Photographer/Writer: Dan Stultz
Editor: Sharon Stultz

A Can't-Keep-My-Hands-Off-It Lens
Every so often, a photo product comes to market that is new, fun and different. I just bought such a product that fits all three criteria, and I can't keep my hands off it. I just keep tinkering with it because I'm fascinated with the fact that this product has taken an old idea and married it to a modern digital camera. The product is Lensbaby™, a funky little lens made to purposely throw most of an image out of focus while leaving a small area in sharp focus. According to my wife, it looks kind of adorable, almost toy-like, but it does some very serious work.

Nineteenth century photographers discovered that a slight tilt to a lens would fuzzy up the focus. For 150 years this has been possible to do only on a view camera, which has swings and tilts on both the lens and the film plane. However, with 35mm and digital SLRs, the distance between lens and film plane is too small to tilt the lens. So Lensbaby™ has solved this problem with its third-generation lens that has a unique ball-and-socket tilt.

This new lens makes a flat subject pop from its background

more than ever before. Though I've only had it a short time, I think it'll prove itself on lots of fun projects in the future.


Lensbaby™ can tilt in any direction to move
the area of sharp focus.


To learn more, click on an image or go to http://lensbaby.com/ 

Simply Good Images–

It’s all about the light!
First in a series of articles on my philosophy of photography

Have you ever wondered what makes the difference between a really good photo and an average one? Besides composition and emotional appeal (subjects to be addressed in an upcoming issue), one of the most important considerations is lighting. Good lighting can turn an average image into something spectacular. To ensure you get top-quality photos from your photographer, it's good to know more about lighting techniques.

There are three main aspects to good lighting–quantity, color and quality. Though these criteria are often highly subjective, they are valid.

a. The quantity of light–just enough
Easy to notice in a photo is the quantity of light. If there is too much or too little light in an image, the subject can become unclear.

Too much light or overexposed areas of a digital image cause the overall image to be degraded, resulting in loss of color and detail.
Too little light in an underexposed area can introduce digital noise, which can cause shadows, for example, to become deep and dark on a person's face. These empty voids make people look somber or spooky. And, even if this is the effect you want, it should be planned and controlled.

b. The Color of light
Color affects an image greatly for better or worse. We’ve all seen photos taken in natural flourescent light that make you feel like you’re in an all-night laundromat. The photo needs to be color-balanced for the lighting situation.

Digital cameras have settings to match different lighting situations (flash, sun, shade, etc.), but computer work is needed after capture, to increase accuracy.

We all know that certain colors create different moods. Blues and greens set a cool tone, and oranges and yellows give a warm feeling. Since there are so many shades and variations of color, you must know which ones to use to set the tone.

c. The Quality of Light
The quality of light is the most interesting aspect of lighting for me. (By quality, I don’t mean cheap lights you buy from Kmart, but, rather, the nature of the light source and the way it defines the subject.)

A photographer has many lighting tools at his or her disposal–reflectors, diffusers, grids and scrims. Each one has a purpose, strengths and limitations. All of them shape and modify the light almost like a painter with many different choices of brushes. A small light will give a pinpoint beam of light and create sharp, well defined shadows. A large soft box or umbrella will give a wide light source and soft shadows.

The placement of the light is also important to the quality of lighting. A light close to the camera will make an image look flat. It will minimize shape and texture. When the light source is behind and above the subject, shape and texture is enhanced.

I often find myself attempting to duplicate nature's light (called God's light in photo circles). This is no accident. From the soft light of an overcast day to the strong, direct beams of the last light of day before sunset, we use God's light to interpret the world around us.The light shows us the size, form, texture and distance of objects around us.

Take a look at the following examples of different qualities of light.

To duplicate sunset lighting here. I lit the set with a small light coming from the lower right. The light skims the surface of this fabric, dramatically emphasizing the texture of the cloth and leather.
Client: Tyndale House Publishers

This black dashboard required a large light source so the reflection in the
plastic would reveal texture and shape.
Client: Commercial Vehicle Group

To enhance this photo of water drops on material that absorbs only oil, I used a large, diffused-light source placed on the opposite side of the subject--almost facing the camera.          Client: Evolution Sorbant Products

A simple photo taken with a camera-mounted flash and diffuser. This is a simple and portable system for use in quickly-changing situations.   
Client: Cantigny First Division Museum/McCormick Tribune Foundation

The largest light source I've ever used
At right is a photo I took using the largest light source I've ever used. Because the auto was basically a mirror, I needed to hang a sheet of translucent white fabric that was eight feet by twenty. You can see the reflection of this "wall of cloth" in the side of the car. I also needed to throw lots of light onto the ceiling to reflect off the top and hood of the car. I used every strobe light in my arsenal to make the light even.

Q&A

“How can group shots be more interesting . . . something more than lining people up choir style on steps?” –Su Hartung, Nalco Company

Group portraits always present difficulties, especially when they exceed 30 and 40 people in the shot. Here are descriptions of some of the problems:

1.  As the size of the group grows, the viewer's ability to pick out individuals diminishes. Also, large groups tend to spread out horizontally, with individual faces making a horizontal line across the image.

2.  It’s very difficult to get even lighting indoors. There are bright and dark spots from the lights being too close to or too far from the people.

3.  When group photos are added to a photo shoot schedule, there is often not enough time allotted.

4.  A wide angle lens can help pull in a wide and spread out group, but it tends to make front row people large and back rowers very small.

I've encountered many problems while trying to take group shots. Take a look at some of these solutions I've found for overcoming obstacles and getting a good shot:

1.  Avoid the horizontal problem by placing people on rows of steps or risers. Or put the photographer on a ladder or in a balcony. Have people look up towards the camera to emphasize their faces.

2.  Shoot outdoors with natural light to solve a lot of lighting problems if a suitable location can be found. However, if the shot must be taken indoors, sometimes natural room light works, but often large lights must be added. Large lights are a must (either a large reflector or umbrella) to make the light spread out and become more even. The size of the room or location must be larger than the group, to allow for even lighting and good camera distance.

3.  Build extra time into the shooting schedule for group shots. Otherwise, the quality of the photo will suffer.

4.  Avoid a wide-angle lens for group photos, when possible. If it's possible to use a medium or telephoto lens, you'll also need a lot more room so you can get the camera further away from the group. If a small room with a big group is the only option, use a wide-angle lens.



Do you have any photo questions I can answer in future newsletters?
e-mail me--dan@stultzphoto.com

View issues of PhotoSense online

PhotoSense issue 1   Planning a Photo Shoot   Panoramic Photography   
Buying a new camera
PhotoSense issue 2   Lensbaby--a "Can't Keep My Hands Off it" Lens   
Simply Good Photos--Lighting   Shooting Large Groups

Ideas for future issues of PhotoSense

Executive Portraits--People in Their Own Environment
Animation--Time Lapse and Stop Action
Shooting Food
Digital Retouching

RAW Image Processing
Black & White
What Inspires Your Creativity?
Color contol and management

Visit any of my web site portfolios

Do you have any photo interests not covered here? Suggest a topic.
I welcome any comments or critiques.
e-mail me--dan@stultzphoto.com

© Dan Stultz/Stultz Photography 2009 -
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Dan Stultz/Stultz Photography
1227 Elizabeth St, West Chicago, IL  60185
630-231-9010
dan@stultzphoto.com
www.stultzphoto.com