If one of your New Year's resolutions is to up your flash photography game, a great place to start is the Strobist website.
The website was founded in 2006 by David Hobby, a photojournalist with The Baltimore Sun. It started when he wrote about how he lit up a photo he did of a wind-tunnel turbine.
The site covers the full spectrum of flash photography, from simple speed lights to studio flashes, with free lessons and a gear guide. There are even some tips for DIY modifiers.
One of the virtues of do-it-yourself photo gear is that you can try out a particular lighting modifier or other equipment at little cost.
This is especially true if you use simple materials just for the experiment with a piece of gear or a technique.
For example, when I was making a flash modifier, I chose to use cardstock first as a "proof of concept" to see if it was something that would work for me. I have since made a second one using craft foam.
Daniel Norton, a New York photographer and one of Adorama's regular hosts on its Youtube channel demonstrates a way to make an absolutely cheap beauty dish lighting modifier, which his model and mentee, Marisa Roper, dubbed the "Paniel."
If you're not familiar with a beauty dish, it mounts on a flash, which then discharges into a reflector that is right in front of the flash head, bouncing it into the large dish portion of the reflector and out toward the subject. It produces a not-so-soft light that sculpts the facial features.
It also leaves a distinct halo-like catch light in the eyes.
Commercial dishes can run you $70 or more, depending on where you shop.
There are plenty of Youtube tutorials showing you how to make them from woks, flower pots and other items. But if you want to just try one out to see if its something you want to invest a bit more time and money in, or you forgot to pack one and need it, the Paniel provides a low-cost option,
You get two aluminum foil pans at either your big box store or, if you want to keep the price point really low, go to your local dollar store. One has to be a roasting pan, while the other is a pie pan or smaller.
The first step is measuring a hole in the back for your flash unit and cutting that out of the roasting pan. Depending on how long-lasting you want this to be, you can either use pencils or straws to hold the pie tin in place over that center hole.
In this video, Norton demonstrates live how well this jerry-rigged device works. I like the fact that he does it live with a tethered camera because you see in real time how well it works.
Norton demonstrates that you don't have to spend a lot to make good looking pictures. And if you like the results, you can now build a more lasting version of the light.
One real fun shot is the time lapse.
We've all seen those videos that show people and other things moving at high speed, clock hands moving quickly or or a storm front come through like an express train with no brakes.
Those are done through time-lapse photography, where a picture is taken at intervals and then assembled together into a video. It's one of those things that allows us to see things we usually can't see because they take a long time.
And while there are fancy cameras that can be used to take them, it's also possible to use the kit you've already got to make a decent photo.
First, if you use a cellphone, you might already be set, or at least one visit from the app store away from producing time lapses.
Apple's iPhones, going back to at least iPhone 5, have a time-lapse option on the camera. You just put the phone on a tripod or other secure holder, push the button to start and then let it run until you're ready and it the button again.
The phone will convert the series of pictures it has taken into a video. Depending on the length of time you ran the time lapse, the program will cut out frames in order to keep the video to the length predetermined by Apple.
If you use an Android, you're out of luck with your camera fresh out of the box, but there are multiple apps on the Google Play store that will allow you to do a time lapse. Just read the reader reviews carefully to see which one will work best for you. Some may produce choppy video as it assembles a string of still photos together into a video.
If you are using a digital camera, there are still ways to do it.
Some cameras, such as Pentax, will give you the option to do a QuickTime movie, but I've found that it was a bit too jerky for my tastes.
It should go without saying, but to cover myself, mount the camera on a tripod. There's no way you're doing this hand-held.
Another way to do it is to take a series of photographs and use them as frames in a video.
To do this, you might need an intervalometer, which allows you to have your camera take photos in a particular interval. Pentax actually has one built into its camera, but there are apps where you can use your phone as the trigger, or you can invest in a dedicated device.
Another way to get a series of photos is to use a cable release and, if your camera permits, put it into a drive mode and just lock down the shutter button and let the drive do its work.
In these situations, you need to figure out how long you want your video to be and the frame rate, which will tell you how many pictures to take.
You also want to set your aperture and shutter speed to slightly blur moving objects, which will better sell the high-speed effect.
A few years back, I did a time lapse to highlight a busy intersection the local police identified as a traffic hazard. Working with our paper's chief photographer, we figured out how many shots were going to be needed for the video (I was contributing to a larger video) and the best time to do it.
After figuring out the right shutter/aperture combination to get the motion, I locked those settings in while setting ISO to automatic. That would allow us to maintain a constant exposure as the sun set.
While I'm a strong proponent of shooting RAW whenever possible, in this case jpgs were the the better option as they take up less space on the card and would not be as hard to combine for the final video.
I shot 600 shots, one picture every three seconds for a half hour. I just dialed the time between frames and the total amount of pictures into the intervalometer and sat back with a cup of hot chocolate while the camera did its thing.
The resulting pictures were then converted into a video, with each shot becoming a frame in the video.
There are a couple ways to combine them. You can use a video editor or software designed specifically for assembling still images into a video. I used to use Time Lapse Assembler until the software became incompatible with my Mac's OS, but I found QuickTime offers a free way to do it.
Open up QuickTime Player, select "Open Image Sequence" from the File menu, specify your resolution, frame rate and final video format, and the software does the rest.
Here's that traffic sequence I did, processed through QuickTime.
Colorizing black-and-white photos is almost as old as photography itself, with people striving to make pictures look more lifelike.
In the past, it usually involved meticulous hand painting of photos, a task that got relatively easier with digital photo editing software.
Now, one of the new features in Photoshop is colorizing photos using artificial intelligence algorithms to do the heavy lifting. The results are fairly impressive, although there are naturally a few goofs that are relatively easier to fix compared to trying to colorize an entire picture.
But suppose you don't have Photoshop, or the "Jack Sparrow" version you're using disables Adobe's Neural Filters?
Vertexshare's Picture Colorizer offers a free AI-based colorization service that produces acceptable results. I played around with it for an evening and got some decent results.
Here is a photo of Gen. Ulysses S. Grant taken from the Civil War. First, the original:
And here's the colorized version (the only thing I did with the photo was just colorize it):
The main caveat with the service is that it only works with jpgs and pngs, and they can't be larger than 5 mb and 3,000 x 3,000 pixels. You might have to resize the image you want to colorize, as well as finish off any other edits you want to do, before uploading it.
Caleb Pike, over at the DSLR Shooter on Youtube offers a way to set up backgrounds or even animated sets for shooting product photos, models or action figures.
Pike recommends using a flat-screen television. In his case, he uses a 55-inch 4k TV screen that has built-in Roku, allowing him to cast photos or animations on to the screen.
He uses it as both a tabletop, where he projected heads-up display-style graphics around his subjects, or created animations that helped light it up. The TV he used was durable enough to put a mirrorless camera body on, but he suggested getting a plexiglass sheet to protect more delicate screens.
The other way is to use it as a backdrop, putting up an image to serve as the background, which can be adjusted for perspective and lighting through a linked phone.
Pike also offers a few things to look for when picking a TV, or a monitor, and how to get the best photo possible in the process.
