How to Fire Studio Lights With a Sync Cord

Firing studio lights with a sync cord gives you a lot of flexibility. It allows you to move around more, get better angles on your subject and if you have a long sync cord, it can give you the distance from your subject necessary to get that natural, non-posed look. You typically use sync cords to fire studio lights through a power pack, but they can be used on an external flash as well.

Instructions

1




The -inch end of the sync cord is the larger end.

Plug the -inch end (i.e., the larger end) of the sync cord into your studio lights or power pack. There should be only one place to plug it in.

2




The -inch end looks like a headphone jack.

Plug the -inch end (the smaller end) of the cord into your camera's sync outlet. It is usually located on the front of the camera, just above the lens.

3

Ensure that the sync cord is secure in both the power pack and the camera. Make sure your sync cord is not tangled up. You are now ready to shoot.

---

Firing studio lights with a sync cord gives you a lot of flexibility. It allows you to move around more, get better angles on your subject and if you have a long sync cord, it can give you the distance from your subject necessary to get that natural, non-posed look. You typically use sync cords to fire studio lights through a power pack, but they can be used on an external flash as well.

Instructions

1




The -inch end of the sync cord is the larger end.

Plug the -inch end (i.e., the larger end) of the sync cord into your studio lights or power pack. There should be only one place to plug it in.

2




The -inch end looks like a headphone jack.

Plug the -inch end (the smaller end) of the cord into your camera's sync outlet. It is usually located on the front of the camera, just above the lens.

3

Ensure that the sync cord is secure in both the power pack and the camera. Make sure your sync cord is not tangled up. You are now ready to shoot.

---

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How to Calculate Camera Equivalent Exposures for Night Photography

Nighttime photography requires that you shoot with a fast lens or use flash to capture a moving subject. However, if a subject is not moving, for example, in a nighttime cityscape shot, you need only a steady tripod, and a reciprocity failure chart if you are shooting film, and you can take well-lit shots with exposure times longer than 30 seconds. Because all film suffers from reciprocity failure, where the film does not stay accurate to its box speed in long exposures, it adds an additional element that you will need to calculate in finding the correct exposure time.

Instructions

Instructions

1

Mount the camera on your tripod. Take a meter reading using either the camera's meter or a hand-held light meter.

2

If the exposure must last a second or longer and you are using film, consult your reciprocity chart to find the correct exposure time. For instance, Kodak Tri-X 400 suffers from reciprocity failure at one second or more exposure. According to the chart, Tri-X has a reciprocity failure factor of 1.5 at one second and 2 at two seconds. That means that if the meter reads a two-second exposure, you must multiply the meter's reading by the reciprocity failure factor of 2; so Tri-X 400 requires a four-second exposure to get the same exposure level as a digital sensor would get at just two seconds. Digital sensors do not suffer from reciprocity failure.

3

For longer exposures continue to calculate the proper exposure length using the meter reading and checking that against your reciprocity failure chart.

4

Take the exposure. If you are using a digital SLR, check the exposure by previewing the image to see if the results are bright enough and take another exposure if you need to.

---

Nighttime photography requires that you shoot with a fast lens or use flash to capture a moving subject. However, if a subject is not moving, for example, in a nighttime cityscape shot, you need only a steady tripod, and a reciprocity failure chart if you are shooting film, and you can take well-lit shots with exposure times longer than 30 seconds. Because all film suffers from reciprocity failure, where the film does not stay accurate to its box speed in long exposures, it adds an additional element that you will need to calculate in finding the correct exposure time.

Instructions

Instructions

1

Mount the camera on your tripod. Take a meter reading using either the camera's meter or a hand-held light meter.

2

If the exposure must last a second or longer and you are using film, consult your reciprocity chart to find the correct exposure time. For instance, Kodak Tri-X 400 suffers from reciprocity failure at one second or more exposure. According to the chart, Tri-X has a reciprocity failure factor of 1.5 at one second and 2 at two seconds. That means that if the meter reads a two-second exposure, you must multiply the meter's reading by the reciprocity failure factor of 2; so Tri-X 400 requires a four-second exposure to get the same exposure level as a digital sensor would get at just two seconds. Digital sensors do not suffer from reciprocity failure.

3

For longer exposures continue to calculate the proper exposure length using the meter reading and checking that against your reciprocity failure chart.

4

Take the exposure. If you are using a digital SLR, check the exposure by previewing the image to see if the results are bright enough and take another exposure if you need to.

---

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How to Take Bedroom Pictures

Bedrooms are great for sleeping, but they also make for great pictures. Photographers may take bedroom pictures for furniture stores, Realtors, or hotels. Interior designers take pictures of bedrooms they've decorated for portfolio purposes. The bedroom is where people spend anywhere from one-quarter to one-third of their time, so it is the room that is promoted the most. This guide will help you take great bedroom photos that will pique anyone's interest.

Instructions

Instructions

1

Take pictures of the bed. The bed is usually the focal point of the bedroom. Make the bed up before taking the photos. People like to see an already-made bed. Make sure the bedding works well with the wall coloring, so it appears to be a part of the room.

2

Take pictures of the closet space. Show the width and height of the closet by opening the doors. If the closet doesn't contain any clothes, go just past the threshold and take pictures of the closet structure.

3

Take photos of the master bathroom. Capture the relaxation of the bathroom by taking pictures of the sink and vanity combination or of the bathtub and shower. Take a picture of the bedroom from inside the bathroom. Get a partial view of the bathroom in this photo if you can.

4

Take pictures during the day with sunlight coming into the room. If the bedroom has blinds, open them slightly. Sunlight creates a natural spotlight in the bedroom. Ideally the sunlight will hit the bed at an angle. Take pictures from the opposite side of the sunlight for the best visual effect.

5

Space out furniture in the bedroom to create the illusion of space. Arrange external furniture in a way that creates maximum floor space. Don't place everything against the wall; that will distract from the wall dcor and coloring. Stand in the corner of the room and take a shot of the entire room once the furniture is in place. Take pictures from each corner in order to capture all angles.

6

Take pictures from the vantage point of the bed. Lay on the bed as if you're watching television or reading. Most likely you'll be in the center of the room against a wall. Take photos straight ahead, on each side, and towards the bedroom door. Give viewers the vantage point of what it will look like when they lay in the bed.

7

Take pictures at night with lights on. If there is track lighting in the bedroom, photograph what the track light focuses on (i.e. pictures, vases, flowers, etc). Turn the lights on dimly in order to get a relaxation effect--just bright enough so your pictures don't come out too dark.

---

Bedrooms are great for sleeping, but they also make for great pictures. Photographers may take bedroom pictures for furniture stores, Realtors, or hotels. Interior designers take pictures of bedrooms they've decorated for portfolio purposes. The bedroom is where people spend anywhere from one-quarter to one-third of their time, so it is the room that is promoted the most. This guide will help you take great bedroom photos that will pique anyone's interest.

Instructions

Instructions

1

Take pictures of the bed.

Enhance your photography skill,The Top Secret Photography Techniques

. The bed is usually the focal point of the bedroom. Make the bed up before taking the photos. People like to see an already-made bed. Make sure the bedding works well with the wall coloring, so it appears to be a part of the room.
2

Take pictures of the closet space. Show the width and height of the closet by opening the doors. If the closet doesn't contain any clothes, go just past the threshold and take pictures of the closet structure.

3

Take photos of the master bathroom. Capture the relaxation of the bathroom by taking pictures of the sink and vanity combination or of the bathtub and shower. Take a picture of the bedroom from inside the bathroom. Get a partial view of the bathroom in this photo if you can.

4

Take pictures during the day with sunlight coming into the room. If the bedroom has blinds, open them slightly. Sunlight creates a natural spotlight in the bedroom. Ideally the sunlight will hit the bed at an angle. Take pictures from the opposite side of the sunlight for the best visual effect.

5

Space out furniture in the bedroom to create the illusion of space. Arrange external furniture in a way that creates maximum floor space. Don't place everything against the wall; that will distract from the wall dcor and coloring. Stand in the corner of the room and take a shot of the entire room once the furniture is in place. Take pictures from each corner in order to capture all angles.

6

Take pictures from the vantage point of the bed. Lay on the bed as if you're watching television or reading. Most likely you'll be in the center of the room against a wall. Take photos straight ahead, on each side, and towards the bedroom door. Give viewers the vantage point of what it will look like when they lay in the bed.

7

Take pictures at night with lights on. If there is track lighting in the bedroom, photograph what the track light focuses on (i.e. pictures, vases, flowers, etc). Turn the lights on dimly in order to get a relaxation effect--just bright enough so your pictures don't come out too dark.

---

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Burning Techniques in Black & White Photography

In black and white photography, burning and dodging allow the photographer to control the final look of an image or print. Burning a part of the photo means making it darker, while dodging makes part of the photo lighter. They both help make the scene more dramatic by adding darker shadows or contrast to an image. Carefully applying burning techniques makes a print pop.

In the Chemical Darkroom

One of the easiest burning techniques involves making a large piece of card stock with a hole in it. After the photographer makes a test print and determines which areas he wants to darken, he makes another print at the same exposure. Before turning the enlarger off, he holds the hole in the card stock above the areas that need burning. The holes let extra light fall on the photography paper, which darkens it. The card stock shields the rest of the print and keeps it at the same exposure.

Masks

Photographic paper doesn't darken under red light, so if you hold a transparent red-shaded masking paper over it, you can stop the light from a black-and-white enlarger from changing the exposure of the red-masked areas. Typically, the photographer uses rubylith, which combines a clear polyester backing sheet with a red-colored emulsion. She makes a test print and holds the rubylith over the print. Around the areas that she wants darker, she cuts away the red-colored emulsion with a utility knife. In the darkroom, she aligns the cuts with the enlarger projection before adding the photography paper. After she makes an exposure to the rubylith, she removes it and exposes the rest of the paper. The areas where she cut the red-colored emulsion away end up exposed longer and they turn darker.

In Photoshop

Photoshop, the premier digital editing tool, includes both dodging and burning tools that a photographer can use to change the exposure of areas on an image. He first selects the burning tool from Photoshop's pallet. To selectively darken only the shadows; he selects "Shadows" and sets the exposure to around seven percent. Then he applies the burning tool to the light areas of the image he wants to darken. For burning mid-tones that need increased contrast, the photographer increases the brush size and uses short,quick brush strokes.

In Lightroom

Lightroom, a popular photography manipulation and organization program, includes a tool called the adjustment brush, which can do burning as one of its functions. To burn, the photograph selects the adjustment tool and sets it to "Burn" on the drop-down menu. Then he adjusts the tool to the desired size, feather and exposure. Typically, a photographer uses a smaller brush than the area being burned and paints a mask over the area. A mask is the area the program applies for the burning effect. The feather controls how much the mask bleeds into surround areas. The exposure controls the effect's intensity. Once a mask covers the area needing burning, the photographer can change the effect by moving the exposure slider.

---

In black and white photography, burning and dodging allow the photographer to control the final look of an image or print. Burning a part of the photo means making it darker, while dodging makes part of the photo lighter. They both help make the scene more dramatic by adding darker shadows or contrast to an image. Carefully applying burning techniques makes a print pop.

In the Chemical Darkroom

One of the easiest burning techniques involves making a large piece of card stock with a hole in it. After the photographer makes a test print and determines which areas he wants to darken, he makes another print at the same exposure. Before turning the enlarger off, he holds the hole in the card stock above the areas that need burning. The holes let extra light fall on the photography paper, which darkens it. The card stock shields the rest of the print and keeps it at the same exposure.

Masks

Photographic paper doesn't darken under red light, so if you hold a transparent red-shaded masking paper over it, you can stop the light from a black-and-white enlarger from changing the exposure of the red-masked areas. Typically, the photographer uses rubylith, which combines a clear polyester backing sheet with a red-colored emulsion. She makes a test print and holds the rubylith over the print. Around the areas that she wants darker, she cuts away the red-colored emulsion with a utility knife. In the darkroom, she aligns the cuts with the enlarger projection before adding the photography paper. After she makes an exposure to the rubylith, she removes it and exposes the rest of the paper. The areas where she cut the red-colored emulsion away end up exposed longer and they turn darker.

In Photoshop

Photoshop, the premier digital editing tool, includes both dodging and burning tools that a photographer can use to change the exposure of areas on an image. He first selects the burning tool from Photoshop's pallet. To selectively darken only the shadows; he selects "Shadows" and sets the exposure to around seven percent. Then he applies the burning tool to the light areas of the image he wants to darken. For burning mid-tones that need increased contrast, the photographer increases the brush size and uses short,quick brush strokes.

In Lightroom

Lightroom, a popular photography manipulation and organization program, includes a tool called the adjustment brush, which can do burning as one of its functions. To burn, the photograph selects the adjustment tool and sets it to "Burn" on the drop-down menu. Then he adjusts the tool to the desired size, feather and exposure. Typically, a photographer uses a smaller brush than the area being burned and paints a mask over the area. A mask is the area the program applies for the burning effect. The feather controls how much the mask bleeds into surround areas. The exposure controls the effect's intensity. Once a mask covers the area needing burning, the photographer can change the effect by moving the exposure slider.

---

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• Photoshop Tips & Tricks - Graphic Design & Publishing Center

  www.graphic-design.com/Photoshop

  Free Photoshop tutorials and Adobe Photoshop Elements department of the Design and Publishing Center, featuring DTG Magazine, the original design zine -- since 1990.

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