The 2013 Longhorn Open (annual racquetball tournament at the University of Texas) featured the #1 ranked women’s racquetball player in the world, Paola Longoria. Learn how to consistently hit shots like the one above and you’re one step closer to a #1 ranking. I decided to take a few pictures on the final day of the tournament — just to see how they’d turn out. I shot in manual mode and played around with the balance between aperture (depth of field), shutter speed (freezing the players and the ball), and high ISO (noise considerations). The lighting was actually pretty good in most of the courts, allowing “reasonable” settings. Most of the courts didn’t have any viewing area except from above. That isn’t so great for pictures but I was just experimenting anyway. Focusing was another challenge and I frankly never figured out a good strategy.
It’s only the second year we’ve taken this photo, but we’re calling it a tradition anyway. We once again piled wrapping paper on ourselves and snapped a family photo. No one is posed — “sit down, grab some wrapping paper, and smile at the camera”. I used f/8 to get sufficient(ish) depth of field and the lighting is simply an on-camera flash bounced up and behind the camera. I have a wireless remote but used the self-timer for this shot (I had forgotten to get the remote out and everyone was just ready to get the pic done and go make breakfast). I ended up having to photoshop a new version of myself and one of my daughters into the shot — that’s standard operating procedure in our family shots it seems.
For the second year in a row I’ve taken pictures for my daughters’ volleyball team. The individual shots were pretty much a piece of cake and they turned out great. The set up for those involved spreading a neutral-colored paint tarp on the floor to eliminate the red glow on the girls’ skin, standing the girls on a stool, setting up one speedlight (triggered with Elinchrom Skyports) shooting through a white umbrella for the key light, a strobe flashing the gym behind the girls to add light to the background, posing them with a volleyball, and firing away. These went very quickly as there was no change in setup between each girl. The gym is horrible for pictures but was workable for these individual shots.
We also goofed with some dramatic shots with the girls looking serious and got the shot above. The main light is the same speedlight-thru-umbrella held nearly on axis with the camera (slightly toward high camera left). The back light is simply a speedlight plopped on the floor. These took longer to get the girls set and posed, and as you see above, we never got the posing or the spacing quite right. We didn’t have all day so I had to take what I could get as they say. There are lots of photographic flaws but the girls and parents are plenty happy with the pic, which is what really counts.
I did some basic processing in Lightroom then headed to Photoshop to grunge out and darken the background (mostly with curves), do some very minor edits and retouching, noise reduction, and add the text.
For several weeks now we’ve had a road runner showing up on our back porch. The first few times it showed up it went around finding dried cicada shells (or whatever they are) and eating something out of them. There aren’t any more shells around that I have seen but the road runner still shows up here and there. Today it walked right up to the back door and peered in. We have two sets of sliding doors in the back and as the road runner walked between them (out of view) I grabbed the camera off the table — I had left it there after snapping some pics of my daughter yesterday. I managed to get in position before the road runner was back in view and when it showed up at the other door I was able to take some pictures without scaring it off.
The backlight was really bad and the reflections on the glass caused some greenish weirdness but if you’ve ever been around road runners you know they’re very skittish and you don’t get them looking in your back door every day. I was grateful to snag a few pics regardless of the quality.
Ever since taking Raul Touzon’s workshop I almost never shoot using auto white balance (AWB). The camera rarely gets the white balance correct when it guesses, and the photos from a single shoot are often inconsistent in color when they are shot with AWB. If they are going to be “wrong” when AWB is used, you might as well guess wrong yourself by choosing one of the manual white balance modes — at least the images will be consistent with each other.
Ideally one would shoot an image of a gray card (or a similar type of product) which has a known color and use it either to set a custom white balance in the camera or to sample it in software to do an automatic adjustment. If I don’t use a gray card, I pick a WB mode (my default is “daylight”) and shoot everything with that. In Lightroom I either sample a white point to fix up the WB or I adjust it to taste (I might even want to make it wacky here and there).
The shot above was snapped in the kitchen while I was testing my newly-repaired camper. Canon had changed all my default settings of course and I don’t even remember what WB was set in the camera. No matter, I simply used the WB eye dropper to sample one of the white polka dots on my daughter’s dress. The image above is the result — straight out of the camera except for the white balance.
Just like the kite photo I recently posted, this image is out of the ordinary for me — I don’t shoot many abstract or fine art types of photos. During the week I picked up my Canon 5D mkii from being repaired [related sad story below] and yesterday got a chance to fully check it out. I popped my 50mm f/1.4 lens on the body and started plinking. As I sat at our little breakfast table I opened the lens up completely and started shooting through the rails of one of the chair backs. There were a lot of colorful things in the background which were nicely blurred by the wide aperture and close focus distance. I then started shooting while moving the camera up and down, resulting in the image above. I rather like it. The image is straight out of the camera except for cropping.
So the sad story is this: This year I decided to try shooting some pictures at a fireworks show. I’d never done it — I’d rather concentrate on *watching* the fireworks and it just seemed like a headache overall. Before the fireworks we attended a BBQ dinner catered by the Salt Lick and as dusk fell I hauled out the camera and tripod and began getting set up. I put my wireless remote into the cameras hot shoe, put the camera on the tripod, then proceeded to adjust the length of the tripod legs. I heard a loud crash — my 5D mkii hitting the pavement from a height of about 5 feet. Looking on the bright side, the camera had turned over on the way down and landed flat on the wireless remote which was in many pieces all around us. That definitely spared me from the damage I could have had. The camera “worked” here and there but mostly gave an error. It would even randomly try to focus the lens — when the power switch was off! Anyway…a couple hundred dollars later I have my camera back refurbished and sporting a new shutter box and mirror assembly. I managed to put all the remote pieces together but it was dead as a doornail.
It’s pouring rain again tonight. Lots of lightning and thunder too…awesome. Last night after the rain I noticed some clouds to the east so I shot about 20 handheld frames along the horizon. The above image was cropped from the resulting stitched panorama (probably about 10 frames worth). I did some basic contrast adjustments in Photoshop after the stitch then went back into Lightroom. I’d recently seen a very cool cloud/lightning image done in black and white and decided to go that route with this one. I used the channel mixer in Lightroom to adjust the image to taste. In very rough terms that meant darkening the blues and brightening the reds.
IMO an important part of growing up is learning how to work. I’ll say the caveats up front: We’re not slave drivers, we have a lot of fun too, blah, blah, blah. We’ve finally had our burn ban lifted since we’ve been receiving some rain lately. Our burn pile has been growing, and growing, and growing — especially since it includes an old carpenter ant tunneled playscape. The boys have been anxious to get the fire going (all boys are pyros, no?) so I put off the rest of my to-do list and spent the afternoon burning. Once it was stoked we really couldn’t add wood very fast (at least not if we wanted to keep it under control) so the boys played in the wood pile and one even built a mini fort inside the pile. I reminded him to watch for snakes and he just said, “All I see is sticks”. After a long pause I heard him mutter, “But I guess the snakes match the sticks…”.
I had my daughter bring out my Canon 50D so I could grab some pics. I had only snapped a couple and it started to rain so that camera got put away. I would have liked to switch lenses as the telephoto lens compressed the scene a bit much for my liking, but the weather didn’t cooperate. [It was a typically unpredictable Texas weather day: hot and sunny in the morning, thunderstorms whipped up and it poured, went back to bright and sunny (and humid), and as I write I hear thunder again] I did get out my Canon S90 later and got a couple more pictures. The top photo was the 50D, bottom was the S90.
My son spotted these little nine-banded armadillos in our back yard last night so we walked out and took some pictures. Armadillos don’t spook all that easily — maybe because they have their face buried in the dirt half the time (notice the dirty snout) — so we walked up pretty close and they worked their way toward us. I squatted down to take pictures and after a few seconds one of them stopped rooting in the dirt and walked right over to me like a dog who wanted to be scratched — stopped about a foot and a half from me. I had a “hey this is cool” thought but immediately switched to “I don’t want some wild animal messing with my kids”. I decided to pick it up by the shell like my older son used to do but as soon as I moved he bounded off (Armadillos do a kind of bounding hop when they want to move fast).
On our land there’s plenty of wild landscape for armadillos to root around in but many people find these to be quite a nuisance. They’re not quite as destructive as a wild hog but armadillos can destroy landscape beds in a hurry. Sometimes an armadillo takes a liking to particular flower beds and revisits them night after night until the homeowner has had enough and…well, never mind 🙂
I’ve been very delinquent in taking the picture above — my youngest girls in their matching winter dresses. Between the baby’s sleeping schedule, weather, and that general “don’t feel like doing it now” feeling that we all get (wasn’t just me) we haven’t gotten these done. I took the day off today and I made it a definite to-do item for this morning when our infant (“Dolly” as we often call her) is usually happiest. We ended up pushing it a little — Dolly was ready for bed by the time we were done.
The usual caveats apply: I don’t like this or that, I’m not happy with the light (we waited too late in the morning), I don’t like the setting/background, and I’d change/fix/tweak many things. There wasn’t so much posing as there was “Hold her and look at the camera quick before she gets fussy”. However, my wife says: “I don’t care about the professional photo — I just want a picture of them together with their dresses so get it done”. It’s hard for me not to try to make everything as professional looking as I can, however meager my attempts may be.
Exposure was a bit tricky. The dark skin, light skin combination was challenging to balance (always takes some effort in our family pictures since we have four races and a wide range of skin tones). I chose to use no additional lighting — we just wanted to get this done and not fiddle with triggers, umbrella, and adjusting flash power. The sun was in and out of the clouds which affected the exposure dramatically. Ultimately I determined my exposure by metering Dolly’s light skin to avoid blowing it out (I shot in manual mode). For my taste we couldn’t go any brighter than you see above and we got sufficient exposure in the dark skin so we could make do. There were of course the usual difficulties in getting two children to look good at the same time. The littlest didn’t cooperate very well — she wasn’t a complete crank but wasn’t her usually smily self. In the end I ended up swapping a head to get them both looking good. I lightened the dark skin a bit more and tweaked the image with several curves, exposure, and saturation adjustment layers.
I wish I had a photograph with some deep meaning behind it (maybe I’ll come up with one tomorrow), but all I have is this shot taken two years ago. My wife was out of town over the July 4th holiday so I sent this to her. This was my 2nd or 3rd try — kind of challenging to write backwards neatly in the air.
Hope all my U.S. friends have a great holiday!
I’m sticking with the pool theme for this post. We recently were invited to swim at a friend’s pool (cheers all around from the kids) and I decided to lug the camera along to get some pictures. It was 5pm and the sun was high in the sky. Fortunately when the kids were on the diving board the sun was slightly behind — meaning that if I could manage to get *enough* light reflected off the kids’ faces it would at least be *even-ish* light. Coming up with that light — while saving the background somewhat — was the first challenge then.
The next challenge was the huge dynamic range in the skin tones. In the song “Jesus Loves The Little Children” the line goes “Red and yellow, black and white, they are precious in His sight”. We didn’t have “yellow” but we had red, black, and white figuratively speaking. If you light for the lightest skin the darkest skin might be way too underexposed. Expose for the darkest skin and the lightest gets completely blown out in the bright sunlight. The challenge was to maintain the best balance in the situation — via my camera and flash settings.
My gear: Canon 5D mkii, Canon 70-200mm f/2.8 L, and Canon 580exii flash gel’ed with a 1/4 CTO. I started out using shutter speeds of 1/200 to 1/250s to stay within the sync speed of the flash. This was reasonable for much of the action and gave me quite a bit of flash power, which I needed when shooting from these distances (50’+). Remember that the light follows the inverse square law — double the distance and you are only left with 1/4 the light. Later I switched to using high-speed sync which allowed shutter speeds up to 1/500s to freeze the action but reduces the power that the flash can put out. Both methods were effective in their own way. With the 5D mkii I also had ISO as a lever. I didn’t want to go too high with it (but I did use up to 3200 some of the time). A higher ISO also reduces the need for so much flash power but you pay in noise. Note that sometimes when using flash in bright light you *can’t* go very high with the ISO because the flash sync speed is a “long” shutter speed (relative to the overall brightness in the scene) and is allowing a lot of light to hit the sensor. In summary, I can’t tell you what the “best” settings are for a situation you might be shooting, but hopefully I’ve given you enough info to jump start your thoughts and get you experimenting with it. Keep in mind that in the evening the light changes rapidly so you’ll have to adjust for that as well.
In Lightroom I still had to use an adjustment brush to even out the exposure of the faces a bit (in most pictures). All in all, I was very happy with the way they turned out. The important parts of the backgrounds were preserved and the kids are exposed well enough. There’s always plenty of room for improvement though.
My son leaping out of the water pretending to be a monster. I love how the motion makes his hands look like claws. And the mask? Well, nothing needs to be said.
It was in the middle of a bright sunny afternoon — terrible time for photographs. I used a flash so that I could dial down the ambient a bit. We took several shots like this, using a fast-ish shutter speed but not so fast that it froze all motion. In post I processed things pretty heavily in Lightroom — lots of contrast and clarity.
On a still day Austin’s Lady Bird Lake (still Town Lake to me) is a great spot to shoot the growing skyline (note yet another construction crane gracing the view) and get great reflections off the water. I met an out-of-town friend at Lou Neff Point this morning and was surprised to find that the lake was completely overgrown with a plant called Eurasian Water Milfoil. In hindsight I might have expected it as we had seen a lot of milfoil while kayaking on the lake recently but even then I wouldn’t have expected so much of it on the surface. Adding to the disappointment was that the forecast of “some clouds in the morning” wasn’t to be (until well after sunrise anyway).
Well, we were there and figured we might as well shoot some “stuff”. We fought off the mosquitos and fired away. I decided to shoot a panorama in order to increase the resolution a bit. I shot 3 frames — each bracketed +/-1 stop — and used Nik HDR Efex Pro to create very subtle (IMO) HDR images. Photoshop stitched them together nicely and I used several curves and saturation adjustment layers to tweak the final image.
As much as I don’t want to post my mistakes — especially the really stupid ones — they can be helpful to look back on and point out to others. It depends on the natural light situation of course, but in a portrait like the one above I often use a single strobe through, or reflected from, an umbrella placed above-camera. This may be to provide a catchlight in the eyes, a bit of fill in the eye sockets, some overall light, or all of the above. I occasionally use a bare strobe (well, sometimes with a gel but no other modifiers) to give a hint of a rim light on the shoulders to help separate the subjects from the background. My daughter typically holds this in position behind the subjects when I use it. During a recent family portrait shoot on the grounds of the Texas Capitol I pulled a real boneheaded move with this light.
Just before we shot the pose above (which fortunately wasn’t the “preferred” pose) I got my rim light strobe out of the bag and quickly tested that everything was working (flash on, remote trigger operational, my guesstimated manual power set). All was well so I dropped it in the grass and we set to arranging people and reminding the kids not to watch the squirrels running around. We shot a bunch of frames to make sure we caught everyone looking their best-ish and moved on to our next pose. I had decided not to use the rim light because the separation from the background seemed fine.
To my horror, when I loaded the pics up on the computer at home, I noticed that all the shots of this pose had a bright light in the grass and two of the subjects were lit like they were being blasted by the sun. Well, they *were* being blasted — by my portable sun as you see in the picture below. I had left it turned on and the trigger active…probably at 1/4 power. Oops. I couldn’t believe I had not noticed this while chimping my test shots. My (young) daughters didn’t point it out — one didn’t even notice and the other assumed that I intended to use the flash that way.
Needless to say it was a big mistake. While this was not the ideal pose we wanted to keep one from this set. I was fortunate enough to have a reasonable fixable frame in the bunch so I went to work. Switched a head, toned down some of the effects from the misplaced strobe, and made the other usual edits. I believe the photo *is* completely salvageable given enough effort and time and I may work on it for practice in the future.
Lesson learned. Chimp and look around the *whole* frame — Check everything…check again.
Many of my local photo friends will understand the reference in the title. If you don’t…then never mind 🙂 We celebrated another birthday today and my son asked me when we were going to take the “eight picture”. I didn’t know what he was talking about until he reminded me that we had taken a picture of him holding up fingers representing his age each of his last three birthdays. I’m glad he remembered. We spent the day with immediate and extended family playing games, opening presents, eating cake and ice cream, and jumping on the trampoline with the sprinkler.
Top photo: Manual mode, on-camera flash bounced off the porch behind me for fill, basic edits in Lightroom. It was taken early in the morning when the light was really soft. I took two versions of this photo — one with the face in focus, one with the hands in focus (this one is our traditional picture). Of course we want photos with his face in focus but we take lots of other pictures on the kids’ birthdays.
Bottom photos: Manual mode, on-camera flash in high-speed sync mode, with 1/4 CTO gel, pointed directly at the kids, basic edits in Lightroom. Taken in the middle of the afternoon when the light was at its worst. I used the flash in order to even it out a little bit. I don’t (totally) care for the look — maybe could go to 1/2 or 3/4 CTO gel and/or dial down the flash a bit — but it’s better than not using the flash at all IMO (I did some non-flash shots too). I could play with the white balance, etc. too and try to come up with something better but I’ve captured what I want…
Lady Bird Lake in downtown Austin, TX (formerly Town Lake, which is still how I think of it) plays host to some serious rowing and for a good part of the year several parts of the lake have lanes set up for practice and competition. I don’t know if this group was part of a private club or part of the University of Texas team but I managed to catch a shot as they rowed away from the dock to embark on a practice run. It’s really quite amazing how synchronized the team members are with each other.
Town Lake is also a favorite recreation spot for canoes, kayaks, and the latest craze, SUPs — stand-up paddle boards. My family and I took advantage of the beautiful day today and kayaked on the lake. What a great way to get a couple hours of exercise and relaxation at the same time. Kudos to the Texas Rowing Center who only charged us for a single hour of rental. As always, we tried to pay what we fairly owed but they said, “It’s on us”.
Any opinions on how the photo above should be framed/cropped? They’re heading out of the left side of the frame…but backwards. I like this centered-ish framing the best (I tried several) although I don’t think there’s any right or wrong answer.
Practiced capturing some motion “stuff” during a recent-ish photowalk on the University of Texas campus. I think the red blur and subtle wheel-spinning pattern from the passing SUV adds to the photo. To shoot this I set my aperture to f/22, pre-focused on the far lane and switched to manual focus, used some test shots to pick a shutter speed, and then panned with the next bus which came by.
This little armadillo lives in a hole next to our driveway. Technically it probably lives in a network of holes and tunnels near our house. We rarely see him but one day as we were packing up the car he just sauntered on by as if we weren’t even there. I decided to post these shots when I thought about the fact that many around the country (and world) never get to see an armadillo. We most often see them as road kill but occasionally get the pleasure of watching a live one. My son and his friends used to catch them — it’s not really that hard. You just need to be sure that you grab them in the right spot because they have some serious claws 🙂
This post could also be titled “What Are You Paying A Portrait Photographer For?”. Important caveat: the comments below have nothing to do with the family in the portrait. Their portrait just provides a convenient moment to bring up the subject.
There’s great debate in the world of photography regarding business and pricing models. Some well-known photographers go so far as to denigrate other photographers because they price things cheaply, sell CDs with all the images, charge only $1000 to shoot a wedding and reception, etc. I’m in the camp of “I’ll do things my way but I couldn’t care less how someone else does it”. If someone wants to charge $50 for a photo shoot and a CD of images, so what? If someone wants to let a publication use an image in exchange for “exposure”, so what? I’m amazed when photographers actually get personally offended at other photographers for this — it’s a free world and everyone is free to give away whatever they want. I’m not going to shoot weddings for $1000 or hand out digital images on the cheap (except for photo donations to certain organizations like this — shameless plug — I donated the Austin skyline image at the top of the American Red Cross of Central Texas page and images for a couple other sites) but I don’t care if anyone else does. If I cannot add enough value to make it worth purchasing my services — taking photos, providing prints, etc. — then I don’t deserve the business. If Joe Blow undersells me by some huge margin and the client is happy with the result, that’s my fault for not clearly differentiating myself (and I’m apparently not as good as I might think!). If the client isn’t happy with Joe Blow…it’s either my fault for not convincing them my services are worth it or theirs for being duped by the “too good to be true” offer. Also, not every client is willing to pay for the same level of service and/or quality — that’s true for any type of product. That’s why there are both Toyota Corollas and BMW 750s available on the auto market for example.
Along those lines, a common remark is “I can’t believe I have to pay so much for a print!”. Often the comment includes “…when I can just go to Walgreens and pay $XX”. Ignoring the issue of the poor print/color quality you may get at a Walgreens, I’ll tell you what went into producing the family portrait above in hopes of giving some understanding of why you might pay so much for a “print”. If you’re not convinced, that’s fine — not everyone cares about the same level of quality or detail and it’s completely within the rights of every consumer (of any product) to choose the product that suits them. It’s also the right of a photographer to specify “You aren’t printing anything with my name on it at a Walgreens”.
The short answer: You’re not just paying for a print (ie just a piece of paper). You’re paying for equipment, art/creativity, editing, making you look your best, years of skill building and practice, etc. After all, you’re hiring a photographer because you know you can’t just hand your point-and-shoot to someone on the street and get the family portrait you are after. You are also (hopefully) hiring a photographer because he *knows* how to go make that picture you want and doesn’t just press the shutter over and over in the hope of accidentally getting a good shot. I think that people accept this more when it comes to most other forms of art or craft. If you commissioned an artist to create an oil painting to hang over your mantle and he charged $500, would the first thing out of your mouth be “But you only had to pay $50 for the canvas and paint!”?
So, what went into this photo? Here’s a partial list:
(1) Picking a decent time and location. Upon arrival, quickly picking a specific spot to provide good light, a good background without distracting elements (subjective of course). Or…scout a location ahead of time. The location for the above portrait is the Texas Capitol grounds. The time was chosen in an attempt to balance getting a family out the door early enough for good light and cooler temperatures, yet late enough to not be miserable. There was a partial gamble here — we went a little later than I’d like gambling that the partially cloudy skies would block the sun often enough. That gamble paid off.
(2) Pick the right lens. Long/wide/normal…this has a big effect on the final image.
(3) Determine aperture. I wanted to go as wide open as possible for maximum blur in the background. However, in a family portrait in particular, depth of field really comes into play. Even if you calculate the “right” DOF you have to be careful where you focus. For example, if the people in the portrait are 2 feet deep and you use an aperture which gives you a total DOF of about 2 feet, you had probably better not focus on a face in the front of your group. If you do, some of your in-focus plane will be in front of the group while the rear of the group will start to go out of focus. I’m not explaining that well but suffice it to say that it matters. There’s always the option to stop way down and get a bunch of the background in focus to be safe but that’s not (generally) what you want. For this photo I varied position and focal length a little bit but was generally working with about a 3′ depth of field at f/4.
(4) Determine optimal exposure around the chosen aperture — shutter, ISO. If using a strobe, be sure the shutter is within the maximum sync speed (Don’t know what that is? That’s why you pay a photographer.). Set up a strobe — triggered remotely — and umbrella with enough light to provide good fill yet not so much light that the image screams “FLASH WAS USED!”. Yes, flash was used in this image. Direct assistant (daughter) to position the light certain ways. Shoot whenever the sun is behind the clouds. I set my exposure for this case and timed the shooting accordingly.
(5) Arrange the family reasonably — lots of options and opinions here but time is precious (see next item). I could name 5 immediate things I’d change about the posing in this photo but we were trying to get something quick. Pay particular attention to dad being in a masculine pose of some sort. You don’t know the difference between masculine and feminine poses? That’s another reason you pay a photographer. Have you ever seen a family photo where the dad has his knees turned together and his hands folded gently on his lap? It doesn’t usually look masculine. Note that it has nothing to do with “macho”, but most dads don’t want to look like a total sissy. Shoot the family arrangement with enough margin in the photo for various cropping options (uncropped photo above).
(6) Do all the above before the kids have the meltdown that the mom warns you about (picture-taking is pure boredom for kids and they may not last long). That’s why the background may not be perfect, light may not be perfect, and posing may not be perfect — you need to get *something* before you hit the point where you can’t get *anything*.
That’s the picture “taking” part. Then you have the “picking” part:
(7) Import your photos to your favorite software. Go through them one-by-one with a semi-critical eye to weed out the absolute rejects and pick the possible candidates for editing.
(8) Go through the pictures with a MORE critical eye. Smiles, eyes, hair, positions…which are the keepers?
Then come the edits. The saying is “Get it right in the camera” but some realities come into play. Pick the best photographer you know and ask them if they use many images straight out of the camera. Not a chance. In our case, remember all that hustling to get *something* before the kids melt down? We got our exposure right in the camera but I didn’t try to perfect the posing, didn’t take time to pick up every distracting leaf/branch. I left some background elements in that I knew I could reasonable fix later. And so on…
(9) General edits…tweaks to white balance, contrast, etc. Includes making use of your experience regarding how a photo will print in addition to what it looks like on your screen.
(10) Switch mom’s head to get her nice smile in the same image as her kids’ nice smiles (resize it, rotate it, mask it in and make it look like it belongs). Fix gaps in mom’s hair so it’s as nice as the head we replaced (thanks to Scott Kelby for excellent tips on how to replace/add whole sections of hair — worked like a charm).
(11) Replace one child’s face. Same smile as the one we started with but in the original they were moving and therefore blurry. Fortunately we had an exact match (size, position, and smile) in another frame which was sharp.
(12) Remove a scab, some drool, and stray hairs. Tone down a few specular highlights on the lips. Remove dead leaves in the grass. Replace some background elements with trees and vegetation. I even added a technical flaw (on purpose) to make the photo more aesthetically pleasing. I won’t point it out but some clever person will probably notice it.
(13) Touch up bags under eyes…hey, the kids got up really early for this. I don’t like to go to an extreme but I at least tone them down. Some photos might require significant skin touch up (this photo didn’t need any other than the bit under the eyes).
(14) More general stuff…vignette, selective sharpening, local exposure and contrast tweaks to taste.
All told — hours worth of work. Although I have MANY more skills to learn, what skills I do possess so far came not only from work on this photo, but hours worth of practice in weeks, months, and years past to learn the skills needed to set up, take, and edit the photo. Maybe a few things are overkill and just part of my perfectionist bent (I see plenty more that I would tweak even). However, I don’t want mom to walk by the mantle for years and think “I wish that tuft of hair wasn’t hanging down over my forehead” or dad to think “I wish so and so would have held still so they would be in focus” and so on.
While we’ve gotten much more rain this year than in past years, we could use more. I’d love to see the sky go black, hear some good thunder, and feel the rain coming down again. During one of our spring rains my daughter and I had lunch at the Whole Foods mother ship (as we sometimes call the headquarters) and walked around downtown Austin in the rain. I went monochrome, super contrasty, and dark/moody with this shot of my daughter walking along Lamar Blvd. For most of our walk I had to keep the camera put away — too much rain — but we had a lull here.
Many have given their lives for our freedoms…I’m grateful. War memorial at DKR Texas Memorial Stadium at the University of Texas.
Most of our family’s favorite pictures are candids like these. While at the dinner table our daughter was being cute as usual and the 50D was just sitting out from having been used for these pictures of a fawn. My 70-200mm lens was attached and while I was tempted to open all the way up to f/2.8 (love the bokeh) I stopped down to f/4.5 to keep a little more depth of field in the portraits. The toughest part, as always with a wriggling baby, was focusing on the eye and taking the shot before she moved out of the plane of focus — which was 2″ at the wide end of the lens with this body/lens combo @ f/4.5. I had mixed success but the shots we ended up with are fun. Exposure, contrast, vignette, and noise reduction in Lightroom…