Table Of ContentPhoto FX
Creating Optical Effects In-Camera
Travis Baker
Variegate Press
Cincinnati, Ohio
2019
Photo FX
Creating Optical Effects In-Camera
Copyright © 2019 by Travis Baker
All photos, illustrations, and graphics were
created by and are the property of Travis Baker
Published by Variegate Press
Produced through the facilities of the Electronic
Media Communications Department
University of Cincinnati
Blue Ash College
Table of Contents
Preface
iii
Introduction 1
I wish to acknowledge the assistance of the
Faculty of Electronic Media Communications,
Chapter 1 - Bokeh 3
University of Cincinnati Blue Ash College.
Bokeh 4
Motion Blur 9
Chapter 2 - Specialty Lenses 15
Macro 16
Fisheye 21
Lensbaby 24
Chapter 3 - Low Light 29
Long Exposures 30
Light Painting 36
Shooting Stars 42
Chapter 4 - Flash Photography 45
Lighting Effects 49
Flash Sync 52
Multi-Flash 54
Chapter 5 - Filters and Other Effects 57
Lens Filters 58
The Zoom/Twist Effect 64
Multiple Exposure 66
Glossary 70
Colophon 76
About the Author / Credits 80
i ii
Preface Introduction
Did we ever land on the moon? There are a The camera has only been around since 1816.
The idea of a book about photographic effects While this is a book about optical effects
number of statistics, along with a host of wild The digital camera has only existed since
spawned from my curiosity about cameras created by the camera, it should be noted that
theories, circulating on the internet to show 1975. By media standards, photography is
and the role they play in photography. It may photo editing software was used on every
that 10–20% of Americans believe that the still relatively young. We have by no means
sound silly to talk about a camera as being image contained within. While the effects
moon landings were faked. Despite all the unlocked all of the mysteries these marvelous
only a part of the photographic process, themselves were not manipulated after the
photographic evidence, including satellite devices contain, any more than we have
since most of us think of picture taking and fact, the images were all altered in some way.
imagery of all the landing modules we’ve left used them to their full potential. Only by
photography as one and the same, but this For most, this simply involved cropping the
sitting on the moon’s surface, conspiracy experimentation and exploration can we begin
isn’t the case. Most pictures are captured in a image to an appropriate size and converting it
theories still abound. to understand their mystical powers, and
fraction of a second, whereas it may take hours to a usable file for printing. For others, tone,
perhaps even learn something about how we
or even days to process a finished photograph. color, and sharpness were enhanced to make While this isn’t a book about the moon
see the world as well.
them look their best. landings, or about conspiracy theories in
Picture taking may only be a small part of the
general, it does raise an interesting question. Some of the images contained within these
photographic process, but it is definitely the Some images were converted to grayscale
Could the moon pages could be
most crucial part. Photo editing software to bring attention to the specific effect I was
landings have been described as silly,
may be capable trying to achieve,
of a lot, but it faked? Of course fanciful, or even
and one image
can’t transform a they could. Even in surreal, but the
in particular, the
poorly executed 1969 the technology one thing they are
picture of the
photograph into existed to convincingly not is fake. Every
fireworks display
an exceptional simulate men standing image in this book is
in chapter 3, is a
image. It can’t on the surface of the documented evidence
bring blurry collage of several
moon. Certainly, these of something that
images into focus photographs
days the technology occurred in the real
or change the merged into
has progressed far world and not in a
point of view of one. This was
beyond what was ever computer program.
the camera. It done because a
thought possible. They are no more
can’t recover photo of a single
data lost to “fakes” than the Apollo
pyrotechnic burst Why then, with all
poor exposure moon landings. That’s
didn’t have quite of the technology
any more than not to say, however,
the same impact. available today, would
it can create that they are all strictly
an interesting someone write a book “real” either.
The difference
composition from about photographic
between photo
a dreary scene. effects that can be The images in this
manipulation and
achieved without book aren’t fakes —
I think the more photo editing photo manipulation they just look that way.
interesting question is, what role does photo can be clearly demonstrated by the examples
software? I don’t know. Why did we bother To put it another way, they defy our natural
editing software play in photography? Our on these pages. The image on this page has
going to the moon if we could just use fake perception of the world around us. They do
goal as photographers should be to capture as been manipulated. It is a combination of five
images to cripple the Soviet Empire? this in two ways. First, the camera effects
much detail with the camera as possible so as pictures blended into one. The image on the
which were used add visual interest and style
to limit the time spent in front of the computer. facing page has been edited. It has been Believe it or not, the antiquated notion of pro-
to the images. Second, they highlight the ways
We should take the time to plan and perfect sharpened and tonally adjusted to create an ducing photographic effects without the help
in which the camera sees the world differently
the shot before it is taken, not after. image with high contrast, but it is actually a of computer software does serve a purpose,
than we do, and all the wonderous and exciting
real picture of a real moon. and it’s not so far removed from the point of
possibilities that entails.
This book is about some of the things a
going to the moon. With a greater under-
photographer can do when armed with nothing While the distinction may not seem very
standing of what a camera is capable of, from If nothing else, I hope that this book inspires
more than a camera and a little imagination. significant, it is important to understand that
capturing the tiniest details of the smallest you to get a little more creative with your
It by no means covers every aspect of the specific effect applied to each image that
objects to photographing the entire planet ris- photography, put a little extra thought into
photography, nor does it tell the whole story appears in this book was entirely created,
ing over an astronaut’s shoulder, we can gain each picture you take, and possibly even
of a camera’s creative flexibility. It is simply and can be easily re-created, using nothing
a better understanding of the art of photogra- achieve your own “moon landing” someday.
a sampling of the camera’s ability to surprise, more than a camera and a little ingenuity. I
phy. And maybe, just maybe, we can imagine Just be prepared for plenty of skepticism and
edify, and delight us about the world we live in. encourage you to try it for yourself.
new ways of capturing images as well. wild theories if you do.
1
iii
1
BOKEH
Bokeh
Every lens has a point of sharp
focus that is a measured distance
from the image sensor. As the
distance increases or decreases,
the focus becomes softer, or begins
to blur. The nature and amount
of blur depends on the shape and
number of lens elements, or pieces
of optical glass, and the diameter of
the aperture, or iris, of the lens.
Bokeh is a photographic term that
refers to the soft blur that often
appears in the foreground or
background of many photographs.
It has its origins in the Japanese
term boke meaning haze. As it
happens, boke actually refers to a
mental haze or senility. A similar
Japanese term bokashi refers to
intentional blurring, like that which
we often see in photography. Since
conventional wisdom holds that
the objective of photography is
to reveal as much detail about a
subject as possible, it might seem
counterintuitive to purposefully blur
or distort part of an image.
Bokeh most often appears in
portrait photography, and for a
good reason. Unlike landscape
photography where the point is
to get as much of the scene in
sharp focus as possible, portrait
1.01 Bokeh isn’t just for portraits. In this image, the 1.02 In this image, lights have been added to the 1.03 In this portrait, lights of various colors were
photography is all about making
subject practically jumps off the page due to its sharp background to emphasize the effect of blur on high- added to give visual interest to the portrait. While
the subject, the person, the focus contrast against a softly blurred background. While lights. Here, an extremely wide aperture of f/1.4 was the addition of color might add to the beauty of the
of the image. This can be done in a relatively small aperture of f/8 was used to take this used to create the bokeh. While the subject’s face is image overall, it may be too distracting to effectively
several different ways. The subject picture, the proximity of the camera to the subject in sharp focus, her left shoulder is soft due to the very showcase the main subject of the photograph.
was enough to sufficiently blur the environment. shallow depth of field.
might appear brighter than the
background, or darker in the case
of a silhouette. The photographer
might use naturally appearing lines
Points of Light
to guide the viewer’s focus towards
the subject. Most often, however,
If there are prominent points of light included in the background of the image, and the lens
the subject is brought into sharp
aperture is sufficiently rounded and wide, these points will appear as bright circles adding
focus by contrasting them with a soft
aesthetically pleasing highlights to the background blur. If properly done, this soft blurring
defocusing of the background.
will create a composition that is both pleasing to the eye and functional as a means of drawing
the viewer’s eye to the subject.
4 Photo FX Bokeh 5
Aperture
Focal Length and Depth of Field There are various ways to achieve Crop Factor
this background blur in images. A
Wide angle lenses, or lenses with a lens that is capable of opening up its 35mm photography is considered the standard by
focal length below 50mm, naturally aperture wide enough will provide a which photographic equipment is measured. A
have deep depth of field even at sufficiently shallow depth of field to “full-frame” camera is one that uses 35mm film or
wide apertures. Since they offer a blur the background. Such lenses has an image sensor that measures approximate-
are referred to as “fast” lenses as
wider field of view, objects appear ly 35mm. However, many cameras have sensors
they let in sufficient light to allow
smaller in the frame than they do that are smaller than 35mm. For these cameras, a
fast shutter speeds. Care should be
in real life. As an object shrinks, so crop factor is used to determine the field of view
taken, however, to ensure that there
does the amount of blur that we are of their lenses.
is enough depth of field in the image
able to perceive around it.
to encompass the entire subject. For
A 50mm lens is considered normal, meaning it has
ultra-fast lenses with a maximum
Telephoto lenses cause objects to the approximate field of view of the human eye.
aperture of f/2 or wider (f/1.8, f/1.4,
appear larger in the frame and thus The 50mm field of view, however, is based on a
f/1.2 and so on) depth of field may
increase the amount of blur we per- 35mm camera. On a cropped sensor camera, a
be far too shallow. For instance, a
ceive. The greater the focal length lens with an aperture opening of f/1.2 50mm lens will have roughly the same field of view
of our lens choice, the more critical focused on a subject’s nose might as a 75-80mm lens on a full-frame camera. For
it becomes to find an exact point of leave the subject’s eyes out of focus. cropped sensor cameras, a 50mm lens is consid-
sharp focus. This is most often the ered telephoto whereas a 35mm lens is considered
subject of a photograph, or even just Subject Placement normal. This means that photographers who shoot
a part of the subject. In portraits, for over long distances will find their telephoto lenses
Another method of capturing a
instance, the eyes of the subject are are able to reach much farther with a cropped sen-
soft background without having to
most often the point of sharp focus. sor camera. Conversely, landscape shooters who
invest in an expensive fast lens is
routinely use wide angle lenses will find their views
to move the subject away from the
Depth of field also decreases the
are less wide with cropped sensors.
background. A background that is
closer you get to your subject.
sufficiently far from a subject will
Photographing a subject from a few Crop factors differ from camera maker to camera
naturally appear blurred at apertures
feet away will increase the amount maker. Canon, for instance, has a 1.6 crop factor,
of f/5.6 or wider.
of background blur, while photo- meaning you must multiply the focal length of a
graphing a subject from a few yards By increasing the distance between lens by 1.6 to get the true field of view. Nikon has a
away will decrease it. This becomes the subject and the background crop factor of 1.5. Consult your manual to find your
and simultaneously decreasing
a crucial point to consider when camera’s crop factor.
the distance between the subject
shooting macro photography where and the camera, the background 1.04 The 70–200mm zoom lens is the most
camera-to-subject distance is mea- popular telephoto range for photographers.
will become dramatically softer
sured in inches and depth of field is It not only has the ability to bring distant
and allow the subject to stand out
objects closer to the viewer’s eye, but its
measured in millimeters.
more. As an added benefit, shadows zoom range falls directly into the most
cast on the background by the popular focal length range for portraits.
subject tend to soften or disappear
completely, thus removing
Telephoto
distracting artifacts from the scene.
A third method of creating a soft background is using a telephoto lens to capture a portrait. A
telephoto lens is technically any lens with a focal length above 50mm. While any lens might be
used to take a portrait, lenses between 70–100mm in focal length are optimal for the job. Lenses
above 100mm, however, may be used to allow the photographer to put some distance between
the camera and the subject, as well as the camera and the background. This extra distance will
allow for sufficient background blur, but will also result in distant features appearing closer to
the subject. Telephoto lenses not only make distant objects appear larger in the image, they also
compact the scene causing objects to appear much closer together than they are in reality.
6 Photo FX Bokeh 7
Motion Blur
Another type of blur common in photography
is used to convey motion in still images.
Competitors in a sporting event, animals
in nature, and vehicles on the road are all
common subjects in photographs. Capturing
images of moving things presents the
photographer with two options. You can
either choose to shoot at a high shutter speed
of 1/500 of a second or faster and thereby
freeze the motion completely, or shoot at
a relatively slow shutter speed of 1/60 of a
second or slower to blur the motion. This is
an aesthetic choice and most often dictated
by the subject and context of the photograph,
but it is something worth considering.
Stop Motion
Consider two photographs of a car. One is
taken with a fast shutter speed as a car goes
racing by, and the other with a slow shutter
speed as the car sits idling in the road. Is there
any way to tell these two images apart?
Sometimes freezing motion can be
advantageous. Think of photo finishes at
the race track. At other times, allowing the
subject to softly blur and streak across the
frame can be aesthetically pleasing and
conveys to the viewer the action taking place.
Camera Shake
Another type of motion blur to be aware
of is the movement of the camera during
an exposure. While the movement of the
1.05 & 1.06 These two portraits contain the same subject at the same distance from the background. The first was subject can be conveyed as blur in a specific
shot with a 50mm lens to show the actual distance, the second with a telephoto lens. The second shot shows not part of an image, camera movement results 1.07 & 1.08 One of these cars is moving, the other
only the lens’ ability to compact the scene by bringing the background closer to the subject, but also its ability to in the entire image being blurry. is idling in the road. Can you tell which is which?
effectively blur the distant scenery. Shooting with an ultra-fast shutter speed is useful
Camera shake is particularly noticeable in for freezing moving objects and getting the sharpest
images taken with a telephoto lens, due to image possible, but this isn’t always a good thing.
its magnification of small details. For this Motion blur can actually allow the viewer to see the
motion taking place, even in a still image.
reason, it is often recommended to use a
shutter speed that is the inverse of your focal
length. For example, if you are shooting with
a 50mm lens, you should set your shutter
speed at 1/50 of a second or faster. For a
200mm lens, your shutter speed should be
1/200 of a second or more.
8 Photo FX Bokeh 9
Conveying Motion
1.09 This image of a moving car was shot at a
slower shutter speed, capturing the motion of the
Motion blur can occur with any moving
wheels. The camera was panned to follow the
object. Even slow-moving objects like
movement of the car during the exposure, creating
clouds can be blurred with sufficiently slow the background blur as well.
shutter speeds to give them a soft, silky flow
across the image. This effect is most often
used when shooting moving water such as
streams, waterfalls, and fountains.
Slow shutter speeds are something we often
equate with low-light shooting, but they
can be achieved in bright daylight as well.
Camera shake, or the involuntary movement
of the camera by the operator, is something
to be aware of when shooting at slow
speeds. A tripod and remote shutter button
(figure 1.10) are recommended for this type
of photography.
When shooting in bright daylight, shutter
speeds can be lowered by stopping
down the aperture to f/16 or narrower,
decreasing the ISO setting as much as
possible, or with the use of a neutral
density (ND) filter. ND filters work like 1.10 A remote shutter is simply a
sunglasses for your camera. They are flat button you can press to operate the
pieces of glass that have been tinted to camera’s shutter without touching it
directly and inadvertently moving it.
partially block out the light. They come in
Most remotes come with a hold but-
different densities and can be combined ton for use with your camera’s bulb 1.11 & 1.12 These images contrast the camera’s ability to freeze a moment in time with its
for an additive effect. For more on ND mode for extremely long exposures. ability to create a smooth, gentle blur giving the water a silky texture. Notice the sharpness
filters, see page 62. Cordless options are also available. of the rocks in the image contrasting greatly with the blur of the waterfall.
10 Photo FX Bokeh 11
1.14 Even the motion of
clouds, barely detectable
by the human eye, can be
captured at sufficiently slow
shutter speeds. Their motion
creates gentle streaks across
the image reminiscent of paint
strokes on canvas.
1.15 On the other end
of the spectrum, liquids
flying through the air
captured at sufficiently
high shutter speeds can
create abstract patterns
and seem to defy gravity.
1.13 Motion blur can add interest to photographs of
even the most mundane or ordinary objects. In this
image, the motion of tumbling dice provides context
Photographing Water
for what might otherwise be a simple static image of
a pair of dice sitting on a neutral background.
Water is a fascinating subject to photograph
as it has a tremendous number of visual qual-
ities to consider. Frozen water in the form of
ice and snow can be beautiful for the geomet-
ric lines and shapes it forms. Water vapor in
clouds and fog can be appealing for the visual
mood it creates. Liquid water, however, pres-
ents nearly endless photographic qualities.
When still, its surface can be reflective, such
as in a puddle, or refractive, such as in a glass.
When moving, water can be shot at slow shut-
ter speeds causing it to form a smooth, silky
blanket that reveals the shape and direction
of its flow. At high shutter speeds, water can
form abstract patterns, catching light from
different angles, and creating a masterpiece
all on its own.
When photographing water, it is important
to consider which of its many characteris-
tics you wish to showcase and plan your
exposure accordingly.
12 Photo FX
