Digital Camera World » photo ideas

Refraction of light: capture amazing photography effects with a glass of water

jmeyer — Wed, 15 May 2013 11:37:11 +0000

The refraction of light is one of the most commonly observed phenomena and is a perennial favourite of photographers. While talk of bending light waves and the effects they produce may sound like complicated work, it’s actually a rather simple photography effect you can recreate anywhere.

Find out below how to capture the refraction of light using a glass of water and a cool background!

In this tutorial we’re going to use the refractive properties of glass and water to make a striking arty abstract. The chances are you witness this effect every day, and it can be clearly seen by simply looking through a glass of water.

But we’re going to take it one step further and control the effect for creative results.ding light

Using a background of diagonal black and white stripes, we’ll use the distorting properties of water and glass to bend, twist, rotate and skew the lines to form intriguing abstract shapes.

This is a relatively easy technique to get to grips with. Simply fill a glass container with water and look through it – you’ll instantly see the distorting effects of refraction in action.

Layer several glasses in front of one another and you’ll add layers of distortion to the overall effect.

The lighting is straightforward, and a regular camera mounted flashgun bounced off the ceiling will be more than adequate. You don’t need any fancy equipment or complicated camera techniques to achieve amazing results.
A simple table top is all you’ll need. So let’s get started and see how it’s done…

How to photograph the refraction of light

Get started
For this project you’ll need to make a simple background. We’ve created a diagonal black and white stripe in Photoshop and printed it out on a regular office laser printer. It doesn’t need to be too fancy. It’s worth experimenting with different designs, or you could even introduce some colour.

Perfect your settings
Position super-clean drinking glasses in front of the backdrop, and fill them with water to varying levels. Use a small aperture such as f/16 to maximise the depth of field and ensure everything’s sharp. Use a tripod, as small changes in camera angle will affect how the glass and water refracts the pattern.

Prepare the lighting
Daylight can work perfectly, but we’ll be using a flashgun here as we’re shooting in lowlight conditions. Ideally you want to avoid any unsightly reflections on the glass – you can easily achieve this by bouncing the light off the ceiling. To do that, simply point the flashgun in the up position.

Macro flower photography ideas: create fake dew drops to act as miniature lenses

jmeyer — Sat, 11 May 2013 13:00:26 +0000

When shooting macro photography, it’s often the small details that complete an image. And adding drops of water to your photo composition can serve to magnify the finer details of your subject for a striking effect. Here’s how it’s done.

Shiny raindrops add the finishing touch to macro flower shots, catching the eye and acting as miniature lenses that magnify the detail in leaves and petals.

There’s no need to wait for a downpour to achieve the look – you can recreate this effect without getting your camera wet.

You can find a floral subject in your local park or buy a potted one. A macro lens will let you get in really close and capture minute details in the flower’s petals, while maintaining a shallow depth of field for that dreamy macro feeling.

A tripod isn’t essential, but it will keep you steady and leave your hands free to create the effect you want. Use a watering can to create a falling rain effect, or mist petals with a hand sprayer for delicate dew drops.

How to create your own dew drops for macro photography

01 Set it up
Switch to Direct Sunlight White Balance mode if you’re not shooting on a sunny day, as this makes plants look fresher. Also, use a low ISO to ensure a crisp final image. A super-shallow depth of field that blurs out the background works best, so pick an aperture of f/5.6 or wider.

02 Perfectly composed
Position your flower against a clean background like a grassy lawn. (Pick up any leaves or twigs that might show up in the shot.) Stay parallel to the flower and use Live View to check how the shot is looking. Make sure you focus manually on the rain drops to get them pin-sharp.

03 A spoonful of sugar…
Add sugar to the water – this helps the droplets adhere to the flower’s leaves and petals and takes longer to dry, giving you more time to compose your picture. A watering can is brilliant for creating a falling rain effect, or you can use a hand sprayer to get a fine mist on petals.

Photography Lighting: how to master shooting in low light

jmeyer — Sun, 05 May 2013 23:01:29 +0000

In the latest instalment of our Shoot Like A Pro series on photography lighting we take a look at the best settings and methods to use when shooting in low light.

From dimly lit interiors to shooting outdoors before sunrise or after sunset, shooting in low light presents very different challenges to shooting in bright conditions.

It’s often difficult to get the right exposure using the automatic modes in dark conditions, so you’ll need to master Manual mode.

These conditions can also make things like focusing and white balance more challenging, but it’s worth overcoming them, because shooting in low light can result in stunning images.

Exposing in low light

Shooting in darker conditions can play havoc with your camera’s exposure settings, especially if you’re using any of the automatic exposure modes, because the subject will rarely contain a normal range of tones.

In most low-light situations you will get much better, and more predictable, results by switching to Manual.

If the subject contains mainly dark tones you’ll find that your camera will over-expose your shots. This is easily visible, as there will be too much detail in the shadow areas.

The best way to assess the exposure is to take a test shot, and then check the histogram graph. If there’s a gap to the left, the image is over-exposed so you need to use a faster shutter speed, smaller aperture or lower ISO.

When it comes to choosing the exposure settings for shooting in low light you have some decisions to make.

Firstly, do you need to use a fast shutter speed to freeze movement or prevent camera shake if you are handholding the camera, or are you happy to put the camera on a tripod and use long shutter speeds?

To use a fast shutter speed in low light you’ll have to use a high ISO setting, such as 800 or above. But when using a tripod you should set a lower ISO such as 200 or lower for the best quality.

PAGE 1: Exposing in low light
PAGE 2: Shooting in twilight vs complete darkness
PAGE 3: How to shoot handheld in low light

DIY Photography Hacks: make a powerful macro lens with an empty toilet paper tube

jmeyer — Wed, 01 May 2013 10:00:50 +0000

We’ve covered a lot of clever techniques in our DIY Photography Hacks series, and this latest is one of our favourites – both because it’s so simple and the effects are amazing! In our quick tutorial below we show you how to use an empty toilet paper tube as an extension to transform your 50mm standard lens into a powerful macro lens.

A macro lens can be an expensive investment, especially as it’s a specialist lens that you might only use a few times a year.

However, if you want the close-up experience but don’t want the expense of buying a macro lens, it’s easy enough to create your own with a few household items, plus a standard prime lens – we used a Nikon 50mm f/1.4.

Please note that you will need to sacrifice a body cap for this project, but these are cheap to buy, at around £8/$8.

The key to this project is to flip the lens, putting the front element against the camera, then when you look through the viewfinder you’ll see everything has got much closer. Stick a tube in between camera and body and everything gets larger still.

Make a macro lens the DIY photography way

01 Make the extender
Cut the toilet roll tube to roughly 100mm, then tape a piece of neoprene inside to help cut out any light reflections. If you don’t have any black neoprene, black paper will also work. Take a body cap and carefully cut a hole in the front, then tape the tube securely to the body cap.

02 Attach the lens
When all is secure, attach the lens, reversed so that the front element goes into the tube, and tape into place. Mount the camera on a tripod and move the subject into focus. There’s a small lever on the back of the lens: move this to close down the aperture and secure with Blu-tack.

03 Take your shots
Set the camera to aperture-priority mode. The camera will say it has set itself to f/0. Next, set the self timer to avoid any shake or image blur while shooting, and take a few test images. Check the results and adjust the aperture lever with the Blu-tack as needed.

9 creative photo ideas to try in May 2013

jmeyer — Tue, 30 Apr 2013 23:01:19 +0000

As part of our ongoing series to help you get more creative with your digital camera, each month we publish some fun, seasonal, creative photo ideas to help inspire your imagination. Along with some amazing images, we’ve also provided some quick photography tips by both amateur and professional photographers who are experts in these fields.

This month our list covers fun projects like shooting long exposures, puddles, stormy seas and painterly plant portraits, among many other fun and creative photography projects.

On each page you’ll find a stunning image and an explanation from the photographer on how it was made.

If you attempt any of these photo ideas, don’t forget to share them on our Facebook wall!

01 Shoot creative spring light painting effects

Light painting photography doesn’t have to be restricted to the longer nights of winter. As spring arrives, why not make the most of the milder evenings with this clever twist on a familiar technique?

Simon Berger created his ‘Pouring Rain Noir’ shot after seeing a tutorial on steel wool light painting and experimenting with the technique. It was taken using nothing more than a tripod-mounted Canon EOS 5D Mark III, a willing model (Martin) and some burning steel wool.

“We used ordinary ‘0000’ steel wool for this shot,” says Simon. “To control the direction of the sparks, I rotated the  steel wool towards the camera and Martin, and the sparks bounced from the ceiling onto the umbrella.”

The technique is pretty simple. By placing steel wool in a metal whisk suspended at the end of a chain, igniting the steel wool with  a 9V battery and then spinning the chain, you can create impressive arcs of sparks using a long exposure. Of course there are risks, and it needs to be carried out well away from anything flammable.

“The umbrella we used was a really cheap one,” Simon says. “We had some bottles of water, but the shooting took place in a tunnel so there was no real danger of anything catching fire. I knew I wanted the sparks to look like rain, but I had no idea how to do it until I found this location. Then it just clicked.”

Get started today…
* Safety warning! Spinning molten steel wool at the end of a chain carries a high risk of injury. Don’t attempt it alone and make sure you wear goggles, gloves and suitable protective clothing. Protect the front element of your lens with a clear UV filter.
* Experiment with exposure times. Simon used an aperture of f/8 and shutter speed of 20 seconds at ISO200.
* Consider converting the original colour shot to black and white for added intrigue.

PAGE 1: Shoot creative spring light painting effects
PAGE 2: Shoot painterly plant portraits
PAGE 3: Shoot the beach during a spring storm
PAGE 4: Shoot zoo animals with environmental context
PAGE 5: Shoot reflections in puddles
PAGE 6: Shoot plane trails
PAGE 7: Shoot portraits with reflections
PAGE 8: Shoot water birds at your local pond
PAGE 9: Shoot images with motion blur

Night photography ideas: light painting your subject over ultra-long exposures

jmeyer — Tue, 30 Apr 2013 10:00:18 +0000

If you’re looking for new night photography ideas to boost your creative output after dark, painting with light is the perfect technique, which can be used with just about any subject. In this quick tutorial we’ll show you how light painting your subject while shooting in your camera’s Bulb mode can help you create a range of different moods in your images.

Light painting involves using a light source such as a torch or a flashgun to illuminate your subject.

By leaving the shutter open for a long period of time you can shine the light onto parts of the subject, so that you create pools of light.

This gives your night shots a unique and slightly surreal appearance. By moving the lights during the exposure you can control the brightness of specific areas of the subject, and even use different light sources or coloured gels to achieve different ‘moods’.

Judging the exposure is one of the most difficult aspects of light painting, so remember to time how long you paint each area of the subject. Also, try to make sure that you light the subject from the same distance each time. Get more advice below…

Night photography ideas for creative photographers: how to set up for light painting

Frame your shot
Composing your photos in the dark can be tricky, so set your camera to the highest ISO light sensitivity setting. You do this via a dedicated button or menu entry, so check your manual. Then switch to Live View mode to give a visible image on the screen. With the camera on a tripod, use this Live View image to compose your shot.

Set up the camera
Now set the camera to manual focus, making sure MF is selected on the side of the lens if appropriate, and carefully focus on the subject that you are going to illuminate with the light. Remember to change the ISO light sensitivity down to ISO 200, and in Manual exposure mode set the shutter speed to ‘B’ (Bulb exposure) and the aperture to f/11.

Light your subject
Using a remote release, lock the shutter open and start painting the light onto the subject. Just like any other form of lighting, a directional side-light will reveal much more detail than lighting from the camera position. Just remember not to wander into the frame, or it will render the whole exercise pointless!

Check the result
Because of the nature of painting the subject with light it’s very difficult to judge the exposure and direction of the lighting. You’ll need to check the results on the LCD screen on the rear of your camera. Don’t forget, if the subject is under-exposed you need to light the subject for a longer time or move the light a little closer.

Photography Lighting: simple ways you can make the most of natural light

jmeyer — Sun, 28 Apr 2013 23:01:34 +0000

In the third part of our Shoot Like A Pro series post on photography lighting in all its forms, we take a look at how you can make the most of natural light on any given occasion.

For large subjects such as landscapes or buildings it’s not feasible to control the light, so you will be at Mother Nature’s mercy.

However, you can choose the direction of the light by your viewpoint, and with a little planning you have some control over the quality of light by shooting at different times of day or in varying weather.

The classic time to shoot scenic images is during the golden hour. This is the hour after sunrise and before sunset when the sun is low in the sky, giving strong side lighting on the landscape to reveal texture and shape.

When the sun is low in the skyyou will find that the colour temperature is lower, giving your shots a warmer look.

Shoot into the light
One of the most dramatic and striking lighting effects is when you shoot into the light. This technique – also known as contre jour or backlighting – gives your images a totally different look to shooting with the light in front of the subject.

With the light behind the subject you can get two completely different ‘looks’ by altering the exposure. By exposing for the background the subject will be dark, producing a silhouette, while exposing for the subject will over-expose the background, giving a much brighter, high-key effect.

When you’re shooting into the light you should always avoid looking directly at the sun, so try composing using Live View, rather than the optical viewfinder.

You’ve probably seen the ‘perfect’ sunset, even if only from your house or car window, but how many times have you seen it when you’ve been out with your camera?

If the answer is many then you’re either extremely lucky, or more likely you spend too much time checking the weather forecast!

But knowing what conditions to look for, and the timing and position of the sun during the day, is the key to getting the most from natural light.

PAGE 1: Making the most of natural light
PAGE 2: Predicting the natural light
PAGE 3: Shoot in the direction of light

Photo Anatomy: using light to create artistic landscape photography

jmeyer — Sun, 28 Apr 2013 13:00:14 +0000

In our new Sunday series on Digital Camera World, we select pictures by famous photographers and explain point by point what makes them work.

In our latest instalment award-winning landscape photographer Antony Spencer reveals the artistic choices and photographic techniques he used to create this amazing landscape image.

Composition
The whole image is built around the tree. “It adds another dimension and takes the composition up  a level, especially with the creek leading straight to it,” says Antony.

Exposure
“When shooting a scene at 280mm on top of a hill, any wind will soften the image,  so I used ISO200 to shorten the exposure time,” he says.

Selecting the right content
“I used a 70-200mm lens at 200mm with a 1.4x extender to compress the area of interest within the landscape,” says Antony. “A polariser increased colour saturation.”

Viewpoint
Antony shot this image from the top of Steptoe Butte, which overlooks the wide open landscape of the Palouse region in Whitman County, Washington State, USA.

Time of day
“Sunset was always going to be the best time of day for the light to emphasise the undulating hills and lead towards the tree,” says Antony. “The angled light was crucial.”

We say
“Photographing a large-scale landscape like the Palouse can initially be overwhelming. Using a longer lens reduces the amount of detail in the frame and compresses perspective. By selecting the right combination of elements you can create a simple, balanced composition that’s far more effective than a broader landscape.”
Chris Rutter, technique editor

Baby photography tips for the ‘newborn-again’ photographer

jmeyer — Thu, 25 Apr 2013 23:01:59 +0000

In our latest Professional Photographer to the Rescue post our professional photographer helps our apprentice take her first steps taking infant portraits. Find out her baby photography tips for taking classic, timeless images.

Our professional photographer

Tracy Willis has only been photographing babies professionally for the past two-and-a-half years, but has won many prestigious awards and has just been named People Photographer of the Year 2012 and Overall Photographer of the Year 2012 by The Guild of Photographers. In addition to photographing infants in her Bournemouth studio, she trains others in the art of baby portraiture. See www.maternity2mischief.co.uk

Our apprentice

Originally from South Africa, Carmen Furlonger now lives in Bedfordshire with her husband and seven-month-old daughter Ava. She has built up an extensive portfolio of photos of Ava as she grows up, but feels her baby portraits lack the pro touch and came to us for help…

Technique Assessment

Tracy asked Carmen to get set up to shoot some babies, then suggested these changes…

Exposure settings
“Carmen set her camera to Av mode and a wide f/3.2 aperture for a shallow depth of field, but I find that this can be a little too shallow, with vital detail dropping out of focus. My go-to aperture is f/5.6 as this ensures that baby’s features are sharp while allowing the background to blur.

“I also advised Carmen to shoot in Manual mode at around 1/100 sec to sync with the studio lights, and at ISO100 for best quality. Most important of all is to shoot in raw format so you can get the very best from your shots in Photoshop.”

Manual AF point selection
“Carmen set the camera to Single AF point selection, but was using the central AF point to focus, and recomposing. I explained that when shooting up close, even the small movement of swinging the camera for a more pleasing composition can be enough to shift the focus plane, meaning that details aren’t as pin-sharp as you’d like.

“I showed her that, by pressing the + zoom button, she could easily scroll through her AF points to place a point on the baby’s eye for pin-sharp focus, without taking her eye away from the viewfinder.”

PAGE 1: Meet our professional photographer and apprentice
PAGE 2: Baby photography tips for during the shoot
PAGE 3: Final baby photography tips from our professional photographer
PAGE 4: Our professional photographer’s recommended gear
PAGE 5: Shot of the Day

Seascape Photography Tips: using your 10-stop ND filter for ultra long exposures

jmeyer — Wed, 24 Apr 2013 23:01:07 +0000

As the sun re-emerges we all start thinking about hitting the beach. For photographers, however, this takes on a completely different meaning. In this tutorial we offer our best seascape photography tips for using your 10-stop ND filter to shoot long exposures that tame the waves and convey a sense of movement in the clouds.

Words and images by Jeff Morgan.

We’re fortunate in the UK, where Digital Camera World is based, because we have such easy proximity to thousands of miles of beautiful coastal scenery, and most of us are within a couple of hours’ drive of the shore.

The advantage of costal photography is that such a huge variety of weather conditions can produce great images; dark and stormy overcast days can look great in monochrome, while puffy white clouds look fantastic in colour.

However, whatever the conditions, seascapes are invariably at their best when taken with a long exposure. Static waves and sea spray become a smooth, milky blur that has a dream-like quality.

Fast-moving clouds turn into impressive streaks that give the sky real texture, and distractions like birds – and even people walking along the beach – simply disappear.

But getting a satisfactory exposure is difficult in all but the lowest-light conditions and narrowest apertures, because effective exposures often need to be several seconds or minutes long.

To achieve this without resulting in over-exposed shots, the level of light hitting your camera’s sensor needs to be cut down using a neutral density (ND) filter – which is semi-opaque to reduce the amount of light without altering its colour.

While these have been available in varying strengths for many years, a more recent innovation is the super-strong 10-stop ND filter, which reduces the light hitting your sensor by a thousandth – or put another way, would increase a 1 sec exposure to more than 15 minutes! These filters are available from a number of manufacturers.

As well as an ND filter, you’ll need a tripod and midrange zoom (your kit lens is ideal). We went to Bedruthan Steps, Cornwall, for a long-exposure Masterclass. Here’s how we got on…

Seaside Photography Tips – 01 Break the rules!

We often talk about the ‘rule of thirds’ and the importance of placing the horizon at the top or bottom thirds of the frame.

However, reflections are the exception that proves the rule!

Putting your horizon dead centre makes for a dynamic composition as we’re creating interest in both the sea and sky.

The rule you don’t want to break, however, is not getting an even horizon. Use a hotshoe spirit level or Live View with the grid display to ensure your horizons are perfectly level.

PAGE 1: Seaside Photography Tips – 01 Break the rules!
PAGE 2: Seaside Photography Tips – 02 Camera settings
PAGE 3: Seaside Photography Tips – 03 Attach the filter
PAGE 4: Seaside Photography Tips – 04 How to calculate exposure (free cheat sheet)
PAGE 5: Seaside Photography Tips – 05 Beach challenges
PAGE 6: Seaside Photography Tips – 06 When to shoot?
PAGE 7: Which filter to use for long-exposure seascapes