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Apr 122014

Republished from Nikon USA

Jody Dole photo of grass with lots of bokehJody Dole
Bokeh is easily seen in the foreground and background. D3X, 200mm lens, 1/3200 second, f/2.8, -1.0 EV.


Bokeh comes from the Japanese word boke (ボケ), which means “blur” or “haze”, or boke-aji, the “blur quality.” Bokeh is pronounced BOH-Kə or BOH-kay.

Visit any photography website or forum and you’ll find plenty of folks debating the pleasing bokeh that their favorite fast lenses allow. Adjectives that describe bokeh include: smooth, incredible, superb, good, beautiful, sweet, silky, and excellent… but what exactly is it?

Bokeh is defined as “the effect of a soft out-of-focus background that you get when shooting a subject, using a fast lens, at the widest aperture, such as f/2.8 or wider.” Simply put, bokeh is the pleasing or aesthetic quality of out-of-focus blur in a photograph.

Although bokeh is actually a characteristic of a photograph, the lens used determines the shape and size of the visible bokeh. Usually seen more in highlights, bokeh is affected by the shape of the diaphragm blades (the aperture) of the lens. A lens with more circular shaped blades will have rounder, softer orbs of out-of-focus highlights, whereas a lens with an aperture that is more hexagonal in shape will reflect that shape in the highlights.

Achieving Bokeh in Your Images

To achieve bokeh in an image, you need to use a fast lens—the faster the better. You’ll want to use a lens with at least an f/2.8 aperture, with faster apertures of f/2, f/1.8 or f/1.4 being ideal. Many photographers like to use fast prime lenses when shooting photographs that they want visible bokeh in.

You’ll want to shoot with the lens wide open, so you’ll want to use a shooting mode of Aperture Priority or Manual. Manual gives you the ability to choose both your aperture and shutter speed, whereas Aperture Priority allows you to choose the f/stop while the camera chooses the appropriate shutter speed for the exposure. You could also use the Flexible Program mode, choosing the widest possible aperture/shutter speed combination.

Don’t worry if you don’t own a very fast lens. By increasing the distance between the background and your subject, you can see bokeh in images that are shot at smaller apertures like f/8.

To increase the likelihood of visible bokeh in your photographs, increase the distance between your subject and the background. You can do this by decreasing the distance between the camera and subject. The more shallow the depth-of-field, or further the background is, the more out-of-focus it will be. Highlights hitting the background will show more visible bokeh too, so if you’re using a backlight, side light or a hair light, the bokeh may be more pleasing to the eye.

Paul Van Allen photo of water drops on red green leafPaul Van Allen
D3000, 60mm lens, 1/13 second, f/10. Although wider apertures are better, you can still get bokeh with smaller f/stops.

 The most photographed subjects showing nice examples of bokeh are portraits. Close-up portraits show bokeh very well. Close-up and macro images of flowers and other objects in nature are also popular subjects to photograph that shows off bokeh in the image. An often-photographed subject that is an extreme example of bokeh is photographing a grouping of holiday lights or other highly reflective objects. When purposely photographed out-of-focus, these normally harsh or bright objects become soft, pastel, diffused orbs of glowing light.

Bokeh can add softness to an otherwise brightly lit photograph. Using this technique to separate your subject from the background can also allow you to utilize a not-so-photogenic background in your image—but because of its diffused blur, it helps to “highlight” the subject, not detract from it.

Mar 312014

Sony Cyber-shot DSC-QX100 First-impressions Review

September 2013 | By Allison Johnson – As posted on dpreview

The smartphone and the point-and-shoot are not, by nature, natural companions. One takes better pictures than the other but has difficulty sharing them. The other takes less inspiring images, but can share them instantly. One is easy to leave at home by accident, and the other is in your pocket at all times.

Camera manufacturers have been trying for some time to make compact cameras more like smartphones by adding Wi-Fi connectivity, but no attempt to date has been quite as bold as Sony’s latest effort: the Sony Cyber-shot DSC-QX100 and QX10 are sensor/lens modules designed explicitly for use with smartphones. Each unit contains a lens, sensor and processor and your smartphone provides the user interface.

With a shutter button and zoom toggle the QX100 and QX10 are able to operate as standalone cameras (albeit without an LCD or any way of checking composition) but they’re designed to work in concert with a smartphone by way of Sony’s PlayMemories Mobile app. Establish a connection between the devices, open up the app and your mobile device acts as the camera’s LCD. Included with each unit is a mount that clamps to the backside of a smartphone.

The QX100 is the high-end model, and it’s quite a step up: at its core are the best bits of the Sony Cyber-shot RX100 II, based around the same 20MP 1-inch sensor and fast (at the wide end) Zeiss-branded zoom lens. The RX100 II’s predecessor won a DPReview silver award when we reviewed it, and its excellent image quality was a major factor. In the RX100 II, Sony added a backside illuminated sensor to improve already good low-light performance, and our initial impressions of the updated model have been positive.

Sadly, although not surprisingly, the QX100 is a JPEG-only device. And not only is RAW mode unavailable, manual exposure control is limited too, to aperture priority and exposure compensation. There’s no shutter priority mode here, nor fully manual (even though we can’t see why there couldn’t have been). HD video recording is available at 1440 x 1080 resolution, reduced from the standard 1920 x 1080 found in most compact cameras (including the RX100 II).

The RX100 II currently sells for $750; the QX100 has been introduced at $499.95. That’s a sizable discount if you can live with the trimmed-down feature set.

Key specifications:

  • 20.2 effective megapixel 1.0″ Exmor R BSI CMOS sensor
  • 28-100mm equivalent 3.6x optical zoom F1.8-4.9 lens
  • Limited manual control – aperture priority, auto and exposure compensation
  • Optical SteadyShot image stabilization
  • MicroSD card slot
  • NFC and Wi-Fi connectivity

Camera manufacturers are doing their best to make nice with mobile devices by adding Wi-Fi and NFC, but nobody has solved the dilemma yet. Sony’s bold attempt with the QX100 isn’t just to work with your smartphone, it’s designed to become part of your smartphone. The QX100 aims to produce better photos and facilitate easier sharing, all from one device.

Mar 212014

posted by Pretty Presets  |  Lightroom Tutorials

Welcome to the first in a series of ten tutorials designed to help Pretty Preset customers use their products effectively and efficiently.

Today, we are talking about smoothing skin with the Skin Smooth brush from the Perfect Portrait brush collection.

If you are new to brushes, once the brushes are installed, to access them, click on the brush icon below the histogram, then click where the second arrow is pointing to in the image below. It may say “Exposure,” or “Contrast,” etc. Click there and the brush menu list will drop down. Move your mouse down the list to see all the names and click on Skin Smooth when you see it.


Before you smooth skin, you should first make sure to brighten your subject, if needed. If the skin is underexposed then blemishes, wrinkles, etc. will be much more noticeable. Exposure can be easily fixed with the Add Light brush.

On to smoothing the skin. Select the Skin Smooth brush and select your flow.  The brush is fairly strong, so it may be too much smoothing if your subject is young, so reduce the flow a bit. Tip: you do NOT want skin to be over-smooth because then they can look like plastic and that is not a good thing.

For those who don’t know, flow is how much of the brush effect that you see with each stroke (when you click and move mouse over an area). When the flow is reduced, the full strength of the brush does not show through. So, if you have a brush with a strong effect, you can reduce the flow so that not as much of it is applied to your image.

Now start brushing over the skin. A pin will be anchored down wherever you start brushing. Make sure you use a brush size that suits the job. That means make the brush large enough to cover the area quickly. You can make your brush bigger or smaller with the [  ] keys on your keyboard, or by using the scroll wheel on your mouse.

Once you start a new pin click “done” at the bottom of the image, the pin will turn all white. If you wish to go back to that pin/change and want to alter something, just click the pin. When it goes back to black and white, it is active again.

You may or may not see a red color on the area you brush over. This is your “mask,” and is only there to show you were you brushed already. If it is distracting to you, it can be turned off at the bottom of the image (an arrow is pointing to it in the image above).

If you hit an area you did not mean to brush over, you do not need to delete and start over. Instead, change your brush to the Erase brush and brush over the unwanted area.


Once your are finished editing with the brushes, click Done in the bottom right corner, below the image. You can continue on editing or export the image if you are finished.

Below is a comparison of before and after the Add Light and Smooth Skin brushes.  View more brushes from this collection here.

Hello!  I’m Amanda, a quirky, introverted Mom of four, who is passionate about helping others learn their cameras and editing software. I also currently homeschool my four kids, ages 13 to 6, all whom run away when they see me carrying my camera.  Visit me at my website and facebook page.

Mar 142014

                                                                  Anna Gay Posted by Ana Gay

Anna Gay is a portrait photographer based in Athens, GA and the author of the dPS ebook The Art of Self-Portraiture. She also designs actions and textures for Photoshop. When she is not shooting or writing, she enjoys spending time with her husband, and their two cats, Elphie and Fat Cat.

If you prefer to shoot in natural light, you may not always have the luxury of photographing your clients in a private space. If you are photographing them in public, though, this can pose its on set of challenges! Here are a few tips on how to make photographing your clients in public a positive experience.

  1. Get to know your client. If they are really outgoing, then photographing them in a public area should be a breeze. If they are at all shy or self-conscious in front of the camera, though, they may not enjoy having their photo made in a location with a lot of people around. Personally, I’m fairly shy, and I get super-duper-self-conscious when someone is taking my picture, so I prefer to have as few people around as possible!
  2. If you do have a shy client on your hands, try finding a secluded spot. For example, if you are in a park, try to get away from the areas that have a lot of pedestrian traffic. Plus, if you get off the beaten path (literally) you may find areas that are more photogenic.
  3. Try to find a location that is familiar to your client. Maybe they have a favorite spot – like a park, or even a favorite neighborhood in their city. Choosing a location that is familiar, or meaningful, to your client will help put them at ease in front of the camera.
  4. Be considerate of the people who are not in your photo. There are few things more annoying than a photographer who swoops in and completely dominates the area! Be mindful of others who are nearby, and keep as low of a profile as you can. Drawing as little attention to yourself as a photographer will help reduce the amount of attention on your client from bystanders.
  5. Also, with the thought of being low-key in mind, you may want to consider lightening your load in terms of equipment when you are photographing in public. Lugging around a lot of gear is not only difficult, but having a huge set-up can be a nuisance to people in the area who are not having you take their picture.
  6. Last but not least, when you are photographing in public, make 100% sure that you do not need a permit to be photographing in your selected location. It sounds wild, but a lot of public places, such as parks, do require professional photographers to obtain a license before their shoot. I can’t think of anything more awkward than being asked to leave a location because you didn’t pick up a license beforehand, so doing some quick research on this before your shoot can save you time and embarrassment!
Mar 142014

Posted by Anna Gay  |

I’m pretty sure we have all been in this situation, at least once: you’re hired for a shoot, and the location is far from aesthetically pleasing. Whether you’re shooting portraits, commercial work, or environmental photos, there are plenty of ways you can work around the fact that you’re in a not-so-interesting location.

1. Shoot From Interesting Angles 

Take a moment to look at the scene, visualizing angles that will make your composition more interesting. Sometimes, shooting from a higher, or lower, angle than you would normally shoot will make all the difference in the world, and will also help take attention away from the aspects of the location that are not as interesting as others.

2. Focus Experiment with focus

If you are photographing people, try shooting with a wide aperture in order to blur out the location, and bring focus to your subject. If you are not photographing people, look for interesting details in the location, and focus in on the details, rather than the scope of the scene.

3. Lighting 

If you have a flash, or any type of studio light, a little bit of light can go a long way in upping the interest factor in your photos. Experiment with low and high key light, and also, similar to focus, look for interesting details in the location to accentuate with lighting.

4. Time of Day

A location may be uninteresting at one time of day, but at a different time of day, it may look completely different. Try shooting in the golden hour – either early in the morning, or late in the evening, to achieve golden, hazy light. Or, think about how the scene would look at night, shot with a long exposure.

5. Post-Processing 

When in doubt, consult Lightroom and Photoshop! The danger in post-processing photos from an uninteresting location, however, is the tendency some people have to over-edit. This is a situation where you really, really need not over-edit, as it will appear as though you are over-compensating, thus drawing attention to the uninteresting location. Keep it simple – see how the image looks in black and white, or try your hand at (extremely minimal) HDR, in order to bring out more highlights and shadows.

These are just a few of the many possibilities for making a location appear more interesting. Do you have any tips or tricks you would like to share?


Mar 112014

 Kent DuFault    By Kent DuFault, a professional photographer and author, on  in Photography and Camera Gear

Anyone who has been involved with photography for some length of time has heard of shutter release cables. But have you ever asked yourself why you need a remote shutter release in your bag? You should ask yourself this question because many photographers still purchase a remote shutter release as one of their last accessories. It’s almost as if we can hear them saying, “Well, I don’t do night photography.” But a remote shutter release offers you so much more; it opens a creative door that you can’t effectively access without one. In case some of our readers are new to photography, let us start out by talking about what a remote shutter release is.

A remote shutter release is a remote way to trigger your camera shutter without having to touch the camera. In the earlier days, it was generally referred to as a cable release. There was a dedicated shutter release socket on the camera where you could connect the cable. The cable release is still in use today, although it is less common, especially in consumer grade digital cameras. The more common release used today is an electronic release.

There are two types of releases for cameras: tethered and untethered. The difference between the two is that a tethered release is a wired device whereas an untethered release is a wireless one. A “cable release” is a tethered release as is a “wired electronic release”. An untethered release is connected to the camera via a receiver, and you hold the wireless remote in your hand. The untethered release uses a radio frequency signal to trigger the release of the camera shutter.

Here is an image of a cable release.

 And this is a tethered electronic release.

And this is an un-tethered electronic release

The choice between a cable release and a tethered electronic release is often dictated by the camera model that you use. An untethered release (radio trigger, as they are often referred to) can be purchased for most cameras; you just need to make sure that you get the right model to connect to your camera. So why would you choose a tethered release versus an untethered release?

The untethered radio trigger offers the most versatility; you can literally be standing a very long distance from your camera and still fire it at will. But with that versatility there are costs: it is more expensive, it requires batteries, and it requires more knowledge for setup and use.

The tethered release is less expensive and easier to use. The main “purchasing option” with a tethered release is “how long the cable is”.  They can be short, 4 to 6 inches in length, or, as long as 5 feet. The longer the length, the less likely you are to bump the camera during an exposure. The trade-off being that you must find room for it in your camera bag. The photograph below is a perfect example of a long, tethered, cable release being put to creative use.

How is a Remote Shutter Release Useful to You?

Now that we know what a remote shutter release is and what choices we have when acquiring one, let us find out what it can do for us. The main reason to buy one is to prevent “camera shake” when photographing a subject under high magnification, or, when using slow shutter speeds. And of course, a remote shutter release is handy if you want to include yourself in the photograph. It is very difficult to “press” the shutter release button on your camera without “nudging” the camera. Most people just aren’t that delicate with their touch. The beautiful photograph below was ruined by an unfortunate camera shake that could have been avoided if a camera release was used.


The camera release helps keep your fingers away from the camera at the point of exposure. But there are other reasons as well.

Situations When a Camera Release is Useful

  1. When using Telephoto Lenses
  2. Doing Macro Photography
  3. Shooting Multiple Exposures
  4. Using Slow Shutter Speeds due to Lack of Light
  5. Using Slow Shutter Speeds to Create the illusion of Movement
  6. Painting with Light
  7. Capturing momentary Bursts of Light
  8. Shooting HDR Images
  9. Shooting Skittish Subjects
  10. Shooting Dangerous Subjects

Let’s Discuss Each of Them in Detail

1. Using Telephoto Lenses

Long telephoto lenses do what we’re looking for, i.e. pull a subject in closer, through the use of magnification. It’s this very magnification that makes them difficult to use and get a sharp image. Not only is the lens magnifying the image, but it is also magnifying the effect of camera shake. It’s like looking through a pair of heavy binoculars that is hardly steady.


There are many techniques one may employ to steady a camera and telephoto lens. One of the primary techniques is a remote shutter release. If you’re using long telephoto lenses you should consider putting a release on that camera whenever possible.









2. Macro Photography

Just like telephoto lenses macro photography works through magnification, but it also adds one more element- close focusing. It’s the magnification that, once again, makes it difficult to achieve sharp results in your photographs without putting in extra effort. If you’re into macro photography and you are thinking about buying a new macro lens, you can’t live without a camera release. This one simple tool will instantly improve the quality of your images!














3. Multiple Exposures

Multiple exposures was an often used form of creative expression in the pre-Photoshop days. Today, many photographers create multiple image photographs in post-production. But something gets lost in that technique. It’s that sense of surprise, and anticipation, of what you might have captured that makes creating it in camera so much fun. If your modern digital camera doesn’t allow multiple exposures, try picking up an inexpensive Lomography camera (we really like the DianaF+). Your remote shutter release comes into play when you want to create multiple exposures by moving objects within the scene but you want to keep the overall image sharp. Using your release you can fire the camera multiple times or lock the shutter open.

4. Slow Shutter Speed due to Lack of Light

You may at some point find yourself in a situation where you have very little available light to work with. Perhaps you can’t use a flash because the scene is too large. You don’t want to drive up the ISO because you want perfect picture quality. In this situation you could put your camera on a tripod, or even just rest it on a solid base such as a table or ledge, attach your release to the camera, and confidently make an exposure without creating camera shake.

5. Slow Shutter Speed to Create the Illusion of Movement

What if you find yourself in a situation where you have plenty of light. But the subject matter has movement and a fast shutter speed just doesn’t convey the scene as you see it in your mind. A slow shutter speed would allow the movement to become fluid. You make a creative decision, put the camera on a tripod, set your exposure to a long shutter speed, fire the camera using your remote shutter release, and “Boom!” You have a great photograph with rock steady detail in the areas that weren’t moving and motion captured in the areas that were moving. This is often referred to as a shutter drag.




6. Painting with Light

Painting with light is probably one of the most fun expressions of creativity any photographer (no matter what their experience level) can do. It brings out the child in all of us. To try this, you need to pick a dark location, lock your camera down on a tripod or some steady surface, lock the shutter open using your remote shutter release, and select the bulb setting on the shutter speed dial of  your camera. By the way, almost all remote shutter releases allow you to lock the shutter open, or you can manually hold the shutter open for as long as you want. Once the shutter is locked open, have someone (or yourself), enter the scene with a light-stick, or a flashlight, or any light source that you can think of, and paint away. Once you’ve completed your painting, return to the camera, and close the shutter. You can also create interesting effects by mixing painting with bursts of a flash.



7. Capturing Momentary Bursts of Light

When discussing this subject, two ideas come to mind-

But these are just two ideas! This is where you stretch your creativity. What other bursts of light could you dream up and photograph?

8. HDR Photography

If you’re interested in HDR photography (and who isn’t these days) you need to realize that the precise alignment of your HDR exposures is crucial to your final outcome. While you can simply click the shutter button with your finger, why take the chance that you will bump the camera and ruin that award winning shot? A remote shutter release give you an extra edge toward quality!






9. Shooting Skittish Subjects

If you’re into photographing birds, animals, insects, kids, or any other subject that changes their behavior when they become aware of you- a remote shutter release is a gift from the Heavens. This is an area of photography where you may want to invest in a radio remote release. Going that route allows you to completely remove yourself from the picture area. You simply set up your camera and go relax somewhere where you can observe the action. If you put your camera into an auto exposure mode, you don’t even need to worry about the ambient light changing. For these types of subjects you might find the “drive” mode of exposure handy, as you can shoot bursts of images.




10. Shooting Dangerous Subjects

Most of the same principles for skittish subjects apply here. But, we would like to reiterate a point that this article opened up with- You need a remote shutter release in your bag. We also stated that an it can open doors of creativity for you that would otherwise be unavailable. The point being- how many of us would want to hang out close to a poisonous snake or a gigantic bee hive? However, if you feel inspired to do so, a remote shutter release opens up that opportunity while giving you the safety of distance.

We hope that this article has inspired you to put a remote shutter release in your bag and come up with some creative ideas on how to use it!