marranca and me in Mono, Ontario tomorrow, Saturday 26 June. There are only two places left!

Piecing it together

Remember my recent post about how you need to tell a story with your pictures, but in a way that makes the viewer piece together that story?

One way to do that is by adding a second person in your portrait background, but having that second person blurred out. You sawa variant of this in the wedding cake picture, with dad in the background.

But this technique works especially well when there are two or more people, and especially when there is a relationship between these persons. Like in this nice wide-angle image of the bride and groom:

Groom with bride, by photographer Michael Willems

Groom with bride, by photographer Michael Willems

The centre of attention is the groom (unusually, because of course most of the rest of the wedding photos emphasize the bride, not the groom).  And then, a few milliseconds later, you clearly see the bride, and that she is smiling, and she is looking at her new husband.

More technical detail:

  • The wide angle makes the perspective show.
  • A good lens, which allows a wide aperture, and proximity to the subject, blurs the background.
  • Flash was bounced off the wall behind me, on my left (so the subject is hit with photons from the front).
  • The camera is in manual (“M”) mode; Exposure is set to light the room well.

Sometimes, not showing things that normally you would, also works. Look at the groom: we have no idea what he is thinking.

Knowing Looks, by Miochael Willems

Knowing Looks

Well, of course we do, we can guess – and that is what this is about.

Try it yourself now, this type of portrait! Aperture open all the way on a fast lens.

Outdoors with flash: what mode?

Let’s assume you follow my advice and use your flash, as fill flash, outdoors. Say for pictures like this.

A baseball team

A baseball team

In that case the question will be, what mode do you use on your camera? You want aperture in a certain range to ensure sufficient, but not too much, depth of field, and you want the shutter in a range that ensure sufficient stability but that is limited at the upper end by the flash sync speed (normally around 1/200th second).

  • Program mode: this will work, but you get no control over either aperture or shutter speed. Not the preferred mode unless you are in a hurry.
  • Manual mode: you meter for the background and set your camera accordingly. Flash lights up the foreground. This is practical when you know aperture and shutter speed and their effects well, and when the light does not vary too much.
  • Aperture mode: good for determining the depth of field. But there is a drawback. Outdoors, if you open the aperture, your shutter speed could easily exceed your flash sync speed. Result, an overexposed picture. Or if you stop down the aperture, the shutter speed could get so slow you get blurry images.
  • Shutter speed mode: if it is bright, you can set your shutter speed to just below your sync speed, say 1/200th second. The camera will now choose whatever aperture suits this. The risks are fairly low – worst case, you get a wider or narrower aperture than you wanted. If it is dark and your ISO is low, you can get an underexposed image.
  • “Aperture and shutter priority”: on some cameras you can select “Manual exposure, plus auto ISO”, which effectively means “aperture and shutter priority”. If you set your aperture and shutter wisely, the ISO will be in an acceptable range. The danger is that you need lower than available ISO (overexposed picture results) or that you need high ISO (noise, or “grain”, results).

As you can see here, there are certain strategies, but there is not one perfect one that is easy to use at all times. That is why photography has a technical aspect you need to learn.

A different approach: Rather than worry about modes too much, look at what they do. You need to look through your viewfinder and be aware of shutter speed, aperture, and ISO. Look out for:

  • Shutter too slow: blur
  • Shutter too fast: flash sync speed will be exceeded, and overexposure results
  • Aperture fully open: overexposure will occur, and depth of field will be narrow
  • Aperture too closed: too much will be sharp
  • ISO at its lowest: overexposure may result
  • ISO too high: noise (“grain”) will result.

Then adjust whatever you like to get all three variables into the right range.

For the shot above, I used shutter speed priority with my shutter speed set to 1/200th second. I chose an ISO of 200 to get into an acceptable aperture range (I was aiming for f/5.6).

It's all a blur

Well, not all. But in many good photos, the background is blurred. Because one way – a very good way – to draw attention to your subject is to blur the background. You do this by using aperture or manual modes and selecting a large aperture (a small “f-number”, like 2.8 or 2.0 or even 1.4 if your lens can do this).

That is why I love the 35mm f/1.4 lens and several f/2.8 lenses I use also: because they allow me to dramatically blur backgrounds. Like in a few of last night’s guests:

Wedding guests, photographed by Michael Willems

Wedding guests

The other interesting thing is that these pictures make you guess; make you piece together the story, as in my post the other day.

Tip: Normally, you do not want the blurred background person to vie for attention by looking into the camera. Except if they are the only person, as in this image:

A wedding cake, photographed by Michael Willems

A wedding cake

Your eye goes first to the cake. Then to the gentleman in the background. Then you try to make out what is happening.

And sometimes selective focus is all about drawing attention to the eyes:

Wedding guest, photographed by Michael Willems

Wedding guest

The good news: there are many affordable fast lenses available, like the 50mm f/1.8 that many camera makers sell, and the 35mm f/1.8 that some sell.

If you are not yet shooting with fast lenses, probably prime lenses, my advice is to try it soon.

Wedding lenses

For today’s wedding I used a 35mm lens, a 16-35, a 24-70, a 70-200 and a 100mm macro. At a later day (when I am not falling sleep after working 7am-midnight) I will go into more detail But for now:

Macro for close-up detail:

Wide for environmental shots;

And use telephoto for farther-away detail:

More on technique in the next few days!

Why is it blurry?

A question I get a lot from students is “why is this picture I made so blurry?”

We all want super-sharp pictures, and are disappointed when our pictures come out less than perfectly crisp. And then we wonder why.

The bad news: this question can be confusing because first, you need to distinguish between four distinct causes of blurriness. Yes, four: motion blur, focus blur, computer-generated unsharpness and camera-unsharpness. And their sub types: 11 reasons in all.

And then, once you know what caused it, you need to figure out how it came about.

Microphone shot against blurry background, by photographer Michael Willems

Microphone shot against blurry background

The good news: I can almost always tell very easily. And with a bit of training, so can you. And then you can find solutions.

So let’s look at why a picture can be blurry, shall we?

First there is motion blur:

  1. The shutter speed was too slow. This is by far the most common cause I see. Using a 100mm lens at 1/10th of a second is not going to work unless you are very lucky. (A general, very rough, rule of thumb: stay faster than “one divided by your lens length”. So on a 50mm lens, stay faster than 1/50th second. And so on). Solution: turn on more lights, go to a higher ISO (though this has problems too), open your aperture, or use a better lens with a larger aperture. Or use a tripod.
  2. The subject is moving. This is common too. If your subject moves, a tripod will not help! Solution: select a faster shutter speed or try panning with your subject.

Then there are various causes of focus blur:

  1. Simply out of focus, due to focus error. I see this a lot too. Solution: use one focus point, aim that at your subject (the eyes!), focus/lock focus, and shoot without repositioning yourself. Do not let the camera select where to focus.
  2. Out of focus due to very narrow depth of field. This is common with fast lenses. An f/1.8 lens (you need one!) has very selective depth of field, so move even a few millimeters and that eye will be blurry.
  3. Missed focus – due to the subject moving away after you focus. Solution: in these cases use AI Servo/AF-C rather than One Shot/AF-S.

Then there is what I like to call “signal unsharpness” (low signal to noise ratio, for engineers):

  1. The subject is dark. Dark pixels contain the noise and the muddy, unsharp image parts. Solution: light well!
  2. You are using high ISO. This leads to noise. Solution: use as low ISO as you can, use a faster lens, and turn on more lights.
  3. You are using noise reduction, which leads to blurriness. Solution: as above.
  4. You have increased the RAW image’s exposure, which generates extra noise. Solution: try to expose well in the camera and “expose to the right” (see previous posts here: search for them on the blog using the search field above right).

Finally there is camera unsharpness:

  1. Anti-moiré blur. Your camera adds blur to avoid Moiré patterns. Solution: use sharpening.
  2. Your lens is badly adjusted. This happens. Solution: have it fixed, or on professional cameras, do a lens micro adjustment.

I hope the above does two things. First, explain why this is complex, which explains a lot of the confusion (and I hope I removed some of that confusion). Second, help you with strategies to fix the issue.

Tip: Take lessons to learn about this stuff from the pros. Go to your local Henrys, or if you are an emerging pro to www.cameratraining.ca, and explore the possibilities. We make things simple!