The Digital Photography Book, Part 3
Contents
1. the book s website at www kelbytraining com books digphotogv3 es Lo Chapter 4 The Digital Photography Book Clean It Before You Shoot It Before you shoot anything clean it first This is one of those things that if you don t do it promise it will take you ten times longer to fix it in Photoshop than the 15 seconds it would have taken you to do it right in the studio can t tell you how many times in the past I ve skipped this step and I don t really notice all the fingerprints and little smudges and specks of dust on the product until actually open the shot later in Photoshop and then I have to spend 10 minutes trying to retouch it all away It s been so bad on a couple of occasions that actually went back wiped down the product and then reshot from scratch You only have to do that a few times to learn the lesson clean it thoroughly before you start shooting and save yourself a bunch of headaches after the shoot This page intentionally left blank The Digital Photography Book Index A about this book 2 4 A clamps 42 91 action shots 150 215 217 225 See also sports photography Adobe Photoshop See Photoshop Adobe Photoshop Book for Digital Photographers The Kelby 51 AE Lock button 147 189 AlienBees Ring Flash 47 223 all in one zoom lenses 76 ambient light 46 American Society of Media Photographers ASMP 138 anti movement technology 65 aperture prior2. 124 reformatting memory cards on 197 resetting to factory defaults 193 sensor cleaning feature 196 time lapse photography with 174 TTL feature 27 video capability on 189 zooming the LCD on 204 catch lights 49 celebrations in sports 150 channels flash 9 children focusing attention of 142 grouping photos of 141 handing props to 143 perspective for shooting 143 taking portraits of 142 143 circular polarizer filter 66 cityscapes nighttime 180 cleaning lenses 70 sensors 196 210 clipping warning 177 close up photography 68 color clouds for holding 109 settings for vibrant 124 color casts 111 color correction gray card for 51 white balance vs 187 composing action shots 215 217 225 beauty style shots 216 231 editorial style shots 221 food shots 229 landscapes 214 portraits 216 218 220 223 227 230 product shots 222 224 229 sports shots 215 217 225 still life shots 226 travel shots 107 214 219 wedding shots 228 computers backing up memory cards to 201 viewing images on 41 concert photos 172 continuous lighting 88 Continuous Servo mode 153 copyrighting photos 200 creativity 60 77 81 120 CTO gel 22 D dawn shooting at 122 daylight portraits lit with 227 228 studio lighting with 89 222 See also sunlight deleting bad shots 125 depth of field for portraits 133 220 227 for sports shots 158 for still life shots 226 for wedding shots 228 Dfine 2 0
3. Getting the Star Filter Effect Try Getting Creative with White Balance Let Great Light Be Your Subject Watch for Bright Spots The Three Keys to Landscape Photography Look for Clouds to Hold the Color How to Shoot Underwater Part 1 How to Shoot Underwater Part 2 It s What You Leave Out of the Frame Shoot at the Lowest ISO Possible Not Sure What to Shoot Try This Keeping Unwanted Light Out Using a Graduated Neutral Density Filter How to Shoot for HDR What to Do with Your HDR Shots Scout Your Dawn Shoot Location Don t Always Shoot Wide Angle 83 84 85 86 87 88 89 90 91 92 93 94 95 96 97 98 102 103 104 105 106 107 108 109 110 111 112 113 114 115 116 117 118 119 120 Table of Contents Use Backlighting to Your Advantage Why We Get There Early Why You Should Shoot Panos Vertically Getting More Vibrant Landscapes Delete Now Instead of Later CHAPTER SIX Shooting People Like a Pro Yet Even More Tips to Make People Look Their Very Best If They Look Uncomfortable Hand Them a Prop The Advantage of Having Your Subject Sit Shoot From Up Really High Shooting a 34 View Pick a Spot to Look At Get Everything Set Before They Arrive Super Shallow Depth of Field for Portraits Using a Triflector for Portraits Using Scrims for Shooting in Direct Sun Shooting at the Beach Shooting on the Street Get a Model Release They Don t Always Need to Be Smiling Overexpose on Purpose Put Multip
4. Kim Doty What can say this book is dedicated to you Writing books is never easy but you make my job so much easier by keeping me on track and organized and for staying absolutely calm and positive in the face of every storm One of the luckiest things that has ever happened to my books is that you came along to edit them and I m very hon ored and grateful to have you making my books so much better than what turned in To Jessica Maldonado You are hands down the Diva of Design and owe much of the success of my books to the wonderful look and feel you give them What you do brings my books to life and helps them reach a wider audience than they ever would have and I m so thrilled that you re the person that works these miracles for us signed your biggest fan To Cindy Snyder A big big thanks for helping tech and copyedit all the tips in the book and as always for catching lots of little things that others would have missed To Dave Damstra You give my books such a spot on clean to the point look and although don t know how you do it sure am glad that you do To my friend and longtime Creative Director Felix Nelson We love you We all do We always have We always will You re Felix There s only one To my Executive Assistant and general Wonder Woman Kathy Siler You are one of the most important people in the building not only for all the wonderful things you do for me but for all the things you do for our e
5. Light Situations The High Speed Memory Card Myth Do This Before You Close Your Camera Bag Why You Should Download Your User Manual The Photoshop Trick for Finding Dust Spots Shooting in Bad Weather CHAPTER TEN The Simple Ingredients to to Make It All Come Together INDEX xiii 192 193 194 195 196 197 198 199 200 201 202 203 204 205 206 207 208 209 210 211 213 232 Chapter Four Shooting Products Like a Pro How to Get Them to Look Like You ve Always Wanted Them To self Why would need to know how to make a great photo of a product There are tons of reasons shooting products is surprisingly fun but the most obvious might be having a great product shot is critical if you re selling stuff on eBay com Now you might be thinking But I m not selling any stuff on eBay and if you just said that that tells me one thing that this is the first chapter of the book that you turned to because although this book wasn t designed to make you want to buy new stuff the sad truth is to get the same results the pros get sometimes you have to buy stuff sometimes it s an accessory or a light or a filter etc The stuff might not cost a lot but still it s stuff you have to buy Okay so if it s stuff you have to buy some of it will probably be replacing stuff you already have right For example if you bought a digital camera kit where you got a camera body and
6. Outside of the fact that they stay on all the time they re just like strobes and have all the similar accessories like softboxes in every size including strip banks and fabric grids and all the other stuff but since they re always on you don t have to worry about a wireless trigger or flash cables always recommend these to my friends and every body I ve recommended them to has fallen in love with them You can pick up a one light kit which includes the fixture a softbox tilt bracket and light stand bulbs need to be ordered separately from B amp H Photo for around 530 You can also get the fixture on its own for around 280 but again the bulbs need to be ordered separately al aa oO Mo Shooting Products Like a Pro Mixing Daylight and Studio Lights gt a al wu x E O O D If you ve got a lot of space with a lot of natural light you can shoot just using the natural light but the problem is going to be getting light to wrap all the way around your product That s why adding one light and mixing that with your natural light can make a big difference do this a lot when shooting food or wine bottles where use the natural light for the backlighting so it s really the main light and then I use a West cott Spiderlite continuous light for a fill light in front after all if the light is coming from behind my product the front of the product will be kind of a silhouette Bringing a litt
7. and easy to a real pain in the so you re better off doing it right up front The easy way to get those reflections is to shoot your product on some plexiglass either clear or white frosted Just put a rectangular sheet of plexi right over your background you can pick up these small sheets of plexiglass at your local Home Depot or Lowe s for around 15 and it does the rest Plus plexiglass is handy for all sorts of other stuff you ll see it used again in a couple of pages and another in Chapter 10 To see a production setup using plexiglass go to page 93 Faking Reflections in Adobe Photoshop Ifyou need to fake a reflection here s how it s done Make a selection around your product then press Command J PC Ctrl J to put that product up on its own separate layer Go under the Edit menu under Transform and choose Flip Vertical This turns your product upside down Now press and hold the Shift key and drag your product straight downward until the two bottoms touch then in the Layers panel lower the opacity of this layer to around 20 That s it Shooting Products Like a Pro When you re shooting products it s very important to make sure the product is really well lit and sometimes it s hard to get into little nooks and crannies with your light which is why you ll love this trick buy a few little tabletop mirrors the kind they sell at the local pharmacy or Walmart but make sure they tilt Position a co
8. and privilege of thanking them here To my amazing wife Kalebra This year we re celebrating our 20th wedding anniversary and I m more in love more crazy about you and more thrilled that you re my wife than ever Besides being a world class mother a gourmet chef an artist a singer and a brilliant busi nesswoman you re just about the coolest person I ve ever known still can t believe that you chose me and I ll spend the rest of my life working to make sure you always feel you made the right choice love you sweetheart To my wonderful crazy fun filled little buddy Jordan If there s any kid on the planet who knows how much their dad loves them and how proud their dad is of them it s you little buddy even though now that you re 12 I m not supposed to call you little buddy anymore Well at least not in front of your friends You were wired at the factory to be an incredibly fun hilarious creative positive sensitive super bright yet totally crazy kid and love it But have to admit as much fun as have at our nightly Halo 3 battles on Xbox LIVE last week when dragged my amp and guitar up to your room you sat down at your drums and we jammed on an extended version of Bon Jovi s You Give Love a Bad Name knew at that moment that if it was possible to have become a luckier dad than already was it just happened Dude I mean son you rock To my beautiful big girl Kira You re totally bless
9. enhancements for 90 plexiglass used in 84 86 reflections created in 84 strip banks for 93 tripods and 96 white formica for 91 Professional Photographers of America PPA 138 professional tips techniques 169 189 concert event shots 172 general camera setup 181 histogram vs highlight warning 177 home interior shots 173 Live View white balance 170 low light photography 179 multiple exposures 176 nighttime scenes 180 online photo labs 178 packing lists 182 186 percentage of great shots 188 spot metering 171 time lapse photography 174 175 video feature 189 white balance setting 187 props 128 143 221 puddle reflections 112 The Digital Photography Book R radio transmitter 10 rain covers 211 Ranger kit 45 Raw JPEG option 194 RAW photos gray card color correction for 51 instantly extracting JPEGs from 194 LCD monitor preview and 192 saving in JPEG format 90 when to shoot JPEG vs 195 RawWorkflow com website 194 Ray Flash 18 Rear Curtain Sync setting 181 rechargeable batteries 14 recipes for getting the shot 213 231 recycle time for flash 12 14 reflections creating in product photos 84 faking in Photoshop 84 removing from eyeglasses 50 shooting in puddles 112 reflective umbrellas 5 reflectors 50 134 Remote mode for flash 16 renting lenses 163 reseating the lens 75 resetting digital cameras 193 Resnicki Jack 142 200 ring flash 18 4
10. granite black 95 gray backgrounds 46 gray card 51 green gel 23 Greenburg Ed 200 grid spots 39 230 groups flash 8 19 H hand held shots low light situations and 206 super fast lenses and 61 tips for stabilizing 179 203 HDR High Dynamic Range images camera settings for 117 composing shots for 219 creating in Photomatix Pro 118 hiding distracting objects 97 modern day objects 107 high vantage point 130 highlights enhancing in Photoshop 90 warning about lost detail 177 High Speed Continuous mode 206 high speed crop feature 162 high speed memory cards 207 HiLite Illuminated Background 34 histograms 177 Hobby David 14 home interior shots 173 hood lens 67 Image Stabilization IS lenses 65 intelligent through the lens metering i TTL 27 invisible thread 92 IS Image Stabilization lenses 65 ISO setting Auto ISO feature and 146 landscape photography and 113 low light situations and 179 sports photography and 146 148 isolating your subject 158 i TTL intelligent through the lens metering 27 iTunes iMix 37 J JPEG images instantly extracting from RAW photos 194 LCD monitor preview of 192 saving files as 90 when to shoot RAW vs 195 Justin Spring Clamp 26 The Digital Photography Book K Kata Elements Cover 211 kelbytraining com website camera gear page 3 video tutorial 2 knee pads 157 L landscape photography arriving early for 122 backlight
11. of a term in the book should not be regarded as affecting the validity of any trademark or service mark Photoshop Elements and Lightroom are registered trademarks of Adobe Systems Incorporated Nikon is a registered trademark of Nikon Corporation Canon is a registered trademark of Canon Inc Warning and Disclaimer This book is designed to provide information about digital photog raphy Every effort has been made to make this book as complete and as accurate as possible but no warranty of fitness is implied The information is provided on an as is basis The author and Peachpit Press shall have neither the liability nor responsibility to any person or entity with respect to any loss or damages arising from the information contained in this book or from the use of the discs or programs that may accompany it THIS PRODUCT IS NOT ENDORSED OR SPONSORED BY ADOBE SYSTEMS INCORPORATED PUBLISHER OF ADOBE PHOTOSHOP PHOTOSHOP ELEMENTS AND PHOTOSHOP LIGHTROOM ISBN 10 0 321 61765 7 ISBN 13 978 0 321 61765 1 987654321 Printed and bound in the United States of America www kelbytraining com www peachpit com For my in house editor Kim Doty One of the best things that ever happened to my books is you Acknowledgments Ithough only one name appears on the spine of this book it takes a team of dedicated and talented people to pull a project like this together I m not only delighted to be working with them but also get the honor
12. 11 waterproof camera housing for 110 uneven lighting technique 52 updating firmware 198 user manuals 209 UV filter 66 180 V V flats 48 vibrant color settings 124 Vibration Reduction VR lenses 65 video feature on dSLRs 189 video instruction on copyrights 200 on kelbytraining com website 2 viewfinder covering 115 vignetting edge 73 VR Vibration Reduction lenses 65 W waterproof camera housing 110 weather considerations 211 wedding photography composing portraits in 228 JPEG mode used for 195 packing list for 186 super fast lenses for 61 Westcott Spiderlite 88 89 222 229 White Terry 37 white backgrounds 34 46 white balance color correction vs 187 ExpoDisc for nailing 187 outdoor photography and 105 setting using Live View 170 white formica 91 white reflectors 50 wide angle lenses 58 120 214 219 wide open shooting 80 wildlife photography 64 window light home interior shots and 173 product shots and 222 wireless flash channel settings 9 dedicated transmitter 10 group assignments 8 See also flash wireless shutter release 142 180 wireless strobes 35 wireless transmitter 10 Z zoom factor 72 zoom lenses f stops on 74 prime lenses vs 79 telephoto 60 wide angle 58 zooming the LCD 204
13. 7 223 rolling light stands 43 R Strap 160 S sandbags 44 scouting locations 119 scrims 135 sensor cleaning 196 210 set backgrounds 36 Shade white balance 105 181 shadows enhancing in Photoshop 90 including in outdoor shots 109 shallow depth of field 133 shapes shooting 120 sharpness checking LCD screen for 204 hand held cameras and 61 203 lens aperture setting and 80 shooting tethered 40 41 shoot through umbrella 5 6 accessories for using 5 controlling softness with 6 portable softbox vs 7 shot list 34 shutter button cable release for 68 180 tip on pressing 202 wireless release for 142 180 shutter speed action shots and 215 Auto ISO feature and 146 low light situations and 179 nighttime photos and 180 panning objects and 154 silver reflectors 50 Singh Ray Filters 103 skies including clouds in 109 Slave mode for flash 16 smiling vs non smiling subjects 139 Smith Janine 208 softbox portable 7 strip bank 93 softening light 5 7 portable softbox for 7 shoot through umbrella for 5 6 solid white backgrounds 34 Speedlight stand 26 Sports Illustrated 150 sports photography 145 167 action shots in 150 215 217 after the play shots in 165 Auto ISO feature for 146 backgrounds included in 155 battery grip for 165 before the game shots in 167 celebration shots in 150 close up shots in 159 composing shots in 215 217 225 focus setting to track action
14. Book Photoshop Down amp Dirty Tricks Photoshop Killer Tips Photoshop Classic Effects The iPod Book InDesign Killer Tips Mac OS X Leopard Killer Tips The iPhone Book vi About the Author Scott Kelby Scott is Editor Publisher and co founder of Photoshop User magazine Editor in Chief of Layers magazine the how to magazine for everything Adobe and is the co host of the weekly video podcasts DTown TV the weekly show for Nikon dSLR shooters and Photoshop User TV He is President of the National Association of Photoshop Professionals NAPP the trade association for Adobe Photoshop users and he s President of the software training education and publishing firm Kelby Media Group Scott is a photographer designer and award winning author of more than 50 books including The Digital Photography Book volumes 1 and 2 The Adobe Photoshop Book for Digital Photographers Photo shop Down amp Dirty Tricks The Adobe Photoshop Lightroom Book for Digital Photographers Photoshop Classic Effects The iPod Book and The iPhone Book For five years straight Scott has been honored with the distinction of being the world s 1 best selling author of all computer and technology books across all categories His books have been translated into dozens of different languages including Chinese Russian Spanish Korean Polish Taiwanese French German Italian Japanese Dutch Swedish Turkish and Portuguese among o
15. Digital Photdgraphy The step by step make your ph Scott Kelby Author of The Digital Photography Book volume 1 the best selling digital photography book of all time The igital Ae sh The step by step secrets for how to make your photos look like the pros Book Scott Kelby The Digital Photography Book volume 3 The Digital Photography Book volume 3 Team TECHNICAL EDITORS Kim Doty Cindy Snyder EDITORIAL CONSULTANT Brad Moore CREATIVE DIRECTOR Felix Nelson TRAFFIC DIRECTOR Kim Gabriel PRODUCTION MANAGER Dave Damstra GRAPHIC DESIGN Jessica Maldonado COVER DESIGNED BY Jessica Maldonado STUDIO AND PRODUCTION SHOTS Brad Moore Rafael RC Concepcion PUBLISHED BY Peachpit Press Copyright 2010 by Scott Kelby FIRST EDITION July 2009 All rights reserved No part of this book may be reproduced or transmitted in any form or by any means electronic or mechanical including photocopying recording or by any information storage and retrieval system without written permission from the publisher except for the inclusion of brief quotations in a review Composed in Myriad Pro Adobe Systems Incorporated and Lucida Grande Bigelow amp Holmes Inc by Kelby Media Group Trademarks All terms mentioned in this book that are known to be trademarks or service marks have been appropriately capitalized Peachpit Press cannot attest to the accuracy of this information Use
16. a lens together then when you read the chapter on lenses you re undoubtedly going to see a lens you re going to want But then you ll think to yourself I don t really need that lens The lens have is fine But the more you think about it the more you start to think If sold my old lens and some other camera gear don t use anymore could probably buy that new lens and then you figure that the easiest way to sell your old stuff is to sell it on eBay which was practically invented for photographers and so now you think I need to do a product shot and it s at that moment that you realize you ve been sucked into the whole photography equipment merry go round Once you re on it it s easier to come off drug addiction because they actually have rehab centers for drug dependency but there is no rehab clinic for photographers which is why the best thing you can do is just skip this chapter and get on with your life See I care The first time you look at this chapter you might think to your Chapter 4 The Digital Photography Book How to Create Real Reflections In professional product photography you ll often see a reflection appear below the product and while you can add these reflections after the fact in Photoshop it s easier to just have real reflections plus depending on the angle of the product the job of creating fake reflections in Photoshop can range anywhere from quick
17. as on the finished image What File Format to Save Your Photos In Even though we shoot in RAW format once you open and edit your photos in a program like Photoshop at some point you re going to have a duplicate of the same image for up loading to a lab or archiving etc and that s when you have to decide which file format to save your images in choose JPEG mode with a quality setting of 10 out of a possible 12 for all my final images I think a setting of 10 gives an ideal balance between maintaining great quality and still compressing the file size quite a bit Shooting Products Like a Pro If you re looking for a great surface to shoot your product shots on look no further than your local hardware store for a large panel of white formica This stuff works great for a number of reasons 1 When you put a product on white formica its surface is already a little reflective so it automatically gives your product a little bit of a natural reflec tion not a sharp mirror reflection like acrylic but kind of a subtle satin like reflection 2 It s very easy to keep clean you can just wipe it lightly with a damp cloth so you don t have to replace it often like you do with white seamless paper and 3 because it bends pretty easily you can lie one end flat on a table and then attach the other end to a couple of inexpensive light stands with some A clamps see page 42 for more on A clamps and this gives you a sm
18. ed with your mom s outer beauty and also something that s even more important her inner beauty warmth compassion smarts and charm which will translate into the loving fun and adventure filled thrilling drive it like you stole it kind of life so many people dream of You were born with a smile on your lips a song in your heart and a dad that is totally wrapped around your finger To my big brother Jeff A lot of younger brothers look up to their older brothers because well they re older But look up to you because you ve been much more than a brother to me It s like you ve been my other dad in the way you always looked out for me gave me wise and thoughtful council and always put me first just like Dad put us first Your boundless generosity kindness positive attitude and humility have been an inspiration to me my entire life and I m just so honored to be your brother and lifelong friend To my best buddy Dave Moser Do you know how great it is to get to work every day with your best buddy do It s awesome Thanks my friend you are the best To my in house team at Kelby Media Group am incredibly blessed to go to work each day with a group of uniquely dedicated self motivated and incredibly creative people people who mean much more to me than just employees and everything they do says they feel the same way My humble thanks to you all for allowing me to work with the very best every day To my editor
19. ee a tall thin soft rectangular reflection Maybe even two of them These wonderful highlight reflections are most likely from one of the mainstays of a lot of pro product shooters a strip bank also sometimes called a strip light These are actually just tall thin rectangular softboxes picture a softbox that s just 18 wide but around 36 long and they are very popular in product photogra phy because of those wonderful tall reflections they create in products that reflect It s tough shooting products that are reflective because you can see a reflection of everything in the product itself even sometimes the photographer so be careful when you re shooting reflective products You can buy strip banks for strobes or even for the Westcott Spiderlite TD5 that use for product photography and the nice thing about them is that you can use them tall vertically or turn them on their side and use them horizontally for a really wide wrapping light Lo ms us Chapter 4 The Digital Photography Book Using Foam Core MANDARIN E MIST j While you ll find portrait photographers using white reflectors a lot in the studio usu ally to reflect or bounce light from the main light into the side of the face that s in the shadows when it comes to product photography more often than not you ll find the pros using a large sheet of foam core instead Form core tends to have a little more sheen to it than most reflec
20. ee also flash light stands lightweight 5 rolling 43 light tents 87 lighting backgrounds 25 46 below product 86 continuous 88 daylight plus studio 89 222 mirrors used for 85 sports 148 156 strip bank 93 underwater 111 uneven 52 Limit focus setting 74 Live View white balance 170 location portraits beach setting for 136 packing list for 184 street setting for 137 lower level perspective 116 157 225 low light situations hand holding cameras in 206 super fast lenses for 61 tips for shooting in 179 VR or IS lenses for 65 M macro lenses 68 main light 53 Maisel Jay 137 Manfrotto gear 131DD Tripod Accessory Arm 41 Justin Spring Clamp 26 manual focus ring 71 matrix metering 171 memory cards backup strategy for 201 deleting bad shots from 125 formatting after backing up 205 lock feature for shooting without 199 myth of high speed 207 packing multiple for shoots 197 shortcut for formatting 197 Memory Set button 147 metering options 171 Midsouth Photographic Specialties 24 my Tu ug MiniTT1 Radio Slave Transmitter 10 mirrors tabletop 85 model releases 138 modern day objects 107 modular belt system 166 monolights 45 monopods 63 179 motion shots 154 215 movement effect 103 Mpix com photo lab 178 multiple exposures 176 music in the studio 37 N natural light portraits lit with 227 228 studio lighting combined with 89 222 See also sunligh
21. es right on a tripod and stays there If you re looking for a way to take your product shots to the next level this is absolutely the first step Shooting Products Like a Pro Hide Distracting Stuff If you take a look at most professional product shots you ll find that they go to great lengths to hide anything that would distract you from the presentation of the product even if it s a part of the product itself Perfect example Headphones You know and know that there s a cord on headphones that plugs into our laptops or our iPods but in ads you rarely if ever see the cord you just see the headphones earbuds are an exception but without the cords they look like a couple of white peas The photographer goes out of their way to hide things like cords or cables or anything else that would detract or take away from the product like a camera strap on a camera If you see Canons or Nikons or well almost anybody s shot of their latest camera you won t see a camera strap in the shot even though in real life every dSLR we buy has one attached Keep this in mind and you ll wind up with cleaner looking shots So if you re shooting something with a cord that unplugs like the headphones above just unplug the cord and move it out of the image as seen in the photo on the right Otherwise you ll have to remove the distract ing object in Photoshop did a video for you on how to do this and you can find it on
22. hotos 141 with sports photography 161 street based portraits 137 strip banks 93 strobes wireless 35 Studio Cubelight 87 studio photography 33 54 A clamps for 42 beauty dish for 38 black bar appearing in 54 catch lights in 49 fast lenses and 71 super wide zoom lenses 58 T tabletop mirrors 85 Tapes Michael 194 teleconverters 64 telephoto lenses renting for sporting events 163 super telephoto lenses 63 telephoto zoom lenses 60 television monitors 40 tents product 87 test firing flashes 11 tethered shooting 40 41 texture shots 114 Think Tank Photo 166 thread invisible 92 through the lens metering TTL 27 The Digital Photography Book tilt shift lenses 69 time lapse photography with Canon cameras 174 with Nikon cameras 175 Timer Remote Control 174 tips and techniques See professional tips techniques transmitter wireless 10 travel photography all in one zoom lenses for 76 composing shots in 107 214 219 deleting bad shots during 125 packing list for 102 185 postcard images and 114 texture shots in 114 triflectors 134 Trilite 134 tripods HDR image creation and 117 219 low light situations and 179 nighttime photos and 180 product photography and 96 TTL through the lens metering 27 Tungsten white balance 105 U ultra wide zoom lenses 62 umbrellas reflective 5 shoot through 5 6 underwater shots 110 111 lighting considerations for 1
23. hotoshop User TV 92 Picture Controls Styles 124 plexiglass for portrait photography 216 for product photography 84 86 PocketWizard wireless system 10 pop up flash 20 portable softbox 7 portrait lenses 78 portraits 127 143 beach setting for 136 beauty style 216 231 of children 142 143 composing 216 218 220 223 227 230 CTO gel for 22 depth of field for 133 220 227 editorial style 221 environmental 58 eyes looking away in 139 grid spots for 39 grouping together 141 leg up trick for 130 lenses used for 60 78 model releases for 138 natural light 227 228 of newborn babies 141 outdoor 17 135 136 220 overexposing on purpose 140 overpowering the sun in 17 packing list for location 184 preparing the studio for 132 props included in 128 143 221 scrims for sunny day 135 seating subjects for 129 shooting 3 4 view 131 smiling vs non smiling 139 street based 137 triflectors for 134 wedding 228 posing stool table 129 positioning the flash 29 30 postcard images 114 power settings for flash 15 prime lenses 79 product photography 83 98 below product lighting for 86 black granite for 95 cleaning products before 98 composing shots in 222 224 229 continuous lighting for 88 daylight plus studio lights for 89 dramatic background for 95 foam core used in 94 hiding distracting objects in 97 invisible thread used in 92 light tents for 87 mirrors used in 85 Photoshop
24. in 153 football end zone used for 149 full vs cropped frame cameras and 162 isolating your subject in 158 JPEG mode used for 195 lighting the players in 156 lower level perspective for 157 225 modular belt system for 166 multiple focus settings for 147 night games and ISO for 148 packing list for 183 panning objects in 154 problem with static shots in 164 reference photos in 165 renting long lenses for 163 R Strap used in 160 silencing the beep for 152 storytelling through 161 super telephoto lens for 63 teleconverters for shooting 64 telephoto zoom lens for 60 variety of shots in 151 flash sync speed and 54 gaffer s tape for 42 gray card for 51 grid spots for 39 lighting backgrounds in 46 main vs fill light in 53 monolights for 45 playing music for 37 reflectors for 50 ring flash for 47 rolling light stands for 43 sandbags for 44 set backgrounds in 36 shooting tethered in 40 41 solid white backgrounds in 34 uneven lighting technique 52 V flats for 48 wireless strobes for 35 sunlight overpowering with flash 17 portrait lighting using 227 228 positioning the flash as 29 scrims used for portraits in 135 super fast lenses 61 super telephoto lenses 63 spot metering 171 spots and specks 210 stage events 172 star filter effect 104 starbrights 104 Sticky Filters 24 still life photography 226 storytelling with children s p
25. ing effect in 121 clouds included in 109 composing shots in 214 covering the viewfinder for 115 deleting bad shots during 125 full frame cameras and 162 graduated neural density filter for 116 ISO setting for 113 lens selection for 120 lower level perspective for 116 packing list for 102 182 panoramas made from 123 scouting locations for 119 three keys to 108 ultra wide zoom lens for 62 vibrant color settings for 124 wide angle lens for 58 See also outdoor photography laptop computers shooting tethered to 41 Lastolite gear Ezybox 7 HiLite Illuminated Background 34 Studio Cubelight 87 Trilite 134 LCD screens on camera previewing photos on 192 zooming in on 204 lens collar 70 lens hood 67 lens vignetting 73 Lensbaby lenses 77 lenses 57 81 all in one zoom 76 changing 75 cleaning 70 creative use of 60 77 81 edge vignetting from 73 filters for 66 69 fisheye 59 f stops on zoom 74 full frame camera 72 gear finder for 58 59 Lensbaby 77 macro 68 manual focus ring on 71 portrait 78 prime vs zoom 79 renting 163 reseating 75 sharpest aperture on 80 super fast 61 super telephoto 63 teleconverters for 64 telephoto zoom 60 tilt shift 69 ultra wide zoom 62 VR or IS 65 wide angle 58 120 zoom factor for 72 LensPen 70 LensProToGo com 163 light ambient 46 catch 49 fill 20 53 main 53 metering 171 softening 5 7 as subject 106 viewfinder 115 S
26. ity mode 117 181 214 226 aperture setting 80 158 architectural photography 69 athletic events See sports photography Auto Exposure setting 189 Auto ISO feature 146 Auto white balance 105 181 autofocus feature 71 74 75 152 B B amp H Photo website 69 babies focusing attention of 142 shooting newborn 141 See also children backgrounds black granite 95 lighting 25 46 sets used as 36 solid white 34 backing up memory cards 201 backlighting effect 121 backup flash 28 batteries rechargeable 14 battery grips 165 battery packs external 13 studio strobes and 45 beach portraits 136 beauty dish 38 221 231 beauty style shots 216 231 black backgrounds 46 black bar gradient 54 black granite 95 BlackRapid R Strap 160 bracketing shots 117 219 breath holding 61 bridal shots 228 bright spots 107 Burst mode 206 BXRi strobes 35 C cable release 68 180 camera gear author s website on 3 downloading manuals for 209 lens gear finder 58 59 modular belt system for 166 packing lists for 102 182 186 Camera Raw 51 cameras See digital cameras Canon cameras 4 Al Servo mode 153 Auto ISO feature 146 exposure compensation on 140 external battery pack 13 eyepiece cover 115 firmware updates for 198 Focus Confirmation Light on 152 HDR bracketing on 117 IS lenses for 65 Live View white balance 170 memory card lock feature 199 mini light stand 26 Picture Styles
27. le Photos Together to Tell a Story Get Out From Behind the Camera for Kids Don t Shoot Down on Kids CHAPTER SEVEN Shooting Sports Like a Pro How to Get Professional Results From Your Next Sports Shoot Auto ISO Lets You Always Freeze the Action Using the Extra Focus Buttons on Long Glass Shooting Night Games with Super High ISO The Advantage of Shooting From the End Zone The Two Most Popular Sports Shots Once You ve Got the Shot Move On Turning Off the Beep Having Your Focus Auto Track the Action Freezing Motion Doesn t Always Look Good Avoid the Fence at All Costs Leveraging Daylight to Light Your Players xi 121 122 123 124 125 128 129 130 131 132 133 134 135 136 137 138 139 140 141 142 143 145 146 147 148 149 150 151 152 153 154 155 156 Table of Contents Shoot From a Low Position Isolate Your Subject for More Impact Why You Want to Get in Tight Using a Second Camera Body Get an R Strap Tell a Story with Your Shots Full Frame vs Standard Digital Chip Don t Have Long Glass Rent It for the Week Still Players Are Boring Another Reason to Keep Shooting After the Play You Don t Have to Drag Around a Camera Bag Start Shooting Right Before the Game CHAPTER EIGHT Pro Tips for Getting Better Photos Tricks of the Trade for Making All Your Shots Look Better Using Live View to Set Your White Balance Spot Metering Shooting Concerts and Events Shooting Ho
28. le light in from the front makes all the difference in the world The advantage of the Spiderlite is that it s daylight balanced and mixes really well with natural daylight To see the final image from this shoot just go to the book s companion website at www kelbytraining com books digphotogv3 Chapter 4 The Digital Photography Book Enhancing Highlights and Shadows in Post Before After Although we always strive to get as much right in the camera as possible product pho tography is one area where it usually pays to do a little tweaking in Photoshop after the fact called post processing or just post by people who can only use one word at a time When shoot a product what I m looking to do in Photoshop besides removing any specks dust or other little junk on the background or the product itself is to enhance the highlights the brightest areas of the product and the shadows the darker areas Basically make the highlights brighter and more obvious and the shadow areas a bit darker and richer Once you see the difference this makes you ll want to be doing some post yourself did a little video for you you can find it on the book s companion website at www kelbytraining com books digphotogv3 to show you exactly how the Photoshop post processing was done for most of the product shots used here in the book think you ll be surprised at both how easy it is and what an impact it h
29. looks great Okay so you re probably wondering how you get that light through the table to your product Plexi glass Instead of setting your product on a white background and then putting the plexiglass on top of it you remove the white background and use your plexiglass as the tabletop if you re going to be doing this often make sure you buy thicker plexi from the hardware store Just suspend the plexiglass between two light stands or even between two sawhorses or two chair backs and then position a light directly under the plexi glass on the floor aiming upward through it Concentrating Your Below Product Light When your re lighting from underneath you really don t want your light to spill out every where you want it concentrated straight upward One way to help with that is to use a grid spot attachment see page 39 which focuses your beam but a lot of folks will just put foam core or black flags around all four sides of the light so the light doesn t spill out l ve even seen DIY projects where you put the strobe on a short stand inside a cardboard box and then you cut a little door out so you can reach in and adjust your strobe Shooting Products Like a Pro Product tents have become more popular than ever because they allow you to easily wrap balanced soft light right around the product while avoiding lots of nasty shadow problems you re likely to run into using multiple lights Shadows are really a proble
30. m and soft light is a problem so having a self contained tent like this makes shooting the products crazy easy The idea behind these is you put a light on both sides or either side of the tent and perhaps one light below aiming straight up if you buy one that includes that feature like the Studio Cubelite from Lastolite shown above and then the front of this is open for you to shoot The light bounces around inside this box in a very wonderful way that lights the living daylights out of your product and you come away with some surprisingly good results without having to be a master of lighting If you re going to be doing a lot of this and especially if you re trying to shoot things like watches or jewelry you should definitely consider buying a light tent Although I ve used strobes many times over the years for product photography today when I need to shoot a product usually use continuous lights like the Westcott TD5 Spiderlite These aren t flashes these are lights that stay on all the time and they give bright daylight balanced light but because they use fluorescent bulbs they don t get hot so you can even use them to light food as did in the restaurant shoot above These work incredibly well for product photography because you can see exactly what you re going to get there s no shooting a few shots and then tweaking the lights and shooting again and tweaking the lights because exactly what you see is what you get
31. me Interiors Shooting Time Lapse Photography Canon Shooting Time Lapse Photography Nikon Creating Multiple Exposures Do You Really Need to Read Your Histogram Using an Online Photo Lab Shooting in Tricky Low Light Situations Shooting Night Scenes Like Cityscapes How My Camera Is Usually Set Up What Pack for a Landscape Shoot What Pack for a Sports Shoot What Pack for a Location Portrait Shoot What Pack for a Travel Shoot What Pack for a Wedding Shoot White Balance vs Color Correction How Many Great Shots to Expect From a Shoot If Your Camera Shoots Video xii 157 158 159 160 161 162 163 164 165 166 167 169 170 171 172 173 174 175 176 177 178 179 180 181 182 183 184 185 186 187 188 189 Table of Contents pie ited NINE D 1g Problems Like a Pro How to Sidestep Those Things That Drive You Crazy Can You Trust Your Camera s LCD Monitor Resetting Your Camera to the Factory Defaults Instant JPEG From RAW When to Shoot JPEG When to Shoot RAW Built In Sensor Cleaning Shortcut for Formatting Your Memory Card Make Sure You Have the Latest Firmware Don t Get Burned by Shooting Without a Memory Card You Need to Copyright Your Photos Back Up Twice Before Formatting How You Press the Shutter Button Matters Tuck in Your Elbows for Sharper Shots Don t Let the Small Screen Fool You Avoiding the Memory Card Moment of Doubt Shoot Multiple Shots in Low
32. nd with Flash Using That Little Flash Stand in the Box Where You Focus Affects Your Flash Exposure The Paid Gig Flash Insurance Policy How High to Position Your Flash Which Side Should Your Flash Go On CHAPTER TWO Using Your Studio Like a Pro In Volume 2 We Built It From Scratch Now Let s Pimp It The Easy Way to a Pure White Background Strobes with Built In Wireless Rock Using a Set Background You ve Got to Have Music During the Shoot The Beauty Dish Look Using Grid Spots Shooting Tethered Directly to a TV Monitor viii ANAM AUN 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 33 34 35 36 37 38 39 40 Table of Contents Getting Your Laptop Nearby for Tethering The Most Useful Inexpensive Accessories Why You ll Love Rolling Light Stands Why You Need Sandbags Monolight vs Battery Pack One Background Three Different Looks Using a Ring Flash Using V Flats for Fashion Catch Lights and Why You Want Them Reflectors When to Use Silver or White Using a Gray Card to Nail Your Color Don t Light Your Whole Subject Evenly The Difference Between Main and Fill Light Avoiding the Flash Sync Speed Black Bar CHAPTER THREE Which Lens to Use When and Why When to Use a Wide Angle Lens When to Use a Fisheye Lens When to Use a Telephoto Zoom When to Use Super Fast Lenses When to Use an Ultra Wide Zoom Lens When to Use a Super Telephoto Lens Using a Teleconverter to Get E
33. ntire business Thanks for always looking out for me for keeping me focused and for making sure have the time need to write books do seminars and still have time with my family You don t have an easy job but you make it look easy To my photography assistant and digital tech Brad Moore don t know how would have gotten through this book without your help your work in the studio shooting so many of the product shots your advice and input and your patience You ve only been here a short time and you re already having a big impact l m so grateful to have someone of your talent and character on our team To my buddy RC Concepcion My personal thanks for reprising your gig from volume 2 and stepping in to help get the studio shots done for this volume You are the Swiss Army knife of digital imaging and design To Kim Gabriel You continue to be the unsung hero behind the scenes and I m sure don t say this enough but thank you so much for everything you do to make this all come together To my dear friend and business partner Jean A Kendra Thanks for putting up with me all these years and for your support for all my crazy ideas It really means a lot To my editor at Peachpit Press Ted Waitt Do you know what a joy it is to work on a photo book with an editor who s also a passionate and creative photographer It makes a huge difference You get it You get me get you It s a beautiful thing To my publisher Nancy Ald
34. ooth seamless curve behind your product which makes it perfect for product photography A full 8x4 sheet costs about 45 50 at my local hardware store and believe it it s worth every penny Invisible thread It s not just for repairing your clothes this incredibly sturdy stuff can be used to suspend products in midair so you can shoot them well of course it de pends on the weight of the product It s not going to hold a car battery if that s what you re thinking Just put a boom stand arm up high just high enough so you can t see it in your viewfinder then tie one end of the invisible thread to the boom the other end to your product and fire away Now you can also use fishing line if you can t get hold of some invisible thread and while it s pretty unobtrusive you re probably going to have to remove that line later in Photoshop That s what used in the shot you see above and did a video clip on how removed the fishing line using Adobe Pho toshop the clip actually aired on Photoshop User TV a weekly video podcast I ve been co hosting for the past few years and you can see that clip on the book s companion website at www kelbytraining com books digphotogv3 wo Tu uo SCOTT KELBY Shooting Products Like a Pro The Advantage of Using Strip Banks elinchrom Have you ever seen a product shot of a wine bottle or a piece of electronics and reflected in the product you s
35. plug in 172 179 diffusion dome 21 25 digital cameras checking before packing 208 downloading user manuals for 209 exposure compensation on 140 firmware updates for 198 full frame 62 72 hand holding of 61 179 203 206 HDR bracketing on 117 most common brands of 4 rain covers for 211 reformatting memory cards on 197 resetting to factory defaults 193 sensor cleaning on 196 sophisticated technology of 191 suggested setup for 181 video capability of 189 waterproof housing for 110 zoom factor of 72 See also Canon cameras Nikon cameras The Digital Photography Book digital photos backing up 201 combining in Photoshop 173 176 copyrighting 200 deleting 125 recipes for shooting 213 231 See also JPEG images RAW photos distracting objects hiding in product photos 97 modern day objects as 107 downloading user manuals 209 duChemin David 112 dust spots 210 E edge vignetting 73 editorial style shots 221 effects backlighting 121 movement 103 star filter 104 Elinchrom gear beauty dish 38 BXRi strobes 35 Ranger kit 45 environmental portraits 58 equipment See camera gear evaluative metering 171 ExpoDisc 187 exposure compensation 140 177 180 external battery pack 13 eyeglass glare 50 eyepiece cap 115 eyes in portraits 139 Ezybox 7 225 F file formats 90 fill flash 20 53 filters circular polarizer 66 darkening 103 lens 66 69 neutral densit
36. rich Ruenzel Scott Cowlin Sarah Jane Todd and the incredibly dedicated team at Peachpit Press It s a real honor to get to work with people who really just want to make great books To all the talented and gifted photographers who ve taught me so much over the years Moose Peterson Vincent Versace Bill Fortney David Ziser Jim DiVitale Helene Glassman Joe McNally Anne Cahill George Lepp Kevin Ames Eddie Tapp and Jay Maisel my sincere and heartfelt thanks for sharing your passion ideas and techniques with me and my students To my mentors John Graden Jack Lee Dave Gales Judy Farmer and Douglas Poole Your wisdom and whip cracking have helped me immeasurably throughout my life and will always be in your debt and grateful for your friendship and guidance Most importantly want to thank God and His son Jesus Christ for leading me to the woman of my dreams for blessing us with such amazing children for allowing me to make a living doing something truly love for always being there when need Him for blessing me with a wonderful fulfilling and happy life and such a warm loving family to share it with Other Books By Scott Kelby Scott Kelby s 7 Point System for Adobe Photoshop CS3 The Digital Photography Book vols 1 amp 2 The Photoshop Elements Book for Digital Photographers The Adobe Photoshop Lightroom Book for Digital Photographers The Photoshop Book for Digital Photographers The Photoshop Channels
37. t neutral density gradient filter 66 116 newborn babies 141 nighttime photography cityscapes 180 sporting events 148 Nik Software 172 179 Nikon cameras 4 battery grip added to 165 Continuous Servo mode 153 exposure compensation on 140 external battery pack 13 eyepiece cap for 115 firmware updates for 198 Focus Indicator on 152 gels included with 23 HDR bracketing on 117 high speed crop on 162 ISO Sensitivity Settings 146 i TTL feature 27 Live View white balance 170 memory card lock feature 199 multiple exposure feature 176 Picture Controls 124 reformatting memory cards on 197 resetting to factory defaults 193 The Digital Photography Book Nikon cameras continued sensor cleaning feature 196 Speedlight stand 26 time lapse photography with 175 video capability on 189 three keys to 108 underwater shots in 110 111 vibrant color settings for 124 white balance and 105 See also landscape photography viewfinder door 115 overexposing portraits 140 VR lenses for 65 overpowering the sun 17 zooming the LCD on 204 NiMH batteries 14 noise P high ISO shots and 148 onscreen vs print 113 software for reducing 172 179 packing lists importance of using 102 landscape photography 182 location portrait photography 184 sports photography 183 O y travel photography 185 Olivella Mike 157 wedding photography 186 online photo labs 178 panning orange gel 23 freezing motion b
38. thers and he is a recipient of the prestigious Benjamin Franklin Award Scott is Training Director for the Adobe Photoshop Seminar Tour and Conference Technical Chair for the Photoshop World Conference amp Expo He s featured in a series of training DVDs and online courses and has been training photographers and Adobe Photoshop users since 1993 For more information on Scott and his photography visit his daily blog at www scottkelby com vii Table of Contents CHAPTER ONE Using Flash Like a Pro Part 2 Picking Right Up Where the Last Book Left Off 9 Things You ll Wish You Had Known Before Reading This Book That Was Only 6 Here Are the Last 3 Soft Light on Location the Budget Way Controlling Softness with an Umbrella Get More Control Using a Portable Softbox What Your Flash s Groups Are For What Your Flash s Channels Are For Using a Transmitter to Fire Your Flash How to See If All Your Flashes Will Really Fire Shorten the Time Between Flashes Recycle Faster with an External Battery Pack Another Recycle Faster Tip Typical Power Settings for Your Flash Firing a Second Flash in Another Room Overpowering the Sun Getting the Ring Flash Look Using Small Flash What If Your Flash at Full Power Isn t Enough Lowering the Power of Your Pop Up Flash When Not to Use a Diffusion Dome The Pro Trick for Better Looking People Shots Two Other Gels You Really Need Sticky Filters Tips for Lighting Your Backgrou
39. tors and reflects more light Plus because you can cut a sheet of form core found at most craft stores or office supply stores down to pretty much any size you need you can make these small enough to sit right on your product table and get right up close to your product but just out of your viewfinder s frame Shooting Products Like a Pro If you want to go for a dramatic look for your product shots try this go to your local home supply mega hardware store and buy a single tile of black granite This stuff is incredibly reflective and just sitting your product on it makes it scream Shoot me It looks like this stuff was made for product shots and yet it s fairly inexpensive well at least for one tile it is Get as large a tile as they have in stock but since it s unlikely to be very large you ll use this for smaller items that you want to have a dark dramatic look Try this the next time you want to go a totally different direction from the stan dard white background that you see so often for products shots Chapter 4 The Digital Photography Book Use a Tripod Product shots are one of those things that if they re not absolutely tack sharp they just don t work and that s why the pros use a tripod every time Having that super sharp focus is critical and although will hand hold when shooting people if I m using studio strobes or flash to freeze any movement when it comes to product shots my camera go
40. uple of these right outside your frame aim them directly at the area you need to light and they will reflect your stu dio light into those areas if you re using continuous light for your product photography like talk about on page 88 then you ll be able to use these mirrors like little spotlights as you tilt the mirror back and forth you ll see a small beam of light that you can aim right where you want it The first time you see this you ll be amazed If you re using strobes it s a little trickier but what you can do is turn up the power on your modeling lights and then use that light to aim the mirrors Just know that when you fire your strobe the amount of light you re putting into those shadow areas will be much brighter The great thing about these mirrors is they re inexpensive lightweight and small enough to throw in your camera bag or lighting gear case Buying Your Little Mirrors Make sure you don t buy too large a mirror because you don t want to have to shoot around them so keep them no larger than four inches around Also if you choose a mirror with a magnifier on one side you ll have two different looks for your light The Digital Photography Book A really popular technique for lighting products is to include a light coming from below the product You see this look fairly often in product photography and if you re shooting a product that has see through areas like glass it really
41. ven Closer Lenses with VR or IS Built In Using Filters with Your Lenses The Deal on Lens Hoods When to Use a Macro Lens When to Use a Tilt Shift Lens How to Clean a Lens When to Use the Manual Focus Ring Zoomed vs Full Frame Lenses Lens Vignetting and How to Remove It Why Some Lenses Have Two f Stops Like f 3 5 5 6 Tips on Changing Lenses When to Use an All in One Zoom When to Use a Lensbaby Lens What Makes It a Portrait Lens Fixed Length Prime Lenses vs Zooms Shooting at Your Lens Sharpest Aperture But My Friend Has That Lens and He Shoots 4 42 43 44 45 46 47 48 49 50 51 52 53 54 57 58 59 60 61 62 63 64 65 66 67 68 69 70 71 72 73 74 75 76 77 78 79 80 81 Table of Contents CHAPTER FOUR How to Get Them to Look Like You ve Always Wanted Them To How to Create Real Reflections Mirrors for Those Hard to Light Places Lighting From Underneath The Advantage of Shooting Inside a Tent Using Continuous Lighting Mixing Daylight and Studio Lights Enhancing Highlights and Shadows in Post Making Your Own Product Table Special Wire for Hanging Products The Advantage of Using Strip Banks Using Foam Core A Dramatic Background for Products Use a Tripod Hide Distracting Stuff Clean It Before You Shoot It CHAPTER FIVE More Tips for Creating Stunning Scenic Images Make a Packing List So You Don t Forget Anything Show Movement in Your Shot
42. y 154 215 outdoor photography 101 125 and shooting video 189 arriving early for 122 backlighting effect in 121 bright spots avoided in 107 clouds included in 109 covering the viewfinder for 115 deleting bad shots during 125 framing shots in 112 graduated neural density filter for 116 HDR images from 117 118 hiding modern day objects in 107 ISO setting for 113 lens selection for 120 light as the subject in 106 lower level perspective for 116 movement effect and 103 overpowering the sun in 17 packing list for 102 182 panoramas made from 123 portraits and 17 135 136 220 postcard images and 114 puddle reflections in 112 scouting locations for 119 shadows included in 109 star filter effect in 104 texture shots in 114 panoramas 123 people baby and child photos 141 143 high vantage point shots of 130 model releases for 138 props for shooting 128 143 seating for comfort 129 street shots of 137 See also portraits percentage of great shots 188 perspective child level 143 high vantage point 130 lower level 116 157 225 Peterson Moose 115 photo labs 178 Photomatix Pro 118 photos See digital photos Photoshop Auto Levels adjustment 111 Auto Align Layers feature 219 combining images in 173 176 faking reflections in 84 finding dust spots in 210 gray card color correction in 51 highlight shadow enhancement in 90 panoramas created in 123 removing edge vignetting in 73 P
43. y gradient 66 116 UV 103 firmware updates 198 fisheye lenses 59 fishing line 92 flash 5 30 adding units of 19 backgrounds lit with 25 backup 28 channels used for 9 concert photos and 172 diffusion dome for 21 25 fill 20 53 focusing for 27 gels used with 22 24 group assignments for 8 19 mini light stand for 26 outdoor portraits and 17 220 pop up 20 positioning 29 30 power settings for 15 20 recycle time for 12 14 Remote or Slave mode 16 ring 18 47 223 softening 5 7 sync speed for 54 test firing 11 transmitter system for 10 Fluorescent white balance 105 foam core 94 focusing for off camera flash 27 for sports photography 147 152 153 See also autofocus feature food photography 229 football games action and celebration shots from 150 shooting from the end zone at 149 variety of shots from 151 See also sports photography formatting memory cards backing up twice before 201 immediately after backing up 205 on camera shortcut for 197 formica white 91 frames per second fps 165 framing shots 112 freezing action 154 215 f stops star effects and 104 zoom lenses and 74 full frame cameras 62 72 162 G gaffer s tape 42 gear See camera gear gels 22 24 CTO 22 essential 23 Sticky Filters 24 getting the shot 213 231 Gitzo G 065 Monitor Platform 41 glare in eyeglasses 50 Glyda Joe 120 gold reflectors 50 graduated neural density filter 66 116
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