5 Tips Ior Achieving Artistic Lens Flare: How To

A recent trend among many proIessional photographers is the use oI Lens Flare. Simple in
theory, it doesn`t take a lot oI advanced knowledge to add this technique to your list oI
photographic tricks. A Iew considerations will help you achieve your best Lens Flare capabilities
without breaking into a sweat.
1. Shoot into the Sun: Lens Flare is caused by strong rays oI light directly hitting your lens and
causing a slight sun burst. Capitalizing on the direction oI your light is the key to capturing Lens
Flare.

2. Think Silhouette: Place your subject in Iront oI you, with their back to the sun. Your subject
will be backlit as though you were capturing a silhouette.

3. Use Manual Mode: Your camera will expose the scene Ior the total amount oI light in the
photo. II you Iollow the camera`s metering, you will be leIt with a silhouette as it tries to
compensate Ior the amount oI light. Shooting on Manual will enable you to over-compensate Ior
the backlight, so your subject is perIectly lit - even with the over exposed background.

4. Shoot at an angle: Because you want an image with Lens Flare |and not simply over
exposure|, you need to remember one thing: Camera position to the sun. This will largely depend
on what time oI day you shoot. In the mornings or evenings, you will have an easier time oI
shooting directly into the sun. But at mid day this changes. You will need to position yourselI
Iairly low to the ground in order to shoot into the sun. Typically, 11am or 2pm is most conducive
to mid day Lens Flare.

5. Watch your focus: Your camera typically will Iocus on the object best lit in your Irame.
Shooting into the sun will make it more challenging Ior your camera to Iocus on your subject.
You may need to switch Irom auto Iocus to manual Iocus.


Pow Lo ShooL ln ulrecL SunllghL

image by
Shooting in direct sunlight can lead to images that have high contrast, blown out highlights, lens
Ilare and colors that might even look overly saturated. II you`re shooting portraits they can also
lead to the `squint Iactor`.
So what`s a photographer to do?
Here are eleven quick and simple tips at combating the problems that bright sunlight might bring
when shooting outdoors:
1. Move into the shade
Photo by neloqua
With some subjects you`ll be able to move them (and yourselI) into the shade. This is
particularly relevant with portraits where your subject is highly portable. Sometimes the simplest
solutions are best.
2. Make your own shade
II your subject is not movable (Ior example iI you`re shooting macro work with a Ilower) create
your own shade. Use your own shadow, the shadow oI someone else or bring an object with you
(like an umbrella, a reIlector or large sheet oI card) to block out the sun.
3. Use Fill in Flash
Most oI us were trained to put the sun behind you when taking a photograph so that your subject
will be well lit. Shooting into the sun may lead to lens Ilare or a dark subject - but at times it can
improve it drastically - particularly iI you use a Ilash to Iill in the shadows that are created by
doing so (learn more about using Iill Ilash).
5. Change Your Perspective
Photo by code poet
Sometimes moving your subject isn`t possible - but moving around it can give a different
impact. This might be moving to the other side of the object, shooting from directly above
or even getting down low and shooting up. Doing so will change the angle of the sun hitting
both your subject and the camera and give your image a completely different feel.
. Use a Lens Hood
SuIIering Irom lens Ilare? II your lens came with a lens hood - get it out and use it. II you don`t
have one - it`s not diIIicult to construct one out oI card - or to even use your hand to shield your
lens Irom the sun. Just make sure that your shot is Iree oI your hand or the DIY hood that you`re
using (learn more about eliminating lens Ilare).
7. Filters
Sometimes a Iilter can be handy when shooting in bright sunlight. I try to take a Polarizing Iilter
or Neutral Density (ND) Iilter with at all times. The polarizing Iilter will help cut down on
reIlections and both will cut down the light getting into your camera to let you use slower shutter
speeds and smaller apertures iI you`re looking Ior more control over these elements oI exposure.
Polarizing Iilters have the added bonus oI giving you some control over some colors -
particularly when you`ve got a blue sky in your shot (learn more about using Iilters).
8. Play with White Balance Settings
Many digital cameras come with the ability to choose diIIerent white balance settings. While you
can make adjustments later on post processing (particularly when shooting in RAW) choosing
the right setting at the time oI shooting can be worth experimenting with. I personally shoot in
RAW and do this later on my computer - but have Iriends who preIer to do it in camera.
9. Metering
Direct sunlight makes correct metering tricky. In these conditions I generally choose spot
metering mode on my DSLR and choose the main subject oI the scene that I`m photographing
(the Iocal point) to meter oII. Alternatively pick a mid-tone area to meter oII iI you want
everything to be exposed relatively well. Check your shots immediately to see iI you need to
adjust your technique (your histogram can be handy here) and iI you have the luxury oI time -
take multiple shots metering oII diIIerent parts oI the scene so that you can choose the best one
later.
10. Pick The Time of Day to Shoot
Photo by creativesam
For many oI us we won`t have the luxury oI sitting all day long waiting Ior the perIect light - but
iI you do, the time oI day can dramatically impact your shot. Dawn and Dusk are particularly
good times to shoot as the direction and color oI the light is oIten more useable than the direct
overhead light oI noon.
11. Shoot Silhouettes
II you can`t beat em join em` is a saying that could come into play here. II the bright light oI the
Sun is causing you a headache - why not use it to your advantage and make your subject into a
Silhouette against a bright background.
How to bypass tbe Portrait Mode on Your Digital Camera and Cet Creat
Portrait
by Darren Rowse

dellclous
1wlLLer
SLumbleupon
ulgg
hoLo by swanky
Should I use my cameras Portrait mode when shooting Portraits or would I be better off
manually setting my camera up?


Unless you have a high end DSLR, most digital cameras these days come with an array oI
shooting modes (including portrait mode) Ior a photographer to choose Irom when out using
their camera. These shooting modes are designed to help camera owners to quickly tell their
camera what type oI shot they are taking to give the camera a hint at what type oI eIIect you
want.
The results that your digital camera will give you in these modes is oIten quite good - however
they do take the chance to be a little creative with your photography away and iI you`re someone
wanting to improve your photography you`re less likely to learn how to use your camera
eIIectively by sticking to them.
So how do you set up your camera to get great Portrait shots without having to
use Portrait Mode?
As with almost all questions that we explore here at Digital Photography School - this one will
have a variety oI answers depending upon your photographic style, the camera that you`re using
and the type oI portraits that you`re hoping to achieve - however let me share a Iew starting
points that will hopeIully give you some good results so that you can then start experimenting
(note: it might be helpIul to have read my previous post on Exposure iI you`re a beginner -
hopeIully this will help you get some oI the concepts I`m explaining below a little quicker).
Switch to Aperture Priority Mode
hoLo by !ulcy Carollna
When I`m photographing portraits I generally switch my camera away Irom any oI the Auto
modes into Aperture Priority Mode. This enables the photographer to choose the aperture that
they want to shoot at while still allowing the camera to make decisions about shutter speed (to
ensure well exposed images). II you`re a more experienced photographer you might want to try
out Iull manual mode - but Aperture Priority mode will probably do Ior most oI us.
Choose a Large Aperture for Nice Blurry Backgrounds
The actual aperture setting that you choose when in Aperture Priority Mode will vary Irom
situation to situation and between camera/lens setups - but in most cases you`ll probably want to
start with a Iairly large aperture as this will decrease the depth oI Iield in your shots (this is what
portrait mode generally does). This will help to ensure you have a nice blurry background. The
beauty oI this type oI setting is that it leaves your subject as the only element in Iocus -
highlighting them as the main Iocal point and removing any other distracting elements (read
more on using aperture to get blurry background).
Keep in mind that iI you have a very Iast lens that choosing the maximum aperture available can
decrease the depth oI Iield to a point where some parts oI the Iace oI your subject are in Iocus
while others are not. Also the very maximum aperture might mean you are not shooting in your
lenses sweet spot. Pull it back a stop or two and you might get a slightly sharper image - the key
is to do some experimenting iI you have the time to do so.

Select a Low ISO for Smooth Shots
The ISO setting that you use will vary depending upon the lighting situation that you`re Iaced
with - but in most cases you`ll want to decrease the amount oI grain or noise in your shot by
selecting a low ISO (I try to stick to the 100-200 range). The main thing to watch when selecting
an ISO setting is what impact it has on your shutter speed. Sometimes choosing a very low ISO
will mean your shutter speed is just too slow Ior sharp images (I`ll talk about this below). II the
shutter speed is too slow at the ISO you`ve selected you`ll either need a larger Aperture or a
higher ISO.
Shutter Speed
hoLo by sLoneLh
II you`re shooting in Aperture Priority mode as we`re suggesting above, the shutter speed will be
selected by the camera automatically once you`ve selected the aperture and ISO settings that you
want. However - iI you choose to shoot in Iull manual mode you`ll need to pay attention to
shutter speed. Because your subject is a moving one (even iI they are trying to stay still) you`ll
probably want to keep your shutter speed at least to 1/60 second or Iaster (1/125 is probably
better, especially iI you`re not using a tripod).
White Balance
The white balance that you will need to select when taking portraits will again vary upon the
lighting conditions that you`re shooting in. Learn more about White Balance.
Focussing Mode
Many digital cameras allow the photographer to choose between a number oI Iocusing modes. At
one end oI the spectrum the Auto Focussing` setting on most cameras will use multiple
Iocussing points to determine where to Iocus. At the other end oI things is a manual Iocussing
mode where the photographer has complete control. In the middle is oIten the option to Iocus the
camera on a single point in the Irame.
While the multi point AF setting will generally get things pretty right in most normal shooting
conditions, in some situations it is helpIul to be able to use either manual Iocusing or the single
Iocussing point options (particularly in lower light). I personally preIer the single point setting as
it allows me to pinpoint the exact part oI the Iace that I want in Iocus (almost always the eyes).
Metering Modes
In a similar way, many cameras allow a number oI diIIerent metering modes. Once again, on
many cameras this ranges Irom a multi point system where the whole Irame is taken into
consideration when working out exposure levels through to a single point metering system (spot
metering) where the photographer can pin point one small part oI the image that they want the
exposure to be base upon. Again, I oIten choose a spot metering mode when shooting portraits -
particularly when the subject is backlit or where there are bright or dark parts oI the image that
could skew the results.
Image by T.MoE
Photographs, by deIinition, capture and immortalize a small slice oI liIe. There is little Ior the
viewer to inIer what happens beIore or aIter that moment. However, there are images that need to
communicate motion. For example, you may want to capture a dog running, a train barreling
down the tracks, or trees that are blowing in the wind. Each oI these scenes can come alive
within your photographs iI you learn how to convey motion properly.
Today, I`ll describe how you can use diIIerent shutter speeds and panning to capture motion in
your photography. I`ll also explain a potential issue you might experience along with tips to
resolve it.
#easons To Capture Motion
Beginning photographers have likely seen captivating photographs that capture motion which
they`d like to duplicate. There are several ways to accomplish this and each has a slightly
diIIerent goal. Sometimes, there is a need to blur certain elements in the image while Iocusing
sharply on a Iew subjects in the Ioreground. Other times, you may want to Ireeze or blur
everything. The direction you take depends upon your objective Ior your photograph.
A lot oI photographers capture motion simply to convey that an object is moving. But, there are
other reasons to so. Movement can communicate mood. Trees rustling in the wind suggest
serenity while throngs oI people on a busy city block imply harried activity.
You can also use motion to eliminate elements in a scene that may serve as distractions to the
viewer. For example, you may want to photograph a person standing on a sidewalk corner as cars
move behind him. By blurring everything but your primary subject (i.e. the man on the corner),
you can eliminate potential distractions and Iocus the viewer`s attention.

Two Primary Techniques For Capturing Motion
The shutter speed that you use while photographing a scene plays a key role in capturing motion
in your image. The Iaster the shutter speed, the sharper the Iocus on your subject. On the other
hand, a slower shutter speed will blur a moving object. There are two main approaches (we`ll
discuss a couple oI alternatives in a moment).
1. Blurred Subject With Background In Focus

photo by paulaloe
Let`s assume you`re photographing a speeding train against a wall oI trees in the background.
You can blur the train while leaving the trees in Iocus. Doing so would instantly communicate to
the viewer that the train is moving quickly. To accomplish this, you would use a slow shutter
speed. (It`s also important to use a tripod. That way, your camera remains steady.) You`ll oIten
see this technique used in nighttime photographs with car headlights cutting through the image.

Image by Extra Medium
2. Blurred Background With Subject In Focus
This second technique keeps your photograph`s subject in sharp Iocus while the background is
blurred. Using our train example, the train would be in Iocus and the wall oI trees would be
blurred, thereby conveying the train`s movement. Similar to the Iirst method, you need to use a
slow shutter speed. However, instead oI using a tripod, you`ll be panning your camera along the
directional path oI your subject.
Panning Explained

Photo by Iabbriciuse
Most beginning photographers are trained to 'secure their cameras. That is, your camera should
remain as still as possible Ior certain types oI shots. By contrast, panning requires that you move
your camera with your subject. SpeciIically, you`ll be matching your subject`s rate oI movement
and the direction in which it is traveling.
In our train example, assume the man on the bike is moving Irom east to west. In that case, you`ll
need to pan your camera along the same direction, matching the speed oI the bike. The best
results occur when you have a clear view oI the moving object and ample room to swivel your
camera along a parallel axis to it.
Panning eIIectively can be diIIicult. You can practice and perIect your technique by
photographing athletes who move quickly (Ior example, basketball players). Try to capture their
Iacial expressions while blurring everything in the background. It will take some time to get it
right, but once you do, the technique can be a valuable addition to your repertoire.
Other Techniques To Capture Motion
Besides the two main techniques described above, you can also Ireeze the entire Iield oI vision or
blur everything. Freezing the entire scene can give your photographs a unique look, especially iI
the objects strongly imply movement. For example, consider a bird that is Ilying in Iront oI a
waterIall. Both imply motion to the viewer. Freezing the entire scene captures that motion in a
single moment and can produce a breathtaking image. You should use a shutter speed oI at least
1/1000th oI a second Ior this type oI shot.

Photo by llimllib
Blurring everything produces the best results when the scene oIIers bright, contrasting colors or
varying shades on the grayscale. In most cases, capturing motion in this manner is done purely
Ior artistic purposes.
Another eIIective method Ior capturing motion within your images is chrono photography`.

Photo by monkeyc
Using the continuous shooting Ieature on your camera, you can capture a series oI shots and join
them together in the post processing stage to create the eIIect shown above. A tripod is essential
when attempting to shoot motion using this method.

Image by Jolantis
Determine The Proper Shutter Speed
A lot oI novice photographers ask what the proper shutter speed is, given their objective Ior their
photographs. Every situation is unique. One speed doesn`t suit all circumstances. To identiIy the
right shutter speed, you`ll need to ask yourselI a Iew questions:
1. How Iast is your subject moving?
2. How much distance exists between the camera and the subject?
3. How much motion do you want your photograph to convey to the viewer?
The Iaster the shutter speed, the more Irozen and crisply-deIined your subject will be. Most
cameras today will allow you to Ireeze a scene using 1/8000th oI a second or Iaster. That being
said, the numbers only serve as a rough guideline. You`ll need to experiment with diIIerent
shutter speeds in a variety oI situations.
Potential Issue: Excess Light
When you slow your shutter speed to blur elements in your image, there`s a chance that too
much light will enter and impact your photograph. It`s a common problem, but there are a couple
oI ways to resolve it. First, check the aperture on your camera. The larger it is, the more likely
excess light will enter. Try adjusting the settings to reduce its size. Second, review the setting oI
your ISO. When it is set high, the image sensor in your camera may be overly-sensitive to light.
This can create unwanted noise in your image.
Mastering The Art Of Motion Capture
Like other photography skills, becoming proIicient at capturing motion requires practice and
experience. You`ll need to spend time learning how shutter speeds will impact the quality oI
your images. Even iI you`re just setting your camera on its tripod, timing a perIect shot oI a Iast-
moving object can be diIIicult. In the end, capturing motion in your photography is part
technique and part art. Fortunately, with practice, you can master it.


Read more: http://digital-photography-school.com/a-beginners-to-capturing-motion-in-your-
photography#ixzz0Q6ZOr1MO