Aspiring Photographer: Photography Advice and Inspiration

Blur Your Background with the Nifty Fifty 50mm f/1.8 lens for Canon or Nikon DSLR cameras

What's that lens everyone is always recommending, and why might you want it?

The "Nifty Fifty" 50mm f/1.8 lens is THE recommended lens for those getting into DSLR photography, especially if you're wanting to achieve a shallow depth of field. Also, it is the one lens that lets you do that but that is still quite affordable. In general the lenses that let you open up your aperture are expensive, but for whatever reason, the 50mm f/1.8 is the one exception to that rule. And yes, there is also a 50mm f/1.4 lens that you can get if you have some additional spare cash, but I'm here to tell you how to get into a fast lens on the cheap. Oh yeah, and what's a "fast lens" anyway? That's one where you can get a lower f/stop number, or "open up" more. You may also hear it referred to as "fast glass." 

In every workshop I teach, someone always asks "But I already have an 18-55 lens, so I already have a 50mm length lens. Why would I need a fixed 50mm?" Well, here's why. You see on your lens where it says "1:3.5-5.6?" Those numbers show you the most open aperture you can get from your lens at the two far ends of your zoom. At the wide angle end, which is 18mm, your smallest f-stop (most open aperture) is 3.5. At the most zoomed-in end, 55m, your most open aperture is 5.6. The more you can open your aperture, the more shallow depth of field you can achieve (the more you can blur your foreground and background). The 50mm f/1.8 lens lets you open up to f/1.8, which is a much larger opening than the f/5.6 opening you could achieve at that same length with your 18mm-55mm kit lens. You can blur out your background a WHOLE LOT more at f/1.8 than you can at f/5.6. So that's why you want it even though you already have a lens that goes to 50mm!

So, what specifically, do you want to purchase? Well, if you're not wanting to spend a ton of money, then the lens you want is the 50mm f/1.8 lens.

With Canon it's straight forward, you want this one, and it's currently $119 at B&H: 

Canon Normal EF 50mm f/1.8 II (B&H)

With Nikon, it depends on your camera. It's a difference of about $100 depending on which one you need:

Nikon has manufactured several camera bodies where they excluded a drive motor for the lens, and if you have one of them then you need to purchase the more expensive version of this lens. If you don't buy that lens and get the cheaper one, then you'll be stuck with a lens that doesn't autofocus, which is probably not what you want. The cameras that require the AF-S version of the lens are: D3000, D3100, D5000, D5100, D40, D60. Basically, they made these cameras less expensive by leaving off the drive motor, but effectively made them more expensive by requiring you to purchase the more expensive lenses!

AF-S Nikkor 50mm f/1.8G Lens for D3000, D3100, D5000, D5100, D40, D60 (B&H). Warning, this lens is in high-demand, and as of this writing is currently on back-order through every source I've checked. I'd go ahead and place your order and get in line now!

Nikon AF Nikkor 50mm f/1.8D for other Nikon DSLRs (B&H)

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Mary Lynne Ashley is a certified professional photographer in Colorado Springs. She offers private photography lessons and group workshops on the basics of digital SLR photography. See a listing of her current photography courses.

 

 

 

Imaging USA 2011

 Whew! What an awesome time. I had such a blast at Imaging USA 2011 in San Antonio last week, the first time I've ever attended in my 10 years as a professional photographer. And I didn't even attend the classes. I filled up my time there with a couple parties, the certification exam, the trade show, the print exhibition, and catching up with old friends. And that was plenty! Still holding my breath for the results of the exam. We were told to expect results in 3 weeks. I'm hoping that was their attempt to "under promise and over deliver," and that maybe just maybe we'll hear something before that. I was disappointed that it rained the whole time I was there, but the beautiful convention center and inspiration overload made up for the lousy weather.

So, I thought I'd share just a few of the highlights of the convention from my perspective.

Booth That Extracted The Most Money From Me

Oh yes, that would have to be Barbour Backdrops. Wow. The quality of these backgrounds is simply remarkable. They have developed a process that enables them to create the look and feel of a faux wall right on canvas. With many years of experience creating faux finishes, they are creating a product of the highest quality and craftsmanship. They tested it and got it right until they could create and roll the backgrounds, keeping them flexible and not cracking. I've looked a good deal online at the faux backgrounds that are computer generated onto a wrinkle-free poly fabric background, and am disappointed when I get up close and touch and feel them. Although people seem to like them and love the lightweight wrinkle free versatility, I can't get past the cheap look when they're hanging there, but the backgrounds from Barbour look really upscale and expensive. I think you really have to see them in person to appreciate the quality and texture. They almost have the look and finish of leather.

What I also love about Barbour Backdrops is the fact that this is a family run business, so it makes me happy to have my little family-run business support their family run business (which is not nearly as little as mine at this point!). One of the owners spent a lot of time with me telling me all about the product, and it's clear that he's enthusiastic about what they do.

I picked out a couple of backgrounds that I feel will both be universally great with families, boys and girls. It it so hard for me to commit to a background, but I feel these will provide me with good versatility while helping to set me apart from other local photographers. I really expected these backgrounds to be more expensive given the quality.

Booth With the Cutest Stuff

Design Revolution. Totally. And I got away with spending only $35 with them! Not quite sure how I pulled that off. Their booth was jam-packed with all these adorable little hats, tutus, tops and other baby clothing you feel like you have to buy right that second or else you'll die. I never actually really even got inside their booth because it was so crammed with female photographers clawing their way to the goods that you could barely turn around. But I got to see their stuff the night before in a little pre-show hospital suite hosted by Lori Nordstrom's PhotoTalk Forum, so that was cool. I thought I'd gotten some shots of the Design Revolution booth, but I'm not finding them, so you'll have to settle for this photo of Julie Klaasmeyer (famous baby photographer extraordinaire) being sweet and pretending she's my BFF while I hold up the super-cute newborn hat I bought from her.

Coolest Booth Design

Finao totally dominated the "coolest booth" category in my opinion. When you're walking the trade show floor for hours with a bag full of heavy promotional materials, you get exahasted. Coming across this huge booth with loads of  ottomans, sofas and papasan chairs was like finding an oasis in the desert! It was all set up to look like some hip hookah bar, and you could stay as long as you wanted by grabbing a seat and pouring through the countless albums that were on tables and shelves throughout the booth. The only problem is that they were a little off the beaten path, on the very far edge of the expo floor, so I didn't discover them right away.

 

Best Convention Inspiration

Since I did not attend any of the classes, which I'm sure were terrific, I drew most of my inspiration from the print exhibition, which contains the merit-winning and Loan Collection images from last year. It had me crying and laughing and staring in wonder. Wish I'd had a lot more time to go back through the exhibit a couple more times.

We observed that low-key character studies seem to do especially well in competition, and there were lots and lots of images of animals. Babies not so much! There was also lots of digital composite work that is totally beyond me, but way cool to look at.

[Mary Lynne Ashley is a Colorado Springs portrait photographer specializing in babies, children and maternity photography.]

Seamless Background Paper Examples

I just came across this great collection of seamless background paper images on Flickr. These images can give you all sorts of ideas about what you can do with seamless, and what colors you might like. Some of them reveal the name of the color when you put your mouse over the image.

Seamless is an affordable background option that can give a very current look to your images. If you need help figuring out how to work with seamless background paper, check out the video I put together in my earlier post on the topic:

Working With Seamless Background Paper

Working with Seamless Background Paper

Seamless paper can give you a lot of versatility for not a whole lot of cash.  I talk about where to buy seamless background paper, how to hang it, options for the floor, using gels on the background, and a few other things. [You can get my favorite, Thunder Gray (from B&H) at this link.] This video is broken into two parts because Youtube doesn't allow videos longer than 10 minutes, and this one is just over 14 minutes.

Since posting this video I've been asked how I remove the line that shows up behind the subjects when using the acrylic floor. Below is a link to a little screen capture video where I show and explain what I do. It takes a second or two before I start talking. I just tried replaying this and the server was delivering it very slowly -- hoping you'll have more luck:

http://screencast.com/t/NGUzOTMyNj

Mary Lynne Ashley

The Hidden Costs of Producing a Print

 Sometimes I marvel at the number (and cost!) of different products I use in the course of running my business, from marketing the business, to completing a portrait job from start to finish. I've put together a list of my workflow, along with all the different products I use, and their price.

Black Background Material

I create lots of my images against a solid black background, and am frequently asked how I get the background so black. Lighting is one of the elements, and the material used for the background is the other. For lighting information, I'll recommend taking a class or getting information from one of the  many available online forums for professional photographers. Most importantly, you'll want to avoid shining your lights directly at the background. 

There are a lot of different background materials one can use when creating photos with a solid black background. I've tried several options, and have found one in particular that is my favorite. I like the "photo black" background that I bought from Denny. Of the options I've tried, it does the best job of absorbing the light. Denny offers frequently sales on this background, when you can buy it for half-price. They currently have a sale running through midnight 2/19/09. You can go to their website www.dennymfg.com to sign up for their e-mail newsletter and they'll notify you of upcoming specials. Not sure if this link is static or not, but it shows their current specials (although as I write this, it is not showing the black background sale that is advertised in their e-mail). You can call toll free 800-844-5616. Online coupon code for this offer- #net090219. I have no affiliation with Denny, I just wanted to recommend and pass along info on this product.

Other options I've tried for black backgrounds include seamless paper, black muslin and black fleece. I've also heard of people who use black velvet. The problem I had with seamless background paper is that it is quite reflective, and therefore more difficult to get really black. Also, the wider seamless rolls can be unwieldy, and because they are so heavy, I find them to be fairly dangerous when working with kids unless you have them on an extremely sturdy background stand or attached securely to the wall. Black muslin worked fairly well for me, but once I've washed it a few times (which is inevitable if you're working with naked babies) it starts to fade and becomes more visible in the photos. I do use two separate pieces and only wash the one that gets wet, but eventually you have one that's still black, and one that's starting to get gray. I like a very solid black in my images, and once it starts getting lighter you can sometimes see the wrinkles. Fleece works okay, but it is awfully bulky and I had to sew two pieces together. I still use it to put underneath newborns when I photograph them on black, though, because it seems to keep its color through multiple washings. It also is a total magnet for animal hair. The "photo black" background material is a very sturdy, substantial fabric and it also is a magnet for animal hair. It is really, really black, though, and does a great job of absorbing the light so that no wrinkles show. It goes completely black, and that's what I like. I use the photo black background on the background stand, and then use a piece of black muslin on the floor. The photo black attracts so much hair that I think it might be frustrating to get clean if you had it touching the floor and people standing on it. I have not used the velvet option. I imagine it also does a great job of absorbing the light, and probably without attracting all the dust and hair. I would think, though, that you might have to sew two pieces together, and that might get a good deal more expensive than the other options, especially if you can get them on sale.

Some of the other background-related topics I've discussed here that you may want to check out include working with seamless background paper and finding affordable backgrounds.

-- Mary Lynne

Do I Need to Use Props?

I am not a "proppy" photographer. When I first started, I said I would never use any props at all, and I still keep my props to a minimum. After photographing children for several years, though, I've come to realize that props aren't always bad, if used well. Below are the reasons I sometimes use props.

Props Can Help Keep a Child Grounded: It would be so wonderful if babies and kids would stay in the spot where you put then when you're trying to take their photo. If you've tried to photograph any kids at all, you've found out that it's not quite that easy. I frequently find that a child will be happy to stand anywhere in the entire vicinity except in the one spot I want him or her. Try to get them to stand in the spot where your light is best, and they start screaming, fussing, or simply run or crawl away as fast as they can. This is when the right prop can save the day. At a minimum, I keep a small wooden chair handy. Most children will try to sit in the chair or will at least stand next to it. Some kids will pick up the chair; some will try to stand on it. But at least it gives you a few seconds more to capture an image.

I like props that are very understated and don't detract from the child at all. Other items I've used with great success to keep a child in place are an old wooden box and an antique wooden bucket. The bucket works great for little ones who are prone to run or crawl off -- I just pop them in the bucket and they can't go anywhere. Some of them love it and some hate it. So if they hate it you take them out right away and try something else. The bucket is also good for little ones who can't sit up by themselves yet. It gives you a way to prop them up a little. The box is nice because a little one who has just started standing can use it for support, a bigger child can sit on it, and a smaller baby who is sitting can sit on the floor in front of it.

Props Can Provide Balance to the Image: Sometimes a simple prop can help in getting a nicer composition. I use props this way mostly in my newborn images. I have photographed a lot of sleeping naked newborn babies, and I always find that I prefer the images when I add one simple prop ... a butterfly or a hat, for instance. I want the photo to be about the child, not about the prop, but the right prop can add some artistic interest to the photo.

Props Can Provide a Sense of Scale: I have found that a prop can help provide a better sense of the size of the child. Children are little, and I like to convey that in my images. Especially if you plan to print the image larger than life, than having something in the image to show the scale will prevent it from looking like a monster baby. To me, the best way to show this scale is to juxtapose the child with one of their parents. A parent is a wonderful prop when they are a subtle element of the image and not the main focus. I love to see a tiny newborn in Dad's big hands, or a sweetly sleeping baby snuggled up against Mom's shoulder. I've also seen photographers use items such as a sofa to show scale.

Props Can Create Value and Provide Meaning: Including a family heirloom or an item that a family member made can help you create a photo that has incredible value to the family. Sometimes the mother will want the child photographed in the same dress that the mom wore as a baby, or holding the mom's or grandmother's rattle or other toy. A gorgeous photo of the baby wrapped in the blanket made by Great Grandma is priceless. I've done photos using the dad's firefighter gear, and the dad's fighter pilot helmet. When you can include these sorts of items in a classy, creative way, you will create photos that will become great conversation pieces for the family.

Props Can Create Intrigue and Impact: I've used some unusual props that are real conversation starters. Most notable are probably a rubber duck on which I propped a newborn, and a plaster belly cast in which I cradled the baby.

What to Avoid When Using Props

I've seen props way overused to the point where the photo was entirely about the props and not about the child. Beginning photographers will sometimes go prop crazy and the resulting photo can look outright tacky. I think that's why many people say they don't like photos from the mall studios. I believe that when they say that they're reacting against the overuse of props. Either that or the use of tacky backgrounds. Of course, many mall studios have gotten away from that look as they've seen what today's consumers really want.

When you're using props, try to avoid using items that clash with the child's outfit or that are going to take attention away from the child. Remember that the eye will go towards the brightest object in the photo. So if you have a dark background and the child is in a dark outfit, you sure don't want to put them in a white chair. In fact, I have a small white wicker chair and it is my least favorite prop. I do sometimes use it in a pinch, but only if I'm using a white background.

Save Your Money!

Oh my gosh, it is possible to waste so much money on props! Buying them can be addictive, and you won't end up using most of the ones that you buy. If you do feel you need to get a few, make sure the ones you get are extremely versatile. I have had to walk away from so many great things that I would have LOVED to have had in my studio, but I knew that they were not versatile enough to use on a regular basis. The ones I use over and over are very simple, fairly non-memorable items like my wooden chairs, wooden bucket and old wooden box. Once you have what you need, my advice is to avoid Hobby Lobby and antique stores, and to take a deep breath and keep your wallet in your pocket if you do find yourself in these places. Your clients will frequently provide interesting props, and by using them you will avoid having all your photos look the same.

There are photographers who have great success creating beautiful, elaborate sets with extensive props, but for the most part they have already built a good-sized clientele, and know that they can bring in enough business to offset the cost of that investment.