help with my photography

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I take the pictures in JPEG and RAW. So if I understand, the raw file doesn't have the white balance setting that was chosen on the camera, correct? Then I can take the raw file and ajust the WB with the software Aperture?
 
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That is correct. Many people including myself always capture in both jpeg and RAW. the jpeg is a great convenience in that it gives you have an image that is often as good as you need for either proofs or posting on the web. But if you're producing fine art prints, then I think you will want the added control over your images that RAW provides.

Incidentally, even though Adobe seems to want to price Photoshop beyond the means of all but professional photogs; Photoshop Elements is a very powerful PP tool sufficient for most purposes and cost under $100.
 
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Incidentally, even though Adobe seems to want to price Photoshop beyond the means of all but professional photogs;

You have 2 days left to get the Photographers Deal of $9.99/Mth for Photoshop CC + LR and every update they put out while you are in the subscription.

Photoshop Photography Program
 
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Just wanted to clear up some misconceptions noted in some of the answers.

Believe it or not the shutter speed does not really matter when using flash. The flash freezes the subject so 1/60th, I/125 or even 1/15 shutter speeds will make no difference, just stay below your cameras flash sync speed. The shutter speed will only affect the ambient light or background exposure, your subject is 'frozen' by the flash duration time which is really fast...like 1/1000 of a second or higher. A tripod will not help. If you cannot hold the camera steady enough for flash photography then you have other issues. A tripod is useful for keeping the camera in the exact same position in regards to the lighting setup.

Remember, shutter speed controls how long the subject is exposed to light (time) and Aperture controls the volume of light the subject receives in that amount of time.

To increase the volume of light you can either move the light source closer to the subject (inverse square rule) or increase the power of the the light. You can also open the aperture of the lens to a wider setting, keeping in mind that this controls your depth of field as well.

Only use M mode when shooting in a controlled environment. You want to control the exposure, not have the camera control anything. In the automatic modes like A or S you will never get a consistent shot as the camera can change settings for you depending on what it meters each shot.

Attempting studio type shots with a single weak flash is difficult, it can be done but you will probably need to modify the type of shot you want. Forget about lighting the white background. When you see the professionally done headshots like this they are probably using 4 or 5 very powerful lights including a couple of background lights, hair light etc.

What I would suggest in this case is to use modifiers, reflectors, umbrellas etc. any white surface works well and try to redirect the light onto your subject, put the reflectors very close to the subject just out of the frame and experiment. There are many tutorials online to give you detailed instructions on how to shoot portraits with a single speedlight. You really need to get it off the camera to be honest.

Check this website I just Googled...

How to Create Multiple Portrait Styles with One Speedlight – PictureCorrect
 
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Hi everyone,

I have attached the details of the picture.

The picture is too big to be uploaded, 10MB and 6****x resolution...

I am using the P option on the camera.
18-55 lens
I was at about 6 feet from the subject.

-- oh, and if I can ask another question; The muslin backdrop I bought doesn't come out as pure white and there are wrinkles of course. What would be the best way to put the background completely white? Photoshop and lasso tool? I thought that with the muslin I would have less editing to do.

To make the background the way you want it simply move the subject at least 6 feet away from the background and use a wider aperture to decrease the depth of field. Putting the subject 6 or 8 feet in front of the background and using f/5/6 or f/4 for example will completely blur the background and eliminate any wrinkles etc.
 

RavingMac

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I wouldn't disagree in principle on the impact of flash vs shutter speed. However, attempting to use a small flash in bounce I'm not so sure you can rely upon it alone to "freeze" the subject, especially with significant ambient light.

Regardless, it is hard to see why using a tripod would detract since the OP isn't having to carry it over hill and dale to shoot.
 
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I wouldn't disagree in principle on the impact of flash vs shutter speed. However, attempting to use a small flash in bounce I'm not so sure you can rely upon it alone to "freeze" the subject, especially with significant ambient light.

Regardless, it is hard to see why using a tripod would detract since the OP isn't having to carry it over hill and dale to shoot.

Well then you do not understand the principle of flash duration because the duration of the flash is even shorter at lower power settings. This is what freezes the subject, not the shutter speed.

Try this if you need proof: Setup in studio setting for a portrait using flash. Use M mode and set your shutter speed to 1/15 second. Take a frame. Now change the shutter speed to 1/125 and compare. They will be identical in exposure and subject will be sharp.

If you are not using flash then of course the shutter speed is important.

You also misunderstood what I intended regarding a tripod. I meant that it would not 'help' to freeze the subject as was indicated in some of the answers. It will be of benefit to keep the camera secured in a position you want to frame the subject and keep the exposures constant in regards to lighting.
 
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Very thorough discussion given by BCRose. However, I differ with him/her on one aspect. Shutter speed can matter when using flash simply because the duration of the flash is so short. At the 1/15 second duration mentioned or slower, then, depending upon the amount of ambient light, you can get noticeable ghosting (unless the subject is inanimate and the camera is on a tripod). A living subject will almost certainly move some as will a hand held camera. Also, as previously pointed out, a shutter speed in excess of the camera's sync speed might produce an unevenly illuminated frame.

As an interesting test of how stead you can hold a camera, take two laser pointers. Place one on a table shinning on a wall. While holding the second one, try to keep your dot on the one generated by the table's.
 

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Well then you do not understand the principle of flash duration because the duration of the flash is even shorter at lower power settings. This is what freezes the subject, not the shutter speed.

Try this if you need proof: Setup in studio setting for a portrait using flash. Use M mode and set your shutter speed to 1/15 second. Take a frame. Now change the shutter speed to 1/125 and compare. They will be identical in exposure and subject will be sharp.

If you are not using flash then of course the shutter speed is important.

You also misunderstood what I intended regarding a tripod. I meant that it would not 'help' to freeze the subject as was indicated in some of the answers. It will be of benefit to keep the camera secured in a position you want to frame the subject and keep the exposures constant in regards to lighting.
I do understand. Doug says it better, below, than I did.
In essence, what you are saying is correct only when flash provides the majority of light for the total exposure. When ambient light is significant, shutter speed matters.

Very thorough discussion given by BCRose. However, I differ with him/her on one aspect. Shutter speed can matter when using flash simply because the duration of the flash is so short. At the 1/15 second duration mentioned or slower, then, depending upon the amount of ambient light, you can get noticeable ghosting (unless the subject is inanimate and the camera is on a tripod). A living subject will almost certainly move some as will a hand held camera. Also, as previously pointed out, a shutter speed in excess of the camera's sync speed might produce an unevenly illuminated frame.

As an interesting test of how stead you can hold a camera, take two laser pointers. Place one on a table shinning on a wall. While holding the second one, try to keep your dot on the one generated by the table's.
 
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Very thorough discussion given by BCRose. However, I differ with him/her on one aspect. Shutter speed can matter when using flash simply because the duration of the flash is so short. At the 1/15 second duration mentioned or slower, then, depending upon the amount of ambient light, you can get noticeable ghosting (unless the subject is inanimate and the camera is on a tripod). A living subject will almost certainly move some as will a hand held camera. Also, as previously pointed out, a shutter speed in excess of the camera's sync speed might produce an unevenly illuminated frame.

As an interesting test of how stead you can hold a camera, take two laser pointers. Place one on a table shinning on a wall. While holding the second one, try to keep your dot on the one generated by the table's.

Like the original poster was asking about...Flash in a studio setting providing 100% of light.
The information regarding ambient light is not relevant here. There will not be ghosting with a stationary posed subject like this. You are talking about something completely different where you expose for the ambient light and freeze the subject with flash, for that you need at least 1/30 ss in my experience for good results.

In a studio situation like the original poster was asking about my information is totally relevant. I urge you to try it to see for yourself. Speculating on what might or should happen is not really helpful to the OP. This is a simple concept and all the misinformation given is only confusing what the OP asked.

Trust me on this...I am a retired school photographer and former studio owner and have shot hundreds of thousands of these types of headshots with great success. Like I mentioned above, doing this with a single speedlight is not easy but can be done with nice results.
 
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I do understand. Doug says it better, below, than I did.
In essence, what you are saying is correct only when flash provides the majority of light for the total exposure. When ambient light is significant, shutter speed matters.

Thank you for agreeing!
 
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Don't get too concerned with your background just yet, -use the black muslin until you & subject are comfortable and confident. Concentrate on your models position and expression relative to the camera. Change the positioning of your flash to show the models best features and pose her to flatter the body shape. Position of hands AND feet are also important. To be brief here, 'walk before you run' and think about lighting backgrounds much later down the path of experience.
Be comfortable yourself and ensure the model is too, otherwise it will show in your pictures. Good luck, and enjoy your photography! Google portraits in 'images' mode and study them!
 
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Very thorough discussion given by BCRose. However, I differ with him/her on one aspect. Shutter speed can matter when using flash simply because the duration of the flash is so short.

I just wanted to add that the shorter the flash duration the better for freezing subjects. Sports photographers strive for this. Shorter flash durations are more easily achieved at lower power settings.

If you understand the principle it makes total sense.

Paul C. Buff, Inc. - Flash Duration
 
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Good day,

I am having trouble taking good pictures.
I have a nikon 3200, with a sb-200 flash, bought a 10x20 muslin white and black.

I am taking the pictures in the base with a suspended ceiling (white). Muslin is hanged on the wall.
Subject is on the muslin, I aim my flash to the ceiling and the picture is still grainy...
Their is not much light in the basement... Is that why?
Should I get lights?

Any reason why it is doing that?

Thanks!

First lets ask. Do you know anything about photography and how your camera works. Now dont take this the wrong way. I am honestly not trying to sound rude, but this will help us know your knowledge level to better help you.

I am going to assume the worse and try to work my way from here to help you.
Before I begin I would like to say the 3200 is more then enough of a camera for indoor/studio portraits. Don't let anyone tell you other wise.

First off the "grainy" look I am going to assume is from your camera using a High ISO to compensate for poor lighting.

But lets first start by explaining the exposer triangle. You have your lens Aperture on one corner, the ISO sensitivity on another and shutter speed on the last. If you adjust anyone of these, your exposure changes.

It is generally a good practice to keep your ISO low as possible. 100 being the normal low for most cameras will offer the least amount if any noise. This is even more important when shooting in lower light conditions.

Now your lens Aperture determines your over all depth of field. For outdoor portraits you generally want to get the largest aperture you can. f/1.8 is about standard and offers a nice blurred background behind your subject. However in studio photography, its generally a practice to have your lets from about f/5.6 to f.7.1. This is because the quality of your image can be better at those apertures in most lens and you want as much of the subject and the background in focus as much as possible.

Last is your shutter speed. You always want your shutter speed faster then say your focal length. Since you D3200 using a 1.5 APS-C cropped sensor, we would need to know your lens focal length. But for example if you have a 50mm lens just say (50 x 1.5 = 75mm). Which means you want to keep your Shutter Speed at 1/75th of a sec or faster to prevent movement blur (your movement not the subject). Faster the better, and a tripod is recommend. If however your wanting to freeze say a sports car or a basketball player in actions 1/500th or faster may be required.

Now if you follow these rules and your exposure is still to dark, you need to increase lighting. Many professional soft boxes alone can put out over 1500watts of lighting and many times multiple ones may be required.

Hope this helps..

Joe
 
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First lets ask. Do you know anything about photography and how your camera works. Now dont take this the wrong way. I am honestly not trying to sound rude, but this will help us know your knowledge level to better help you.

I am going to assume the worse and try to work my way from here to help you.
Before I begin I would like to say the 3200 is more then enough of a camera for indoor/studio portraits. Don't let anyone tell you other wise.

First off the "grainy" look I am going to assume is from your camera using a High ISO to compensate for poor lighting.

But lets first start by explaining the exposer triangle. You have your lens Aperture on one corner, the ISO sensitivity on another and shutter speed on the last. If you adjust anyone of these, your exposure changes.

It is generally a good practice to keep your ISO low as possible. 100 being the normal low for most cameras will offer the least amount if any noise. This is even more important when shooting in lower light conditions.

Now your lens Aperture determines your over all depth of field. For outdoor portraits you generally want to get the largest aperture you can. f/1.8 is about standard and offers a nice blurred background behind your subject. However in studio photography, its generally a practice to have your lets from about f/5.6 to f.7.1. This is because the quality of your image can be better at those apertures in most lens and you want as much of the subject and the background in focus as much as possible.

Last is your shutter speed. You always want your shutter speed faster then say your focal length. Since you D3200 using a 1.5 APS-C cropped sensor, we would need to know your lens focal length. But for example if you have a 50mm lens just say (50 x 1.5 = 75mm). Which means you want to keep your Shutter Speed at 1/75th of a sec or faster to prevent movement blur (your movement not the subject). Faster the better, and a tripod is recommend. If however your wanting to freeze say a sports car or a basketball player in actions 1/500th or faster may be required.

Now if you follow these rules and your exposure is still to dark, you need to increase lighting. Many professional soft boxes alone can put out over 1500watts of lighting and many times multiple ones may be required.

Hope this helps..

Joe

I give up....:Grimmace:
 
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I give up....:Grimmace:

Well the post was not intended for you. Regardless of if he is using a flash or not. These rules apply. He must first understand these rules, before he is going to be able to understand getting a proper exposer using flash photography. Once he understand these, I can then instruct him on how to get the results he is looking for from everything to getting a fully lit subject, to even making the background pitch black on a lit room to isolate the subject. But unless he fully understands basic exposer, introducing flash to the mix is just going to over complicate things.. Ya dig.. ;D
 
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Hi,
my SB-200 is not wireless I think because there is no R in front of the 200.
Should I get myself another flash (wireless) so it can flash at my backdrop? I have tried to search on BestBuy for one but I can't seem to see if it is wireless or not and how it would work. I suppose I need a base on that flash so it communicates with the d3200.

Adding equipment may help but is not the answer to your problem. The muslin is grey because you are under exposing - relying on automatic features on the camera means that the exposure is 'averaged' and so you get the wrong exposure for this subject. If you increase the exposure by using the factors that usually accompany these automatic factors - usual 2x, 4x etc. then the result will be to give a brighter/whiter image.
 
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Adding equipment may help but is not the answer to your problem. ..........................

If your SB 200 can not be triggered by your built in flash and if it (SB 200) has a pc input (small round hole or plug), t...............

Both very good post.

If he is trying to use only one flash, I am going to point out he/she should be using it as their main light and placed about 45 degrees to the left(or right, depends on your right.. lol) of the subject and the cameras on board flash can be used as a fill light. But if the main flash isn't able to be used remotely, man that just causes head aches. But if they going for a Rembrandt style effect, then its no big deal. A soft box can really help take that harshness off the side though. Though back to the point about the muslin cloth being underexposed. Even a single flash should suffice in most cases, but a lot of things can come into play. If you assume the flash is set to max a lot of it can come down to two things, how close the flash is to the subject and the cameras shutter speed. I think I read in one of his post that the flash was pointed at the ceiling. Perhaps he is doing this to defract the lighting, however doing this will make the amount of light take longer before hitting the subject and a longer shutter speed is going to be required before all the light has hit the ceiling, hit the subject and then had time to return to the camera. Getting over to manual mode, failing in say f/4, iso 100 and starting with something like 1/25 second and shorting the shutter speed until the image is properly exposed is a good start. However like I mentioned before many photographers stick their lens on about f/6.3 or 7.1 aperture because this is normally their shaprest point and also gives a clear DoF on both the subject(s) and the background. If the OP does this, **** with a long enough shutter speed alone you can get a fully exposed image with no issue.

But ya know keep helping the OP and he hasn't responded in the past few days, so our attempts at helping may be wasted at this point.. :(
 

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