Black and white of the Paradise Cafe

Black & White Photography–The Journey Continues

Text and Photography by Chuck Place©

I am continuing my quest to learn black and white photography through the process of converting a number of my color images to b&w. If you didn’t see my last post converting landscapes to black and white, jump back there and take a look.

Each photographic subject, whether sand dunes or deep forest, has presented its own unique challenges. I have been especially struck by the amount of burning and dodging that was necessary for images that look quite good in color.

Black and white of oaks in fog

Black and white of oaks in fog

It has also been a challenge deciding how much contrast I want, especially in the details. I like some velvety blacks in my images, but it is easy to go too far with contrast—almost like too much saturation in color images.

Let’s see how black and white conversions work with images of people.

My first portrait conversion was almost monochromatic to start with. While teaching lighting at a design school in China, I used the schools lighting kit—two fluorescent lights with umbrellas—to demo beauty lighting. These were tight head and shoulder portraits and I was going for a clean, graphic look.

Black and white portrait of student in China

Black and white portrait of student in China

I chose a student from the first row as a model and had her position her hands to help frame her face. The images looked pretty good, but I wanted a little more impact so I had her close her eyes.

The twin arcs of her dark eyelashes on her pale cheeks worked well and seemed to be a natural for black and white conversion. Using the HSL slider, I darkened her sweater and lightened her skin. The last step was pushing the Clarity Slider to -15, giving her skin a soft glow. Ridding this portrait of color seems to have created a more dramatic yet serene image.

Black and white portrait of server in Avila Beach

Black and white portrait of server in Avila Beach

Tight head and shoulder portraits seemed to convert well, but what about environmental portraits with all their location details? This, I found, was similar to converting a forest scene. Detail contrast was critical and some of the presets in the Develop Module proved useful shortcuts.

Black and white portrait of a farmer

Black and white portrait of a farmer

Subtle vignetting using the Radial Filter helped focus the viewer’s attention but a fair amount of burning and dodging was still necessary, just as it was in the landscapes.

The one thing that changed drastically from the tight portraits was the Clarity Slider. A slight negative Clarity setting smoothed out skin texture, but with less skin and more detail in the environmental portraits, I defaulted to my usual Clarity setting of plus twenty or so.

Black and white of hostess in a wine tasting room in Los Olivos

Black and white of hostess in a wine tasting room in Los Olivos

My “street photography” is often busy restaurant interiors, like the image at the top of this post, shot in the venerable Paradise Café.

Converting this image to black & white seems to pump up the energy of the scene, stripping away the soft mood of warm afternoon light and replacing it with pure vibrance and hard-edged light.

Black and white of an Old West town

Black and white of an Old West town

I’m starting to actually see the possibilities in a color image before I convert it. Decisions on the processing steps are getting a little more intuitive and the particular “style” of black & white that I personally prefer is also coming into sharper focus.

Black and white of an apple farmer in the Santa Ynez Valley

Black and white of an apple farmer in the Santa Ynez Valley

I’m getting a terrible urge to start printing some of these images, but I know my eye for black & white needs to develop further. A box of archival matte paper is already on my shopping list along with extra black ink cartridges, just in case my willpower fails.

If you are making this exciting journey to black & white along with me, let me know how you are progressing. This is turning out to be quite challenging but also a lot of fun.

For a listing of my tuition-free Spring 2020 Non-Credit classes at Santa Barbara City College, please click here.


Cyanotype

The Creative Image–Cell Phone Photographs and Cyanotype Prints

By Joyce Wilson©

Fall is in the air, and the crazy, hectic summer is behind us.  For the past five years, I’ve had the pleasure of mentoring teenagers in an alternative photography program hosted by the Santa Barbara non-profit The Arts Fund .  These budding artists are so enthusiastic about photography, ready to explore and learn.  This summer, I showed them how to use some creative iPhone apps and we added cyanotypes to the program.

The cyanotype process was hands down the favorite. We all watched the magic happen as the prints developed and I loved their joy at experiencing this for the first time.

Cyanotype History

During the 1840’s, many photographic printing processes were developed.  The Cyanotype process, invented by Sir John Herschel, proved to be of rare value.  Anna Atkins used the Cyanotype process in 1843 for botanical studies.  She produced the first part of what eventually became the three-volume (very) limited edition of Photography of British Algae: Cyanotype Impressions.

Vintage Anna Adkins Cyanotypes

Vintage Anna Adkins Cyanotypes

The Cyanotype process was not used often.  However, in the 1850’s, Henri Le Secq did do some experimenting and published some new formulas.  In the 1860’s the Parisian firm Marion & Cie. made a Cyanotype paper for blue printing, engineers and draftsmen.  This paper was used as a method of copying drawings and specifications.

From Keepers of Light by William Crawford

Old & New – Let’s Explore

With digital technology now the norm, there is renewed interest among artists and young photographers in vintage techniques, and many of these early processes are showing up in exhibitions and websites as photographers seek for new and exciting ways to express themselves.

The old is new—and it’s back!

There is no denying new technology. Just as we got comfortable with digital cameras and Photoshop, the genius geeks gave us cell phone cameras. iPhoneography is incredible and we now have a tiny computer capable of magic right inside our cell phone.   Ronna Schary, in Los Angeles, introduced me to the cell phone camera 10 years ago. It’s great to be able to capture the decisive moment when I don’t have my “real” camera with me.   Ronna is a wizard with iPhoneographs—check out her Instagram posts at https://www.instagram.com/ronnaschary/.

So grab your camera and your iPhone and get excited about new adventures, experimenting and learning interesting techniques to make photography fun.

Gateway_Clock1

Images taken with my Apple iPhone 5 –not a fancy new one—but how cool! I used the Tintype app (an add-on of Hipstamatic.)  They really look like old tintypes, and color and sharpness can be adjusted.  Download and experiment. You’ll get hooked

Tree_Web1

How’s this for an abstract and altering reality? I used the Insta Booth app. The left image was then altered again using the Tintype app.  My friend, Carol Andrews in Houston, hooked me on this one.

 

Cyanotype

This old world process is having a wonderful resurgence in popularity.  Blue, gray, black and white are the current trends of color for décor and fashion, so hop on this bandwagon while it’s hot.

Celine1

The image in the middle is a portrait I took of Celine, one of my teen students.  Al Davalle, from the Chicago area, arrived in Santa Barbara the last day of the teen mentorship, saw the Cyanotypes and had to play.  The image on the left is Al’s wonderful abstract of a stairwell.  The image on right I took with the Insta Booth app, and created a Cyanotype.  I’ve had a wonderful summer, teaching and exploring old/new techniques, and excited to be an instructor for the Brooks Photo Workshops, working with other Brooks instructors to keep the Brooks’ legacy alive and continuing to inspire and energize photography lovers.

If you’re ready for an exciting hands-on session, come join me on November 2, 2019 for The Creative Image – Cell Phone Photographs and Cyanotype Prints.  Here’s the link for registration.   https://www.ernestbrooksfoundation.org/workshops.html

 

Till next time, remember, “Old is New and Blue is In”.

Joyce Wilson      jw@joycewilson.com    www.joycewilson.com


Photography Backlighting

3 Photographic Techniques For Creating Beautiful Direct Sunlight Portraits

Text and Photos by Chuck Place

One of the most challenging lighting environments a photographer will face is creating portraits in direct sunlight. This light source has a strong specular quality that produces harsh shadows and strong highlights. The contrast range is often greater than your camera can capture and the portrait is anything but flattering. There are, however, several techniques that allow you to modify the sun’s light to create beautiful portraits with softly diffused, directional light.

Don’t settle for bad lighting—modify it.

The most commonly used, and easiest solution, is to shoot your portrait early or late in the day. Sunlight is softer at those times with a rich, warm color temperature and a definite direction—perfect for portraits. Early and late sunlight creates drama in a portrait that adds an extra layer of emotion to any image.

Sidelight with photographic reflector

Late in the day sidelight with a warm photographic reflector

For many years National Geographic Magazine has used this technique to set their photography apart from other publications.

Direct afternoon sunlight with a small photographic diffuser panel

Direct afternoon sunlight with a small photographic diffuser panel

The second technique is used while side lighting your subject during the day, but modifying the light with a diffusion panel. Diffusion panels come in a wide range of sizes, from big “silks” large enough to light a car to small, folding models that can be carried in a camera bag all the time. I myself carry a diffusion panel and a reflector on my camera bag, each of which is 8 inches across when folded and opens to 23 inches wide.  They essentially weigh nothing.

Diffusion panels are placed between the sun and your model and the larger the panel, the softer the light.

I have also found that the closer to the subject I place the diffuser, the softer the light becomes. Diffused light tends to fill in shadows and wrap around a subject, creating smoother looking skin. A bonus in portraiture!

Afternoon backlighting with a large photographic reflector

Afternoon backlighting with a large photographic reflector

A reflector or flash fill can also be used to control the contrast of direct sunlight, but I personally prefer the look created by a large reflector. By moving the reflector, I can easily shape the light on my subject and create a strong three-dimensional feel in the image.

Heavy backlight with a reflector

Heavy backlight with a photographic reflector to help fill in the shadows

The final technique is one of my favorites—back lighting. Often when I photograph portraits in bright sunlight, I position my subject so that the sun is behind them and I expose for the shadow side of their face.

Heavily backlit subjects are exposed for the shadow side of their faces

Heavily backlit subjects are exposed for the shadow side of their faces

This approach has several advantages when shooting in direct sunlight.

Backlit subject with a photographic reflector

Backlit subject with a photographic reflector

The first is contrast control. The shadow side of your model, as well as everything else in your image, is the same exposure. Backlighting also produces a bit of a bright halo around your subject, helping to separate them from the background. Your subject can also keep their eyes wide open. There is no squinting when your model has their back to the sun. Lastly, as you adjust your exposure for the model’s shaded side, the background becomes brighter relative to the subject. This gives your image a bit of a high key feel, especially with a shallow depth of field.

Admittedly, avoiding lens flare and dialing in the proper exposure is a little trickier than front lighting. You can find an earlier post on that subject at

With just these 3 techniques, you can create beautiful, striking portraits out in direct sunlight. Mastering some simple equipment and positioning your model properly can lead to startling results. Control the light and then connect with your model. A portrait is, after all, a partnership between you and your subject. Have fun. That will always show in the final portrait.


Sunsets are often underexposed when shooting in Aperture Priority exposure setting.

Aperture Priority–The Auto Exposure For Photographers

Text and Photography by Chuck Place

I almost always have my camera set to “Manual” exposure. I admit it. I’m a “Manual” snob. Taking full control of my camera’s shutter speed and aperture, or f-stop, gives me perfect exposures no matter the subject or the lighting.

Making the leap from “Program”, where the camera makes all the exposure decisions, to full “Manual”, where the photographer is in charge, is a big step however. Let’s face it, “M”, or “Manual”, can be rather intimidating.

Are all the auto-exposure settings a waste of time? No, of course not, but one is better than the others.

Back lighting for Aperture Priority exposure of sailboarding

Back lighting of sailboarder in Aperture Priority exposure can be tricky.

Let’s break down exposure. Assuming a proper exposure is the final result, shutter speed usually just needs to be fast enough to produce a sharp subject. Whether 1/500, 1/1000 or 1/2000—they all will look the same, assuming you aren’t photographing a hummingbird. Shutter speed is generally used to freeze motion—and give you a proper exposure, of course.

Set Aperture Priority exposure for great depth of field in landscapes

Set Aperture Priority exposure for great depth of field in landscapes

Aperture settings, or the f-stop, also control exposure, but determine depth of field in an image as well. Depth of field, or how much of the image in front of and behind the plane of focus is sharp, is one of the most powerful tools in photography. Changing from great depth of field to very shallow depth of field completely changes how a viewer “reads” your photograph. The storyline of an image changes dramatically with a change in depth of field.

Aperture Priority works well for dusk images

Aperture Priority works well for dusk images but a tripod may be necessary for the long exposures.

Aperture, or f-stop, is the exposure setting that a photographer must control absolutely!

Conveniently, there is an auto-exposure setting on most cameras that allows a photographer to set the proper depth of field while the camera picks the appropriate shutter speed for a correct exposure—“A” or “Aperture Priority”.

Photographing people often requires shallow depth of field to separate the subject from the background.

Photographing people often requires shallow depth of field to separate the subject from the background.

If you want to separate your subject from the background of an image, set your aperture, or f-stop, to a wide opening of f2.8 to f5.6 for a shallow depth of field. Conversely, if the background or environment is as important as the subject, pick an f-stop that creates greater depth of field, say f16 or f22. The photographer must make the decision on how much depth of field is appropriate, then the camera picks the shutter speed to create a proper exposure.

Aperture Priority for travel subjects

The Aperture Priority exposure setting is perfect for travel photography under changing light.

“Aperture Priority” is especially useful in situations where the lighting changes quickly, like sports, weddings, travel, concerts and street photography. It’s fast and eliminates half the work of “Manual” exposure.

Is it foolproof? Well, no.

Pick shallow depth of field for food shots using Aperture Priority exposure settings

Pick shallow depth of field for food shots using Aperture Priority exposure settings

Your camera may still underexpose sunsets like the one above, light-colored buildings and backlit subjects just like it did on “P”. Much of the time, however, the exposures will be great and each image will have the depth of field that you want, rather than what the camera “thinks” is correct.

Even in the tricky lighting environments listed above, the exposure will be close and can be corrected in post-production. Not that I advocate fixing everything in post—quite the opposite—but the “A” exposure setting makes setting exposure relatively fast and painless. Take control but make it easy. Shoot in Aperture Priority and relax!


Portrait of Hostess at a Winery Tasting Room

Directing Your Models–A Photographer’s Guide

Text and Photography by Chuck Place

On a recent Saturday, my workshop students and I spent the morning photographing produce, vendors and street musicians at the Santa Barbara Farmers Market. I had found a vendor with an interesting face, nice display and a farm banner that hid their truck. I asked if I could photograph him and he looked at me for a moment and then said “Since you asked, yes”.

Give your subject something to do with their hands.

Give your subject something to do with their hands.

He immediately squared his shoulders, dropped his hands to his sides and stared at the camera. Where I had started with an animated vendor, I now had a ridged statue. This happens more often than not when I ask to photograph someone and it’s my job to turn them back into a living, breathing, engaged individual.

When photographing people, there is a check list in my head that I usually follow.

First, is the subject in the best light for a portrait?

Although this changes depending on what I want to say about the person or their job, I usually want diffused, horizontal light. Maybe I need to move them to a better location within their environment. Maybe they need to be turned slightly or moved only a foot. Don’t be shy about asking. This helps establish your authority on the shoot and their trust in you will quickly grow, especially if you explain why they will look better in the new position.

Find the best light within your set for a portrait.

Find the best light within your set for a portrait.

Second, and equally important, do they have any mannerisms I can use?

Do they use their hands when they talk? Do they smile easily? Is there something unique in their mannerisms that I can incorporate into the image?

Watch for small mannerisms

Watch for small mannerisms that you can use during posing.

Third, give your subject something to do with their hands.

Give them something to hold, something to move, something to pour. Make sure it is something they would normally do so it feels familiar. Give a subject something to do with their hands and they will visibly relax in front of your camera. It’s an easy fix.

Give your model something to hold.

Give your model something to hold. Be careful, of course, about what you give them.

Remember, photographing a model is a partnership between yourself and your subject. There has to be trust and respect and you only have 5 to 10 seconds to establish that trust. Show interest in the person and what they do. By showing interest in the individual, you encourage them to be themself, not just a photo target.

It sounds daunting, but each time you photograph a stranger, it becomes easier.

Some portraits are as much about the job they do as it is the individual.

Some portraits are as much about the job they do as it is the individual.

Get the technical stuff worked out before you approach your subject. Give your model a role to play. Become the director. Careful! You may start to enjoy this.

For more on photographing people, see our blog post  “The Shy Photographer’s Guide To Putting Subjects At Ease”


phalaenopsis, or moth orchids in a greenhouse

Give Yourself A Photo Assignment II

Text and Images by Chuck Place

I have too many interests! Photography is my passion, but I also love cooking, hiking, kayaking, fishing, gardening—the list goes on. Orchids have always fascinated the gardener in me and at one point, I decided to give myself an assignment photographing orchids and local orchid collectors.

Comparison of micro orchids and lemon-sized cymbidium orchids

Comparison of micro orchids and lemon-sized cymbidium orchids

Like many editorial photographers, I find a subject that interests me and start to pick around the edges of the subject with a camera. Once I capture a few interesting files, I find a client to publish the project and then dive in head first.

Orchid collector tending plants in his shade house

Orchid collector tending plants in his shade house

Everyone has their hobbies, their causes, their passions. They all make great self-assignments.

It can be as simple as photographing a short road trip up the Big Sur Coast, or as complex as—well, orchid collectors.

Studio portraits of orchids in a lath house

Studio portraits of orchids in a lath house

My first step was to ask myself why anyone would be interested in this subject. Let’s face it, orchids are exotic creatures, the butterflies of the flower kingdom. One group even has the nickname of butterfly orchids. Orchid collectors are seemingly sane individuals who obsessively shape their world around obtaining and raising orchids. Being a photographer, I can relate to that last part easily.

orchid seedling lab

cybidium orchid seedlings are inspected at Gallup and Stribling Orchids, Carpinteria

My next step was compiling a Shoot List.

This is where I determine the width and depth of my coverage and I tend to burrow in deep. Orchid portraits would be necessary, of course, in both commercial greenhouses and private lath houses. I needed to illustrate the huge variety of orchids, from large tropical cattleyas to tiny micro orchids.

Chinese Brush Painting of orchid

Chinese Brush Painting of orchid

Images of collectors would also be critical–watering, feeding, pollinating, hybridizing and interacting with their specimens. I would also need to cover orchid shows, competitions, clubs, sales and cultivation demos. This shoot list introduced subjects that needed to be researched and a list of people I would need to contact.

Orchids for sale at a commercial greenhouse

Orchids for sale at a commercial greenhouse

Finally, what was going to be the “Look” of the coverage. It seemed obvious to me that bright colors were going to be a thread running through the images.

Orchid collector in the jungle of his lath house

Orchid collector in the jungle of his lath house

I could easily photograph orchid blossoms every day for months and still not have the visual diversity of images for which I always strive. It’s easy to get tunnel vision at this point, but that is the beauty of a self-assigned project. It forces you to move past the obvious core subjects and produce a wide range of subjects that expand on that main topic. It forces you to be creative.

laelia orchid is pollinated by hand

laelia orchid is pollinated by hand

I find self-assigned projects fall into two main categories—locations or subjects.

How about spring wildflower blooms in the California deserts—if the rains continue? Wineries in the Santa Ynez Valley? This is a subject we cover n my Location Photography Spring Workshop coming up in March. Something more challenging? How about marine mammals of the So Cal coast? Saltwater fly fishing in the California surf? Did that one already. Got really wet. Summer Solstice Parade from costume development to the actual parade?

Santa Barbara International Orchid Show

Santa Barbara International Orchid Show

A half hour with your favorite beverage should generate enough ideas to keep you busy for the next year. Step outside your comfort zone, learn to shoot a wider range of subjects and become a much more rounded visual storyteller. Get curios and have fun.

All you need is the structure of a self-assignment. Try it out!


Location photography workshop Spring 2019.

Join A Location Photography Workshop In Spring 2019

Join professional magazine photographer Chuck Place for 5 fun location photo shoots on consecutive Saturday mornings starting March 23 in the Santa Ynez Valley wine country and Santa Barbara area. With input from Chuck, fine tune your photographic skills and develop a personal style while exploring towns, locations and events like Los Olivos, Solvang, La Purisima Mission State Historic Park, Figueroa Mountain and the Summer Solstice Parade or the Santa Barbara Harbor and Seafood Festival. 

Each photo shoot will be at a different location, depending on events and season. Get feedback on your images each week from Chuck and your fellow students and learn how a professional photographer approaches various subjects and lighting environments. Class size will be capped at 10 so that Chuck has plenty of time to spend with each student. See Class and Workshop Recommendations.

Tuition is $300. for all five weeks of the workshop payable at least three weeks in advance.

Cancellations two weeks or more before the start date will receive a full refund. Cancellations between one and two weeks before the start date will receive a 50% refund and there will be no refunds for cancellations the week before the start date. For more details, please e-mail Chuck at chuckplace@cox.net.


1/15 second exposure blurs Navajo Gourd Dancers.

Photographing Native American Powwows: Planning, Etiquette and Tips

Text and Photography by Chuck Place

I could feel the drum beat in my bones, almost like a heart beat.

Native American dancers seemed to float just above the dance floor, red rock canyon walls towering over the dance arena. I was photographing the annual Gallup Inter Tribal Indian Ceremonial and the spectacle of so many dancers gathered together was quite amazing.

A 300mm f2.8 lens separates a Fancy Dancer

A 300mm f2.8 lens separates a Fancy Dancer from the other dancers.

In the Southwest, powwows also include demonstration dances by various Pueblo, Navajo and Apache tribal members in addition to the usual powwow dance categories. There is a lot going on and it isn’t always easy to capture the strength, energy and pride of the dancers in a single still image.

camera panning separates dancers

A slow shutter speed of 1/30 and panning separates a fairly sharp dancer from the other dancers.

Powwows take place all over the U.S. and Canada and a schedule of events can be found at several web sites, including https://www.powwows.com/2018-pow-wow-calendar/. These are often gatherings of many different tribal groups and have become a celebration of Native American culture.

Women's Fancy Shawl Dancers.

A long lens isolates a group of Women’s Fancy Shawl Dancers.

Before we get started, let’s talk first about etiquette at these events.

Not all powwows allow photography. Some allow still photography but not video. Some will allow photography but no sound recording. Do a little research and make sure photography is allowed before you pull out a camera.

If photography is allowed, that generally means in the dance arena or demonstration areas only. If you come across a dancer outside these venues–always, always, always ask permission! Never step onto the dance floor and if a ceremony is about to take place and the announcer asks that no photographs be taken, lay your camera down and don’t touch it until the ceremony has ended. These are Native American events and they set the rules. We are only visitors.

photographing dancer regalia at a powwow

A 70mm-200mm zoom lens allows you to capture details of dance regalia.

Powows can be held anywhere, even a high school football field. If you want a clean background, without goal posts, get there early and stake out your spot. I try to get right on the edge of the dance arena and sit on the ground or at the top of the grandstands, if they are available.

A high or low shooting angle pretty well eliminates backgrounds and these locations keep other people from blocking my view.

Apache Crown Dancers

Apache Crown Dancers are a fast moving photo subject.

I tend to shoot with two camera bodies, one mounted with a 70mm—200mm zoom lens and the other a fixed 300mm lens. Sometimes dancers are close, but often I need to reach out and isolate a single dancer. These two lenses will handle most dance floor situations. I also carry a 24mm-70mm zoom lens for portraits outside the dance arena.

Individual photo portrait off of the dance floor.

Individual photo portrait off of the dance floor.

I shoot these lenses hand-held and rely on fast shutter speeds for tack sharp images. One of my favorite approaches, however, is using shutter drag, or a slow shutter speed, to create a degree of image blur that illustrates the shape of the dancers motion. It’s really fun.

Zuni Pueblo Turkey Dancer.

Slow shutter speed captures the motion of a Zuni Pueblo Turkey Dancer.

This technique is just a matter of stopping down the lens aperture to eliminate light and then slowing down the shutter speed to compensate for a proper exposure. You can pan with the dancers to blur the background as well, or even tilt the camera during the pan to create even more blur. These can become quite abstract, so try different shutter speeds to get just the right amount of blur, which is a very subjective decision.

I have covered quite a number of these events and occasionally found I was the only anglo face in the crowd. I have always found Native Americans to be gracious and have never been made to feel like an intruder. Follow the rules, ask permission and be open to the spirituality that is part of some of these dances. Powwows offer a glimpse into proud, ancient cultures which we get to explore with our cameras. Look and learn with an open mind and have a great time.

Enjoy the experience.


Traditional Native American dancers sidelit by the setting sun

Magic Hour Photography: Get Creative And Capture The Drama

Photography and Text by Chuck Place

Few photographers can resist shooting a beautiful sunset. Clouds build up, color starts to develop, you have a perfect ocean or lake surface for great reflections or you found some fascinating trees or buildings to silhouette against the colorful sky. It’s impossible to resist, isn’t it?

More often than not, however, at this time of day, I find myself turning my back on the sun as it goes down and watching for what it lights up instead.

Mesa Verde ruins sidelit

Mesa Verde ruins sidelit by the setting sun at Magic Hour

That warm color of the low sun skimming across a landscape or buildings is pure magic. The soft, low-contrast sunlight at the end of the day is perfect for lifestyle images or dramatic portraits. It creates an ambiance to which everyone can relate. It’s the time of day we associate with relaxing and gathering with friends, enjoying a meal with others or just sipping a glass of wine. There is something truly magical about photographs created during the golden hour at the end of the day when the fleeting warm light mixes with cool-toned shadows to heighten drama and mystery in an image.

Native American Fancy Dancers sidelit by the setting sun at Magic Hour

Native American Fancy Dancers sidelit by the setting sun at Magic Hour

There is more to producing photos with impact at magic hour than just turning your back on the sun, of course.

Death Valley sand dunes sidelit by the setting sun

Death Valley sand dunes sidelit by the setting sun at Magic Hour

If you are shooting in JPEG format, make sure you turn off Auto White Balance and set your camera white balance to Daylight or Overcast. Auto White Balance, or AWB, works great in a lot of lighting environments because it neutralizes color in an image, but it will also neutralize all that warm light at sunset. There goes all your atmosphere and saturated color. The Daylight or Overcast setting will capture the warm color balance that you typically see at sunset.

Woman practicing yoga is backlit by the setting sun at Magic Hour

Woman practicing yoga is backlit by the setting sun at Magic Hour

Even better, shoot in RAW format if your camera has that feature. The RAW format ignores the camera’s white balance setting while capturing the maximum amount of image data. This extra data makes it possible to correct or change your image to a much larger degree, giving you more creative freedom than can be achieved with a smaller JPEG file.

One of my favorite techniques is using warm sunlight to side light my subjects, creating an exaggerated sense of volume and contrast. Side lighting also separates the warm, lit side of your subject with the cool, shadow side, producing a more dramatic image.

Mission San Xavier del Bac sidelit by the setting sun

Mission San Xavier del Bac sidelit by the setting sun at Magic Hour

Front lighting at magic hour produces rather flat lighting, but can be effective if the warmly lit subject is contrasted against a cool blue sky. Quarter back lighting is also effective at this time of day, especially for lifestyle and portrait photography. The soft, even lighting on the shadow side of your subject can be quite beautiful as long as the subject is not underexposed. Flair can be a bit of a problem when the sun is out in front of the lens, but flair can also create a strong ambience if it is controlled properly.

Aerial of the Alabama Hills front lit at Magic Hour

Aerial of the Alabama Hills front lit with sunset light at Magic Hour

Next time you are out shooting late in the day, break the sunset habit and turn your back on the sun. You may be surprised by the images you can create using sunset light, rather than photographing the actual sunset. It’s a magic time, after all.


Farmers Market produce

An Exciting Photo Shoot At The Lively Farmers Market

Photography and Text by Chuck Place

My favorite location to try out new photography equipment is not California’s ragged coastline or soaring mountain peaks. Forget the rolling sand dunes of Death Valley National Park or the giant redwoods of Redwood National Park. Give me a good old Farmers Market to run a new lens or camera body through its paces. Whaaaat?

Customers wander a Farmers Market

Customers wander a Farmers Market

That’s right, a Farmers Market. It has everything necessary to test any equipment—or photographer, for that matter. Shooting strong images at a busy farmers market is a test of concentration. A photographer is forced to create order out of chaos, still lifes out of produce and portraits of people who are too busy for a portrait shoot. It’s a tough photography environment!

gold and purple beets

Still life of golden and purple beets at the Farmers Market

Often I take my students to a local Farmers Market, not because I like to see them suffer–not too much, anyway. All photographers that shoot on location need to learn how to take a large, bustling, crowded event and break it down into manageable visual pieces. If a photographer views a market as just a big, chaotic location, their work will reflect just that surface appearance. Let’s break it down.

Eggs and iris for sale

Everything from eggs to iris are for sale at the Farmers Market.

First I like to get some establishing shots as I make a quick survey through the various areas of a market. Different vendors have different products and some create more interesting displays than others. I also pick out the vendors I think will make good portraits. Their looks, their clothing, the lighting at their booth, how they view customers walking by—this all impacts whether I think they will make strong subjects.

cherry tomatoes at the Farmers Market

Diagonals are created from baskets of cherry tomatoes

Farmers Market sign

Farmers Market sign selling strawberries.

My first task is usually to capture the market’s range of products while they are still available. The first tomatoes or berries of the season often sell quickly, so I try to capture those subjects first. Signs are always fun, flowers are always colorful and street musicians always make interesting subjects. I always ask permission from vendors and musicians and drop a dollar or two in the musician’s open instrument case so that I can create a range of portraits without getting the “glare”.

Photographic portrait of street musicians.

Photographic portrait of street musicians.

Later in the morning, after the crowds thin and sales slow down, I’ll work with individual vendors to create environmental portraits. By this point, they are getting a little bored and often welcome something to break up their morning. Because most produce is hauled in by trucks, the vehicles are lined up behind each of the stalls and make rather ugly backgrounds. I prefer to shoot down a row of stalls, filling the background with more produce. A shallow depth of field is necessary to separate my subject from the busy background and I prefer photographing under one of the white awnings. It produces a beautiful soft light with large highlights and great skin tones.

Strawberry_Vendor

Photographic portrait of a vendor selling strawberries.

By the time I’m finished with portraits, I’m a little worn out, my subjects are tired and I have to return to that stall where I bought those great blanched almonds with rosemary and sea salt. Although I tend to shoot all this with a single camera body and a 24-70mm zoom lens, my camera bag is usually full of treats to bring home.

Where else could I find a single location with such a range of photographic subjects and still shop for dinner supplies at the same time. Give it a try and don’t forget the almonds.