Shooting Portrait In A Dark (Night) Or Low Light Condition

It is comparatively easier to take portrait shot in bright day light than in dark or low light condition. Taking portrait shot in dark or low light condition is challenging because you have to adjust two lights while taking picture; one is ambient light and the other one is flash light. In daylight shooting, you don't have to worry much about flash light (except fill light) and you don't have to deal much with shadows and colors of different lights. But while shooting in dark, you have to be extra careful with presence of very few or no ambient light, different artificial colors (street lights or other artificial lights in the environment), colors of those lights, shadows etc. Taking portraits at night is difficult but fun as well. As I mentioned earlier, you have to understand how ambient light and flash work together. Ambient light is whatever light present in the environment and flash light is artificial light produced by using light strobe or flash gun. The flash light has a very short duration and thus shutter speed has no role in the overall exposure it gives. You have to remember that aperture controls flash lights and shutter speed controls ambient light; this will make life little bit easier. But having said that, it doesn't mean that aperture can't be used to control ambient light. It's just simple and easy to implement if you remember those theories. Therefore, any shutter speed slower than the maximum shutter speed (also called Flash Sync Speed) can be used with flash. Please keep in mind that different camera model has different "max sync speed" value for shutter; usually 1/200th of sec or 1/250th of sec.

Focal Length : 55mm  Shutter Speed : 1/60th of sec  Aperture : f/4   ISO : 200

You can experiment with different aperture value to adjust flash lights and change shutter speed to change the brightness of the background. The longer the exposure, more ambient light passes through the lens and hence producing brighter background. Sometimes, while working in auto mode (TTL flash), you might not get result you want and it's better to control your camera and flash manually. You also have to be careful about the choice of the lens. Normally, longer lenses are preferred for portrait shot.

Few things to experiment

1. You can try wide open aperture to create nice and soft bokeh in the background which also helps throwing confusing background out of focus. You may have to adjust your light settings because wider aperture allow more light into the sensor.

2. Location is not that much important for portrait as your main subject covers almost entire frame (most of the time).

3. You can also try off-camera flash so that you can play with direction and quality of lights.

4. You can also use colored gel which gives different mood to the photographs depending on which color you are using.

5. If you get lots of shadows, you may want to try bounce flash instead of straight flash.

6. You can also use kicker flash (normally used behind the subject which helps to separate subject from the background).

Focal Length : 55mm  Shutter Speed : 1/5th of sec  Aperture : f/4   ISO : 1600

You can see the difference in Shutter speed and ISO value (among these two photographs) which changed the amount of light coming to the sensor and hence changing overall brightness of the picture. You also have to be careful about choosing ISO value; higher the ISO value, more digital noise (grainy dots) will be present in the image. If you want to learn more about the ISO and the digital noise, you may want to read my previous posts Understanding ISO in Digital Photography and Dealing with Digital Noise.

What Is Hyperfocal Distance And When To Use It?

This post is a part of our Q&A section. If you want to submit your question, please use the form in the Contact page.

Rona (CA, USA) asked : I am very much interested in Landscape photography. Sometimes, when I shoot Landscape, it doesn't come out as sharp as I expect it to be. I have heard about Hyperfocal Distance and it's use in landscape photography but haven't used it yet. Can you please explain about it?

Hyperfocal Distance is the magical distance to focus on that gives you maximum depth of field (almost everything in the frame will be in sharp focus). Hyperfocal Distance differs with the focal length and the aperture of the lens. When you focus your lens on Hyperfocal Distance, the depth of field extends from half the Hyperfocal Distance to infinity. As you already know, for the maximum depth of field, you should always shoot with smaller aperture (large aperture value) like f/16 or f/22 for example. Most of the serious amateur and pro landscape photographers use Hyperfocal Distance for Landscape photography.

This short and brief introduction about Hyperfocal Distance may create more confusions and lead you to many more questions. You might be thinking what is the Hyperfocal Distance for the lens I have? How do I focus at Hyperfocal Distance? Which lens is the best for Landscape photography etc. In this article, I will try to answer these questions as clearly as possible.

How to Calculate Hyperfocal Distance?

Hyperfocal Distance can be calculated by using following equation.

Hyperfocal Distance Equation

Where, H is Hyperfocal Distance, f is Focal Length, N is f-number (Aperture value) and c is the Circle of Confusion

[Updated on 12/1/2015 after reading nev’s, one of our reader, comment. I did some research on the link he posted on the comment box below and also took some reference from Wikipedia as well and added the second formula]

But, for any practical f-number, the added focal length is insignificant in comparison with the first term. So, following formula can also be used to calculate H.

Hyperfocal Distance Formula

This formula is best suited if H is measured from a thin lens. But, for practical purposes, there is little difference between the first and second formula.

When you calculate Hyperfocal Distance (H) using any of the above equations, it comes in mm (millimeter) unit and you have to divide the result by 304.8 to get into the feet and by 1000 to get into the meter.

Hyperfocal Distance is a function of lens focal length, aperture value (f-number) and Circle of Confusion (CoC). In photography, the Circle of Confusion (CoC) is used to determine the depth of field, the part of an image that is acceptably sharp. A standard value of CoC is often associated with sensor type or size and brand of the camera. Every camera manufacturer has it's own CoC value for their different body types and sensors. Normally CoC for 35 mm or equivalent camera (FX format) is 0.030 mm and that of APS-C sensor (Nikon's DX format) is around 0.019 mm.

How do I focus at Hyperfocal Distance?

When you are in the field shooting landscape, you don't have to focus the lens exactly at the Hyperfocal Distance. It's best if you can focus on exact Hyperfocal Distance (you might want to use the measuring tape in that case) but even if you can't, there are different ways for work around. When you are not sure about focusing exactly at Hyperfocal Distance, experts recommend that you should focus it slightly beyond the Hyperfocal Distance. Let's say, for example, your Hyperfocal Distance is 4.6 feet, you should focus on 5 feet and then stop down aperture by one stop (from f/16 to f/22 for instance) to get a little more depth of field.

Why telephoto lens is not good choice for Landscape Photography?

Wide angle lenses are very much popular for Landscape photography. However, normal lens ranging from 50mm or shorter can also be used and works very well to adjust Hyperfocal Distance. Lenses having shorter focal length have relatively short Hyperfocal Distance when set to small aperture (larger aperture value). For example, the Hyperfocal Distance (using above formula) for a 14 mm lens set to f/16 aperture on a 35 mm or equivalent camera is about 1.43 feet. That means everything from 0.71 feet to infinity will be in focus taken with the lens focused at Hyperfocal Distance.

If you do same mathematical calculation for telephoto lenses, you will find the reason why telephoto lenses are not being used for Landscape photography. For example, the Hyperfocal Distance for 200 mm lens set to f/16 on a 35 mm camera is about 275 feet. That means everything from 137.5 feet to infinity will be sharp in a photograph taken with this lens focused at Hyperfocal Distance. Let's say if you have any subject near than 137.5 feet (half the Hyperfocal Distance), this lens will not be able to focus them. That's why such lenses with longer focal length are not considered useful for Landscape photography.

I hope I was able to answer your question to some extent. If you have further comments or questions, please do not hesitate to use the comment box below. Happy Shooting!

Preventing Fungus From Destroying Your Lenses

This post is written by Guest Contributor, Janet Ochs Lowenbach. If you are also interested in writing a guest blog, please reach out using the form in the Contact page.

When you think about your favorite Nikon or Canon or any other DSLR brands, you don’t think about fungus — those spore-producing organisms like mildews, rusts, yeast, and mushrooms. I certainly didn’t think about them until the day I decided to sell ALL of my old cameras including the workhorses, lenses, and cases that I had used for 25 years. I had hoped to use the proceeds to buy some new equipment for my Nikon D80.

I remember it like yesterday. With a mixture of sadness at losing my old friends and delight  at the prospect of earning cash, I trotted off to Penn Camera in Rockville, MD. My equipment took up four bags.

Duane Heaton, the sales manager at Penn lined up all my gear on the counter and then pulled out a magnifying glass. “Let’s see how clean they are,” he said. Then he put down the glass and shook his head.

I began to worry. Duane opened the lenses wide and told me to look inside. It was unmistakable. The lens opening was lined with a fuzzy grey growth. The same growth lined every single lens and the two bodies. “That is a fungus,” he said. “It is contagious. It will eventually cover all the equipment, the bags, and even the cabinet you stored your equipment in.”

I soon learned that fungus grows in the lens and under the lens coating; it etches the glass. Fungus thrives in dark humid places where there is little or no movement of the air. Once fungus starts to grow; it is difficult to eradicate, and it causes soft spots in photographs that look like there is a fingerprint on the lens.

“Could I clean the equipment?” I asked

“I don’t advise it; it’s prohibitively expensive.”

“Can I sell the cameras?”

“Absolutely not. The fungus is contagious.  You’ll have to dispose of the cameras and scrub the closet with Lysol or bleach.”

I never knew cameras were sensitive to moisture in the air.

“It's not your fault,” Duane said. “Whenever you swoop down from the mountains to the DC area, you are entering a moist place. The district was built on a swamp and that moisture fosters the growth of fungus.”

What was Duane’s advice? Don’t store cameras in the basement. Keep them in a bright area upstairs. In your camera bag, a closet; keep silica gel packs in the bags. They are desiccants -- something that dehumidifies the area around your equipment -- and include a humidity indicator strip. Humidity should be between 35 % and 45 %. If the humidity gets too low – say below 30 percent -- you might dry out the lens and the components. If it gets too high, you run the risk of fungus forming.

Ultimately you can help prevent fungus by providing movement and exposing the lenses and cameras to light and air.

Just for the sake of memory, I photographed the cameras and lenses before they were trashed. Twenty-five years of equipment would generate dust instead of cash.

I have since learned that there are people who can clean fungus from lens. They are listed on the web, but it is important to ascertain the quality and cost of their work before making any commitment. It is hard to remove fungus and it can come back. But you might want to check out the options.