25 Common Photography Abbreviations, Explained

The post 25 Common Photography Abbreviations, Explained appeared first on Digital Photography School. It was authored by Megan Kennedy.

Photography is a visual medium, yet it’s full of abbreviations: AF, DOF, TIFF, DSLR, CMYK, AWB, and so much more. For the beginner, these initialisms and acronyms can be incredibly overwhelming (and even seasoned photographers will find certain abbreviations confusing!).

That’s why we’ve put together this guide, which explains the abbreviations you’re most likely to encounter, whether you’re hunting for gear, photographing outdoors, or working in a studio. The list is alphabetical, so you can easily reference it whenever you come across a new photography abbreviation – though I also encourage you to read through each and every item right now. (It pays to stay ahead, right?)

So without further ado, here are the most common photography abbreviations so you can tell your TIFFs from your TTLs like a pro:

A

Aperture Priority mode, commonly abbreviated as A or Av, is a camera setting that allows you to manually adjust the aperture value (otherwise known as the f-number or f-stop), while your camera automatically selects a corresponding shutter speed to produce a well-exposed image.

The camera’s internal light meter constantly measures the lighting conditions of the scene, and as you adjust the aperture, your camera adjusts the shutter speed accordingly. Aperture Priority mode, like its sibling modes, Program and Shutter Priority, isn’t foolproof. But it offers a high degree of control and frequently does a good job of nailing the exposure.

AF

AF refers to autofocus, the camera feature that automatically adjusts the lens to acquire focus on a subject to create a sharp image.

Pretty much all recent cameras and most recent lenses offer autofocus capabilities, which allows photographers to capture sharp photos of sports players in action, birds in flight, and so much more.

Cameras offer several AF modes. Single-focus AF, known as AF-S (Nikon) or One-Shot AF (Canon) locks focus on a subject and prevents refocusing as long as you keep the shutter button depressed halfway. On the other hand, continuous or tracking focus – AF-C (Nikon) or AI Servo (Canon) – constantly readjusts the focus as the subject moves (though you will need to keep the shutter button depressed halfway). Some cameras also have a third mode, which switches between the two main AF modes automatically.

Auto

Auto is short for automatic and may also be signified by a small green rectangle on the camera’s mode dial:

In Auto mode, a camera automatically calculates and adjusts various camera settings to produce a sharp, well-exposed image, taking into account (and controlling) shutter speed, aperture, ISO, focus, white balance, and light metering.

Some cameras have specialized automatic modes, called scene modes, which are designed to capture compelling photos of a particular subject. For example, Action or Sports mode prioritizes faster shutter speeds – so you can capture sharp images of moving subjects – and is represented by a running figure on the mode dial.

AWB

AWB stands for Automatic White Balance, which tells the camera to automatically measure the white balance (WB) of a scene and remove any unnatural color casts. In other words, with AWB activated, your camera will try to analyze and color-correct each scene as you shoot.

In most cases, Automatic White Balance works fairly well, though it can be tricked (which is the reason product photographers often set the white balance manually). Fortunately, if you shoot in RAW format, you can easily tweak the white balance in post-production.

B

B refers to Bulb mode, which is designed to produce long exposures and is often used by landscape and night photographers. With your camera set to Bulb, when you depress the shutter button, the shutter will remain open until the button is pressed again (or until it is released, depending on your camera and its settings).

Bulb mode is usually used in conjunction with a tripod and a remote shutter release. It’s generally needed to achieve exposures longer than 30 seconds (the maximum exposure time on most cameras).

CMYK

CMYK stands for cyan, magenta, yellow, and black. Note that the K refers to black, which is shorthand for the key plate, a printing tool that creates the artistic detail of a picture in black ink.

CMYK is the technology used by most color reproduction printers (for magazines, posters, business cards, etc.). This four-color mode applies each color in specific amounts to create a color print. CMYK is a subtractive process, so with each added color, more light is absorbed to create the final image.

Because the RGB color space (which is generally used by cameras to record images) provides a larger range of colors for the digital screen, CMYK-printed images are inconsistent with the images you see on-screen before pressing “Print.” But if you convert the images to CMYK before printing – using Photoshop or Illustrator – you’ll see an image on the screen that is much closer to the printed product.

DOF

DOF, or depth of field, is the zone of sharp focus in a photograph. Some images feature a narrow depth of field, in which only a small sliver of the scene is in focus; other images feature a deep depth of field, in which the entire scene is in focus from foreground to background.

Note that the depth of field is affected by several factors, including the lens’s aperture. A large aperture creates a shallow depth of field effect, while a small aperture creates a deep depth of field effect.

Depth of field is also influenced by the lens focal length and the distance between the camera and the subject (i.e., the point of focus).

DPI

DPI, or dots per inch, is often used interchangeably with PPI, or pixels per inch. Technically, DPI measures the number of dots that will be printed in an inch-long line. PPI also measures the number of dots along an inch-long line, but on a computer screen instead of on paper. Printers and screens with higher DPI and PPI values, respectively, are clearer and more detailed.

To correctly size your images for printing, you need to know the DPI of your printer or lab.

DSLR

DSLR stands for digital single-lens reflex, a type of camera that features a mirror, which reflects the light coming in from the lens and directs it to the viewfinder. DSLR mirror technology lets you see a preview of the scene via the viewfinder – then, when the shutter button is pressed, the mirror flips up, allowing the light coming through the lens to reach the camera sensor.

EVF

The EVF, or electronic viewfinder, refers to a type of viewfinder popularized in mirrorless cameras. Instead of showing an optical preview of the scene, electronic viewfinders display a digital preview, which simulates the exposure of the final image.

Electronic viewfinders offer a number of benefits over optical viewfinders (OVFs, below), though they can suffer from resolution and lag issues.

F-stop or f-number

The f-stop or f-number indicates the size of the aperture opening on your lens. (Here, the “f” stands for focal.) Wider aperture openings let in more light and produce a shallower depth of field effect (see “DOF,” above). Every aperture can be expressed as an f-stop or f-number, such as f/2.8, f/4, f/8, f/11, etc.

IS

IS refers to image stabilization, a camera and/or lens feature that’s designed to counteract movement caused by camera shake. The technology goes under several names, though IBIS, VR, and VC are a few of the most common labels.

Note that image stabilization may not be offered by your camera or lens. Recent mirrorless cameras do tend to offer in-body image stabilization (i.e., IBIS), but adding IS technology is expensive, so you’re less likely to find it in beginner products.

If you like to shoot handheld at slower shutter speeds (e.g., in low light or at narrow apertures) or when using long lenses, good image stabilization is essential.

ISO

Photographers often claim that ISO stands for International Organization for Standardization, though it actually comes from a Greek word, isos.

In film photography, ISO (or, formerly, ASA) is an indication of the sensitivity of a roll of film to light. In digital photography, ISO determines the amplification of the camera sensor brightness (though if you prefer, you can think of it as the sensitivity of the sensor to light).

The ISO value can be adjusted in-camera; the higher the ISO, the brighter the resulting exposure (all else being equal). However, higher ISO values produce more grain, also known as noise.

The graininess of this image is caused by a high ISO value.

JPEG

JPEG (sometimes shortened to JPG) refers to the Joint Photographic Experts Group image file format. (As you can probably guess, the JPEG group created the format!) JPEG is one of the most common image formats used by photographers; RAW is another common format.

Most cameras shoot JPEGs, which are highly displayable and very small. But because JPEG is a lossy file format, the images do suffer from a reduction in quality and in post-processing flexibility.

M

M stands for Manual, a shooting mode that offers complete control over every setting on your camera, including aperture, shutter speed, ISO, white balance, metering mode, and more. Manual mode can be intimidating for beginners, which is why it’s often better to use Aperture Priority (also on this list, above).

Note: Manual mode and manual focus are not the same. You can use your camera’s autofocus capabilities when working in Manual mode (and you can even use your camera’s Auto mode while focusing manually).

M4/3

M4/3, also known as MFT, is short for Micro Four Thirds. Developed by Olympus and Panasonic way back in 2008, M4/3 is a mirrorless interchangeable lens standard that revolves around the four-thirds sensor.

Because the four-thirds sensor is smaller than alternatives – such as APS-C and full-frame sensors – Micro Four Thirds cameras tend to be lighter and more compact. However, the smaller sensor size does restrict image quality (particularly resolution and high-ISO noise performance).

OVF

OVFs, or optical viewfinders, are generally found in non-mirrorless cameras (e.g., DSLRs). OVFs use mirrors to offer the photographer a “true” preview of the scene, rather than a digital rendering (see EVF, above).

Because optical viewfinders show the photographer the scene as viewed directly through the lens, they don’t offer exposure simulation – though OVFs do provide a high-resolution image with zero lag.

P

P stands for Program mode, which allows you to adjust certain settings – including ISO, flash, and white balance – while your camera selects the aperture and shutter speed. Program mode is less popular than its semi-automatic alternatives, Aperture Priority and Shutter Priority, though it is a good way for beginners to wade into the often-confusing waters of exposure.

RGB

RGB stands for Red, Green, and Blue and is based on human color perception. RGB is an additive color technology designed for viewing images on digital displays (unlike CMYK, above).

S

Shutter Priority, also known as SP or TV (for Time Value), is a camera mode that allows you to select the shutter speed while the camera automatically selects an aperture for a proper exposure. As you adjust the shutter speed, the camera’s internal light meter analyzes the scene and adjusts the aperture accordingly.

Shutter Priority mode is best used for shooting fast-moving objects or when you want to deliberately blur a moving subject.

SLR

SLR, or single-lens reflex, refers to non-digital cameras with single-lens reflex capabilities (see DSLR, above). SLR cameras feature a mirror that reflects light up into the camera viewfinder. When the shutter button is depressed, however, the mirror flips up, exposing the film to light.

TIFF

Short for Tagged Image File Format, TIFF is an image file format that doesn’t lose detail, unlike lossy compressed formats such as JPEG. Because TIFFs retain all image information, they’re ideal for printing and storing images, though TIFFs are also far larger than lossy formats such as JPEG and HEIC.

TTL

TTL stands for Through the Lens; it refers to an automatic flash metering system. With TTL metering active, the flash fires a short burst of light prior to the actual exposure, the camera measures the amount of light coming through the lens, and the power of the flash is automatically set according to the selected aperture.

Not all off-camera flashes offer TTL metering (and some photographers prefer to set the flash exposure manually, regardless).

USM

USM stands for Ultrasonic Motor, a type of autofocus motor in certain Canon lenses. Equivalent systems include Nikon’s SWM (Silent Wave Motor), Sigma’s HSM (Hyper Sonic Motor), and Olympus’s SWD (Supersonic Wave Drive Motor). These AF motors are generally designed to be fast and quiet.

WB

WB stands for white balance, the process of counteracting color casts created under different lighting conditions. Some photographers set the white balance manually, though others set the camera to Auto White Balance, then adjust the white balance in post-processing as required. (Note that the latter technique only works if you shoot in RAW.)

Common photography abbreviations: final words

Well, there you have it:

A whole host of common photography abbreviations that you should know! Of course, there are plenty more photography abbreviations, but once you know the basics, you’ll find it easier to pick up new terms as you go along.

Any additional abbreviations that I missed? Share them in the comments below!

The post 25 Common Photography Abbreviations, Explained appeared first on Digital Photography School. It was authored by Megan Kennedy.

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7 Tips for Gorgeous Fog Photography

The post 7 Tips for Gorgeous Fog Photography appeared first on Digital Photography School. It was authored by Louis Raphael.

Looking to capture incredible fog photos? I can help.

For most photographers, nothing compares to shooting in the fog. The mysterious shapes, the silky textures, the ethereal light – it’s a uniquely magical experience, and it’s a recipe for breathtaking photos.

But capturing stunning fog photography isn’t always easy. Fog can be unpredictable, it can cause focusing and sharpness issues, and it generally appears during camera-shake-promoting low-light conditions. To create the best fog photos – the kind that you’ll often find hanging on gallery walls – you need a well-planned approach. You should set out during the right conditions, use the optimal gear, choose the perfect settings, and more.

Fortunately, as a veteran fog photographer, I’ve developed plenty of strategies to ensure that you can capture consistently great shots in the fog. And in this article, I share my seven best tips – so if you’re ready to start creating ethereal, mysterious images, then let’s dive right in, starting with:

1. Predict the fog before it happens

What’s the most challenging part of fog photography? Finding the fog, of course! In many areas, fog is a rare occurrence – and you, as a photographer, have no control over the weather. So you need to learn to predict fog in advance; that way, you’re in a position to capture beautiful compositions when the right conditions occur.

The simplest way to anticipate fog is to check the weather. Fog happens almost exclusively in the morning, so before you head to bed each night, take a quick look at your favorite weather app. Scroll through the hourly predictions for the next morning, and if you see the “fog” icon, choose a good location, set your alarm clock, and make sure you set off in the dark.

Another option is to wake up before the sun rises and look outside for foggy conditions (assuming, of course, that you plan to shoot near your house). The problem with this approach is that fog can burn off quickly, and by the time you’ve determined that fog is present, you may have missed the main event.

A third (and better) strategy is to learn to predict fog in advance. If you can understand the conditions that lead to fog, you can be prepared, no matter what the weather forecasters say. In particular, fog often occurs when:

• The ground is wet (due to the previous day’s rain)
• The temperatures are low
• The wind is weak
• Skies are relatively clear

Make sure you pay special attention to the weather in late fall, winter, and early spring. While fog technically can occur at any time of the year, it happens far more regularly during the cooler seasons.

Pro tip: If you have a specific shot in mind and want to check the progress of the fog, see if you can monitor it using public webcams. That way, you can see exactly how the fog looks and whether it’ll work for the image you want to capture.

2. Bring a tripod and a remote release

Since fog often occurs at sunrise and because fog tends to heavily diffuse the ambient light, you should definitely expect darker conditions. The darker the scene, the lower you’ll need to drop your shutter speed – so to prevent camera shake, make sure you carry both a tripod and a remote release.

The tripod will keep your camera steady at shutter speeds of 1/60s and below. (It also comes in handy if you plan to capture long-exposure fog shots, which I highly recommend; see the tips presented elsewhere in this article!) And the remote release will prevent camera shake when you press the shutter button. (It isn’t a requirement – you can use your camera’s two-second self-timer instead – but a remote release can make your shooting process faster and more precise.)

By the way, make sure you lock up the mirror before shooting (if you’re using a DSLR). And regardless of your camera model, use the electronic front-curtain shutter mode to prevent shutter-induced vibrations.

3. Use manual focus and a narrow aperture

Getting sharp shots in the fog can be tough. That’s why I encourage you to switch off your camera’s autofocus and instead rely on manual focusing, especially if you’re planning to do foggy landscape photography. Otherwise, your camera’s AF system will struggle to focus in the low-contrast environment, and you may end up deeply frustrated.

Alternatively, you can use your camera’s AF to lock on the highest-contrast portion of the scene, then twist your lens’s focus ring to fine-tune the point of focus.

I’d also encourage you to shoot with a narrow aperture. The narrower the aperture, the deeper the depth of field, which is essential if you want to maintain sharpness from the foreground to the (foggy) background.

Plus, a deeper depth of field offers more leeway in case you accidentally focus in front of or behind your subject. A good starting point is f/8, but you can always narrow the aperture farther if you’re dealing with an especially deep scene and/or need more room for error.

Note that a narrower aperture will reduce the amount of light hitting the camera sensor, so you will need to reduce the shutter speed – but as long as you’re using a tripod (see the previous tip!) you should be just fine.

4. Get above the fog

If you want to capture breathtaking foggy landscape shots, instead of working from within the fog, see if you can rise above it. Search out various overlooks, make sure you’re in position as the sun rises, then photograph the fog as it sweeps across trees and buildings:

If you’re in the right place at the right time, you might even get to capture sunlight hitting the fog from above, which can look positively wondrous.

And if you’re serious about high-angle fog photography, consider purchasing a drone. That way, you can capture gorgeous shots whether or not you have access to a good vantage point.

One more tip: If you do work from above the fog, you’ll often run into high dynamic range scenes, which many cameras struggle to capture. Make sure you shoot a series of bracketed images; that way, if the dynamic range does prove to be too much, you can always blend several shots in post-processing for a well-exposed final result.

5. Don’t forget about the ordinary subjects

Fog has a way of turning ordinary scenes into something spectacular. So while you can capture more traditional subjects on foggy days – such as seascapes and skyscrapers – you can also take a second look at the everyday, the boring, and the cliché.

For instance, you can get great shots simply by heading to your local park and photographing trees, cattails, and fields. Or you can take a walk through your neighborhood streets and point your camera at fog-shrouded streetlights, houses, and cars.

On a related note, you can use fog to capture original images of frequently photographed locations. Everyone photographs the Golden Gate Bridge, but the Golden Gate Bridge plus some morning fog can lead to unique (and spectacular) shots:

6. Use a neutral density filter

Neutral density filters are designed to block out light. Put a strong ND filter over your lens, and you can drop the shutter speed to 1/10s, 1s, and even several minutes without issue – even if you’re working in brighter conditions.

Why is this useful for fog photography? Well, if you can slow down your shutter speed, you can capture smooth, silky fog that looks incredible in landscape shots. Long-exposure fog appears like waves of water:

Note that ND filters come in many different strengths, and you’ll need to choose your filter based on the time of day and the lighting conditions. If you’re shooting before the sun has crested the horizon, you’ll probably need a relatively weak filter (or no filter at all). But if you’re working from above the fog and the sun is bright, you may want to bring out a 10-stop or even 15-stop filter.

Pro tip: When you’re working with an ND filter, make sure you set up your composition and focus carefully before slotting the filter onto your lens. Strong ND filters are extremely dark, so by taking such an approach, you can make sure the shot looks great while the scene is still visible in your camera viewfinder.

7. Experiment with different shutter speeds

While I’ve spent time discussing the benefits of long-exposure techniques for fog photography, it’s important to avoid keeping the shutter open for too long. Because while lengthy shutter speeds can certainly create stunning ethereal effects, they can also make the fog lose its shape and turn into a flat mess.

That’s why I encourage you to experiment with different shutter speeds whenever possible. If you’re confronted by a foggy scene and you have the time, test out a few different settings, then view the results on your LCD. Sometimes, you might like the slower version – but other times, the faster version will look the best!

And don’t shy away from relatively quick shutter speeds, either. A fast shutter speed – such as 1/60s or even 1/125s – will give the fog more texture, which can also look great.

Fog photography tips: final words

Well, there you have it:

Seven strategies for beautiful fog photos.

Hopefully, you found these tips helpful – and you’re feeling inspired to get out there and experiment with fog photography.

Even if you struggle at first, don’t give up. Refer back to this article, figure out what you need to do to improve your results, and keep shooting!

What subjects do you plan to shoot in the fog? Will you do foggy landscapes? Foggy portraits? Foggy street photos? Share your thoughts (and images) in the comments below!

The post 7 Tips for Gorgeous Fog Photography appeared first on Digital Photography School. It was authored by Louis Raphael.

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Loop Lighting: A Comprehensive Guide

The post Loop Lighting: A Comprehensive Guide appeared first on Digital Photography School. It was authored by Kevin Landwer-Johan.

The way you light a portrait influences so much: How the person appears, the depth and three-dimensionality of the scene, and even the overall mood conveyed by the photograph.

Loop lighting is just one method of illuminating a subject – yet if you use this technique, you can be pretty certain that whoever is sitting in front of your camera will like the results. Plus, loop lighting is extremely easy to set up; you only need a single light source (which can be ambient light, a speedlight, a studio strobe, or a continuous light).

In this article, I offer a comprehensive overview of loop lighting. I explain what loop lighting is, when you should use it, and a simple, step-by-step approach for creating the lighting pattern in your own photos.

So if you’re ready to revolutionize your portrait photography, then let’s get started!

What is loop lighting?

Loop lighting is a popular lighting pattern that creates a shadow under and to one side of the subject’s nose; this small “loop” gives the pattern its name.

Nikon D800 | 105mm | f/8 | 1/200s | ISO 400

To create the loop of shadow, you can position your main (key) light so it’s above and slightly to the side of your subject. Note that, along with the loop shadow cast by your subject’s nose, some of the subject’s face will be in shadow, and they’ll also have a shadow under their chin.

The size and intensity of the loop shadow depend on:

• The type of light
• The light’s position
• Whether the light is direct or diffused
• The amount of ambient light
• Other light sources or reflectors

Even once you have a loop lighting approach dialed in, the way you manage your main light will dramatically alter the results. If your key light is positioned farther away from your subject, the lighting intensity will change. And as you move the light to one side or the other, higher or lower, the shadows on your subject will change, too.

Of course, if you adjust the position of your key light too much, you’ll eventually lose the loop lighting effect; instead, you might create another common pattern, such as Rembrandt lighting, split lighting, or butterfly lighting.

Nikon D800 | 105mm | f/8 | 1/250s | ISO 400

When should you use loop lighting?

If your goal is to create a highly flattering portrait, then loop lighting is one of your best options.

As I mentioned above, it’s easy to set up; you only need a few pieces of lighting gear (or nice ambient lighting).

And because loop lighting requires minimal gear, you can spend more time connecting with your subject. You’ll also have more opportunities to make sure your camera and lens are behaving as desired.

What makes loop lighting so flattering? It’s very gentle on your subject’s face. Yes, it creates some shadows, but they aren’t very harsh (compared to other lighting styles). Instead, loop lighting produces light and shadow that show the facial contours pleasantly. As long as you can get the angle of light right, the shadows will complement the person nicely.

Other techniques, such as Rembrandt lighting, produce shadows that cover more of the face. If you want your portraits to feature a more intense feel, such an approach works well; in fact, dark shadows on the face tend to add drama and even mystery because part of the face is hidden.

However, if your goal is to create a beautiful portrait that emphasizes the subject’s features, loop lighting is a better option.

By the way, people with more oval-shaped faces will especially appreciate the loop lighting technique. Why? It accentuates cheekbones, which tends to create a slimming look.

Nikon D800 | 105mm | f/11 | 1/200s | ISO 400

Getting started with loop lighting: step by step

When you start doing studio portraiture, it’s a good idea to experiment with a wide variety of lighting styles and techniques. Loop lighting is a great first option.

Because loop lighting is both easy and flattering, you’re far more likely to receive positive feedback from the person you’re photographing, which will encourage repeat shoots and referrals (it’ll make you feel more motivated, too!).

Remember: The less you need to pay attention to the lighting, the more you can focus on communicating with your subject. So start out with an easy, one-light setup. Only add a reflector or a second light source once you’ve had plenty of time to practice.

So how should you approach loop lighting for the first time? Here’s my recommended step-by-step approach:

Step 1: Prepare yourself for the photoshoot

Before your subject arrives, make sure that you’re ready to capture a loop-lit photo.

Take a look at the location. Think mainly about the ambient light and the background. Will you rely on available light? Or will you add a light source to create the loop lighting effect? Where will you position your light source and subject?

Ensure you have all the necessary gear; if you plan to use artificial lighting, set up your equipment in advance and make sure it all works as expected.

The more you can determine before your subject even arrives, the better your results will be.

Step 2: Position your light source

Once your subject arrives, ask them to stand or sit in position, then adjust your light so it’s slightly above and to the side of their face. The goal is to create that little loop of shadow under the nose, and I encourage you to clearly communicate this with your subject; otherwise, they’ll have no idea what you’re trying to achieve.

If you’re using a speedlight or strobe, you’ll generally need to capture a series of test photos. Take a shot, check the results on the back of your camera, adjust the light’s position, and shoot again. It may take a few tries before you see a nice loop shadow, and that’s okay – though the more efficient your testing process, the more comfortable the subject will feel.

If you’re worried about the setup process and/or you need to work quickly, consider starting with a continuous light source (such as an artificial continuous light or ambient light). That way, you can see where the shadows fall on the face, and you can skip the entire testing process.

Regardless, I find that talking to people about what I am doing and how I want them positioned helps them feel relaxed. If you take people through the photoshoot process, they’ll feel more confident, which shows in their facial expressions.

Step 3: Modify the lighting

At this point, you should have that nice loop-lighting shadow, but it often pays to refine the overall effect.

For instance, you can bring in a reflector – and while this isn’t absolutely necessary, it’ll soften the shadows on the subject’s face for an even more flattering result.

You can test out a few different reflector positions: beneath the subject’s chin, on the side opposite the light source, or somewhere in between. As you move the reflector, pay careful attention to the shadows on your subject’s face; the difference may be subtle, but it can be very significant.

Adding some diffusion to the light source will also help soften the shadows, which will make the image less dramatic. Of course, less drama isn’t always ideal, so you’ll need to decide if this is the type of look you want.

Nikon D800 | 105mm | f/8 | 1/200s | ISO 400

Step 4: Add a second light

You can create a beautiful loop lighting effect with just one light source, but if you want to take your portraits to the next level, consider adding a light behind your subject.

Make sure the light is positioned either directly behind your subject or just outside the frame. It should be directed at your subject’s back, though you’ll need to make sure the spread is confined to the subject’s head and shoulders; the goal is to help them pop off the screen, which is especially important when you’re capturing dark hair on an already-dark backdrop.

Loop lighting: final words

Nikon D800 | 105mm | f/11 | 1/250s | ISO 400

Loop lighting is a simple and effective technique for flattering portraits. You don’t need anything other than your camera, a lens, and a light source, so it’s great for beginners (though using additional lighting gear will give you more options).

So practice the technique until you know it well. As with any simple lighting style, you can tweak aspects of your setup to achieve different looks, so don’t be afraid to experiment. And make sure you communicate with your subject along the way!

The more you practice, the better you’ll get, and the more you’ll please your subjects. Happy shooting!

How do you plan to use loop lighting in your next photoshoot? Share your thoughts in the comments below!

The post Loop Lighting: A Comprehensive Guide appeared first on Digital Photography School. It was authored by Kevin Landwer-Johan.

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How to Mirror an Image in Photoshop (Step By Step)

The post How to Mirror an Image in Photoshop (Step By Step) appeared first on Digital Photography School. It was authored by Ana Mireles.

Photographers and photo editors often need to mirror an image in Photoshop. Perhaps they’re doing a photo composite or a pattern. Or maybe it fits with the graphic needs of a magazine or a poster.

Whatever the reason, if you need to flip an image, simply follow the step-by-step guide I share below! I also show how you can create a pattern using the mirror effect. Sounds good? Then keep on reading.

What is a Photoshop mirror effect?

Mirroring an image in Photoshop involves flipping it horizontally or vertically to create a reflection.

But the mirror effect takes this further; it’s when you use a mirror technique to create patterns or kaleidoscopic images, like this:

A mirror effect is very artistic, and it can be a great way to have plenty of creative fun in Photoshop!

When should you mirror an image in Photoshop?

You might mirror an image in Photoshop for many reasons. The first and most practical one is to correct an image that you may have done through a mirror (e.g., a selfie).

But there are also more creative reasons for mirroring an image. If you simply flip your photo – without creating any doubling or kaleidoscopic effect – you can create a sense of unease in the viewer. Try flipping a portrait, and you’ll instantly notice how swapping the sides of the face will make your subject look very different. You can also mirror images that feature reflections, flipping the “real” object and its reflection.

If you want to make your images look more surreal, you can create a mirror, but then combine the mirrored and original versions in the same file to produce interesting patterns.

Finally, you can multiply your flipped images to create a kaleidoscopic effect. This is great if you’re after abstract art, patterns, or graphic work.

How to create a mirror image in Photoshop

It’s very easy to mirror an image in Photoshop. Here are two easy techniques:

1. Flip Canvas

This feature works when you want to mirror a single-layer document, such as a JPEG. It’s also useful if you want to flip all the layers of a document at once.

Simply go select Image>Image Rotation>Flip Canvas Horizontal or Flip Canvas Vertical. (The axis that you choose depends on the effect you’re trying to achieve.)

Notice how both the image and the text layer were mirrored.

If you want to mirror a layer separately from the rest, see the next technique:

2. Flip

This technique is different from the Flip Canvas option shared above because it allows you to mirror individual layers.

First, click on the layer you wish to flip, then select its contents using the keyboard shortcut Ctrl/Cmd+A. Alternatively, click Select>Select All.

Then choose Edit>Transform>Flip Horizontal or Flip Vertical.

Alternatively, tap Ctrl/Cmd+T. The marching ants from the selection will disappear, and a border with handles on each side will appear in their place (indicating that the Transform tool is active).

Right-click inside the image to open the menu. Choose Flip Horizontal or Flip Vertical. To save the effect, click the checkmark at the top of the window.

Notice how the image layer flipped but the text layer remained the same.

Note that you can also do this with a single-layer document. When you first open your image in Photoshop, the Transform tool won’t be available because the layer will be locked. But you can unlock it by clicking (or double-clicking) on the lock icon on the right side. This will open a dialog box where you can rename the layer. Click OK, then follow the rest of the steps as if you were working with more than one layer.

(It’s worth noting that on single-layer documents, Flip and Flip Canvas offer the same result.)

Mirror reflections: A step-by-step example

Now that you know how to mirror an image, it’s time to create an artistic pattern.

Start by opening your image in Photoshop. You can choose any photo, but if it already has a clear pattern, you’ll often get better results. Abstract images work very well, too. For this example, I’m using a photo of a palm tree that was captured from below:

When you first open your image, it’ll appear as a locked layer called “Background” (see the example above). To create interesting mirroring effects, however, you need to unlock it. Double-click the image layer in the Layers panel; this will open a dialog box where you can rename the layer:

I’d suggest calling it Layer 1 because, in a moment, you’ll create another layer to go underneath. Alternatively, you could name it “Original” or choose another name that makes sense to you.

Then click OK. You’ll see that the layer is now unlocked and has your chosen name.

Next, create a new empty layer by clicking on the New Layer icon at the bottom of the Layers panel or by selecting Layer>New>Layer in the Photoshop menu. Name the new layer “Background” or “Layer 0” – whichever you prefer. Drag this new layer beneath your original layer.

You’ll need to increase the size of the canvas so that it has room for mirrored images. Click on Image>Canvas Size:

The most traditional way to create a mirroring pattern is with four versions of the original photo. (You flip it on one axis, then you flip it on the other.) To do this effectively, you’ll need to double the size of your canvas both vertically and horizontally.

So change the Canvas Size units to Percent. Then type “200%” in the Width and Height boxes. Click OK.

Now click on your foreground layer, then drag the image to one of the canvas corners. (Pick the best corner based on how you want your pattern to look.) I want the palm tree trunks to converge in the center while covering the border with leaves, so I’ll drag the photo to the top right corner:

Now you have to duplicate and flip the layer. Duplicate it by dragging the layer to the New Layer icon at the bottom of the Layer panel or by selecting Layer>Duplicate Layer.

Now, select the duplicate layer by tapping Ctrl/Cmd+A. Then select Edit>Transform>Flip Horizontal.

You’ll now have a mirrored layer, which you can drag to the corner opposite the first layer:

Next, head to the Layers panel and select both image layers. (To select multiple layers, hold Ctrl/Cmd as you click.)

Click on Layer>Duplicate Layers. Your Layer panel should now be populated with four separate images. With the two newest layers selected, choose Edit>Transform>Flip Vertical. The layers will flip, and you can drag them to cover the rest of the canvas:

That’s it! You’ve made a pattern with mirrored images. To create a bigger pattern, simply increase the canvas size and repeat the process. You can also scale the pattern and use the Rotate tool to make a more complex image. Experiment with different blending modes, too!

Pro tip: The more layers you use, the more important it is to keep a tidy Layers panel. Therefore, it’s useful to name layers as you create them. You can also group or merge the layers as you go along.

How to mirror an image in Photoshop: final words

As you can see, mirroring an image in Photoshop is pretty easy; it only requires a few clicks.

So have fun. Try creating different mirror patterns, and see what you can come up with.

Now over to you:

How do you plan to use the mirror effect? Share your thoughts (and images!) in the comments below.

The post How to Mirror an Image in Photoshop (Step By Step) appeared first on Digital Photography School. It was authored by Ana Mireles.

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8 Tips to Prevent Memory Card Problems

The post 8 Tips to Prevent Memory Card Problems appeared first on Digital Photography School. It was authored by Megan Kennedy.

Memory cards are a crucial component of digital photography, yet they’re more prone to problems than we like to admit. If you don’t take proper care of your SD, CF, and XQD cards, you might end up with a card failure on the job – or, even worse, corrupted files that you can never get back.

So how do you prevent memory card issues? In this article, I share everything you need to know, including:

• When to format your memory cards
• How many images to shoot before switching to a new card
• How to prevent corruption when ejecting a card
• Much more!

So if you’re ready to put a stop to memory card errors once and for all, then let’s dive right in, starting with the basics:

What is a memory card?

A memory card is a storage accessory that records the image data created by digital cameras. Every camera contains some type of memory card, which slots right into your camera and saves each photo on the fly.

Thanks to memory cards, you don’t need to carry a laptop into the field; instead, you can let the memory cards (temporarily) store your images until you can access your computer or external drive.

At the end of each shoot, you can remove the memory card from your camera, connect it to your computer, and transfer the images for viewing, editing, and storage.

All memory cards are designed for the same broad purpose – saving data – but there are many different memory cards built to suit specific needs, camera models, and budgets. Not all cameras use the same memory cards, and not all memory cards are equally durable, fast, or reliable.

And while memory cards are an incredible piece of technology, they do require care. Below, I offer my top eight tips to keep your cards in tip-top shape:

1. Purchase quality cards

Uh, oh…the result of using a cheap memory card. Unfortunately, this image couldn’t be saved.

As I explained above, there are several types of memory cards, each with different specifications and levels of quality. And while it can be tempting to purchase a few cheap cards and call it a day – especially in light of your expensive camera and lens purchases – it’s important that you select your memory cards thoughtfully.

Unfortunately, cheap memory cards can compromise your photos. The cheaper the card, the more likely it is to fail during a shoot or while transferring images (both of which can lead to file corruption). Plus, cheap cards tend to be less durable, which means they’ll struggle to function when dropped in water, rained on, or otherwise impacted.

Bottom line: Purchasing a good memory card is key to safeguarding your images. While quality cards may be more expensive, they’re undoubtedly worth the extra cost. Brands like SanDisk and Lexar are go-to options for professional photographers. Steer away from deals that look too good to be true, avoid purchasing used cards, and avoid obscure brands with poor reviews.

Also, if your memory card does start to have problems, remove it from your camera immediately and put in a more reliable card. Shooting with an already-sketchy card – even if the issue seems to have temporarily disappeared – is a recipe for disaster!

2. Use a good card reader

Memory cards offer different specifications and quality levels. The same is true of card readers, devices designed to transfer files from a memory card over to a computer.

While card readers seem like pretty straightforward equipment, you don’t want to run the risk of corrupting files as you upload them to the computer, which can happen and may result in the loss of thousands of photos.

So invest in a good memory card reader. It’ll save a lot of stress down the road. Ensure the reader you purchase has plenty of good reviews, and – as with memory cards – swap it out at the first sign of trouble. It’s not worth risking your precious files.

3. Correctly eject your memory card from the computer

Do you ever remove your memory card from the computer without ejecting it? If the answer is “Yes,” then you’re not alone – but I’d encourage you to change your approach.

Removing your card without ejection is generally harmless, which is why many folks do it without issue. But in certain cases, not ejecting your card can result in corrupted data or even card failure, putting your next shoot at risk (and potentially costing you lots of money, too).

So to prevent memory card problems, always eject your card through the computer before removing it. (There are a few ways you can do this, and as far as I’m aware, they’re all equally effective.)

Also, if you try to eject the card but your computer gives you the “This memory card is still in use” dialog box, then do not attempt to remove the card anyway. Make sure all relevant operations are complete, then eject the card a second time.

4. Turn your camera off before removing your memory card

Here’s another simple way to minimize memory card problems:

Turn off your camera before removing the card. (And make sure your LCD screen goes black; if you’ve just taken a burst of photos, the camera will continue saving images, even once the switch is set to “Off.” You don’t want to remove the card until after this writing process is complete.) Removing your memory card with the camera still on is an easy way to interrupt the writing process and corrupt your image files.

Additionally, avoid shooting while your camera battery is low. If your camera runs out of power while reading/writing to the card, it can be detrimental to all the data on the card.

5. Don’t completely fill your card with images

It sounds counterintuitive, I know. After all, if you have the space, you should fill up the card…right?

Not quite. You see, just like a maxed-out hard drive, a card nearing capacity underperforms, and this can compromise your images.

To avoid this issue, invest in a large memory card, keep an eye on your image count, don’t fill your card over 85-90% capacity, and always have a spare card at the ready. (At the same time, don’t use a card that’s too large; it’s better to avoid putting all your eggs in one basket.)

6. Don’t switch devices without formatting

Switching your memory cards from camera to camera risks compatibility issues that can corrupt the data of the whole card.

If you need to change equipment, either format the card before use or grab a new card. So if your main camera fails and you need to switch to your second body, don’t just take the card out of your first camera and stick it in; instead, safely store the in-use card, then pop a freshly formatted card in the second camera.

7. Don’t delete files in-camera

I get it: If you take a photograph you don’t like, it’s tempting to erase the image right then and there. For some photographers, it’s part of a memory-saving strategy. However, individually deleting photographs in-camera can lead to corrupted files, so I’d encourage you to avoid it whenever possible.

Deleting images can also soak up valuable shooting time (and you may miss various opportunities because your eyes are on your camera LCD screen). Plus, LCD previews aren’t easy to evaluate. You don’t want to delete an image only to later realize it was an absolute gem!

So don’t do any in-camera deleting. If you want to delete content, wait until you’ve safely uploaded the files to your computer.

8. Format your memory card each time you use it

My final method of avoiding memory-card issues is a big one:

Once you’ve transferred a card’s files to your computer, stick it straight back into your camera and format it. (You can find the “Format” option in your camera’s menu.) Formatting a card will completely clear it and will prepare it to store new image files. If you go too long without formatting a card, the data will start to get scrambled, you’ll start to see various memory card errors, and you’ll end up with all sorts of problems.

So format, format, format!

Note: While it’s possible to format a card via your computer, this isn’t recommended. It’s always best to format the card using your camera.

How to prevent memory card issues: final words

Memory cards are amazing little pieces of technology. And while they can have problems, a few simple steps will keep them functioning at peak performance, allowing you to focus your attention on taking photos.

So remember the tips I’ve shared. Incorporate them into your workflow. And have fun shooting!

Do you have any other tips for minimizing memory card problems? Have you ever lost files due to a corrupted card? Share your tips and stories in the comments below!

The post 8 Tips to Prevent Memory Card Problems appeared first on Digital Photography School. It was authored by Megan Kennedy.

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