Understanding Depth of Field for Beginners

You may have heard the term depth of field (DoF), but if you are new to photography you may not yet be taking advantage of how DoF can enhance your photos. A basic definition of depth of field is: the zone of acceptable sharpness within a photo that will appear in focus. In every picture there is a certain area of your image in front of, and behind the subject that will appear in focus.

This zone will vary from photo to photo. Some images may have very small zones of focus which is called shallow depth of field. Others may have a very large zone of focus which is called deepdepth of field. Three main factors that will affect how you control thedepth of field of your images are: aperture (f-stop), distance from the subject to the camera, and focal length of the lens on your camera. Here are some explanations and answers to other common questions concerningdepth of field.

How does aperture control depth of field?

Aperture refers to the access given to light from the lens to the camera sensors. Thesize of your aperture (the diameter of the hole through which light enters the camera) controls the amount of light entering your lens. Using the aperture (f-stop) of your lens is the simplest way to control your depth of field as you set up your shot.

Large aperture = Small f-number = Shallow (small) depth of field
Small aperture = Larger f-number = Deeper (larger) depth of field

It may be easier to remember this simple concept: The lower your f-number, the smaller your depth of field. Likewise, the higher your f-number, the larger your depth of field. For example, using a setting of f/2.8 will produce a very shallow depth of field while f/11 will produce a deeper DoF.

The image on the left was captured at 250th of a second at f/5.0 which resulted in a very shallow depth of field.  Because of this the background is out of focus allowing the subject to stand out. The image on the right was captured at 1/5th of a second at f/32 which created a deep depth of field and a sharper background.

How does distance control depth of field?

The closer your subject is to the camera, the shallower your depth of field becomes. Therefore, moving further away from your subject will deepen your depth of field.

How does the focal length of a lens control depth of field?

Focal Length refers to the capability of a lens to magnify the image of a distant subject. This can get complicated, but the simple answer is that the longer you set your focal length the shallower the depth of field. Example: Your subject is 10 meters (33 feet) away, using a focal length of 50mm at f/4; your depth of field range would be from 7.5 -14.7 meters (24.6-48 feet) for a total DOF of 7.2 meters (23.6 feet). If you zoom into 100mm from the same spot, the depth of field changes to 9.2-10.9m (30.1-35.8′) for a total of 1.7m (5.7′) of depth of field. But if you move to 20m (66′) away from your subject using the 100mm lens, your depth of field is almost the same as it would be at 10 meters using a 50mm lens.

This image of a swan hiding in the tall foliage was captured from about 5m (16′)  with a 300mm focal length lens. This combination of focal length and distance created a depth of field of approximately 5cm (2″).

What if I just have a point and shoot camera, or don’t know how to change those settings?

Even with a point and shoot camera, there are ways to control your depth of field. In the Scene Modes menu, look for a symbol of a human head, which is the setting for portraits. This will give you a narrow depth of field. In the same menu there is also a mountain symbol, which is a setting for landscapes, which will give you a deeper depth of field.

If you are a beginner with a DSLR there are some simple ways you can control depth of field and still use and automatic shooting mode. By choosing Aperture Priority mode you can set your aperture to get the depth of field that you want, and the camera will automatically set the shutter speed.

Can I set the depth of field exactly for each situation?

Yes, but because changing your aperture affects your shutter speed, the result may not meet the needs of your image. For instance, if you are trying to increase your depth of field by reducing aperture size you will also need to increase (slow down) your shutter speed which could make your image blurry. Understanding how all these settings work together can increase your control over depth of field.

Is depth of field equally distributed in front and back of my focus point?

No, it’s usually about one third in front and two thirds behind your focal point, but as your focal length increases it becomes more equal.

How will understanding depth of field improve my images?

Managing depth of field is one of the most important tools at your disposal, because having tack sharp images is one of the most important factors to getting that great shot. Knowing how to make the parts of your image you want sharp and the parts you want to be out of focus, is a great artistic tool to create great images.

Getting the right depth of field for your shot can make all the difference.

When should I use a shallow depth of field?

Using a shallow depth of field is a good way to make your subject stand out from its background and is great for portrait photography. Shallow DoF can also be useful inwildlife photography, where you want the subject to stand out from its surroundings. This is also useful because many wildlife photo opportunities are low light situations, and increasing your aperture size will give you more light. Shallow depth of field is also effective for sports photography where many times you want to separate the athlete from the background to bring attention to them. The result of this should also help give you a fast enough shutter speed to freeze the action.

This image captured at 300mm focal length and f/5.6 produced a very shallow depth of field. Because of this, it is important to set your focal point on the subject’s eye. Notice how the bird pops out from the background.

When should I use deeper depth of field?

In landscape photography it is important to get as much of your scene in focus as possible. By using a wide angle lens and a small aperture you will be able maximize your depth of field to get your scene in focus.

This landscape was captured with a 50mm focal length at f/16. The focus point was set at 8 meters, which made everything from 4 meters to infinity in focus.

How can you determine depth of field?

There are several on-line sites that will provide depth of field charts for your camera and lenses. Also, there are a number of apps available for smart phone users that can calculate it for you while you’re in the field. Most cameras have a DoF preview button which will give you a preview as you look through the eye piece. (This is probably the easiest and most under-utilized method.) Using this button may cause your image to appear darker as you view it through the eye piece, but not to worry. Your image will be properly exposed as long as you have the correct exposure settings.

Can depth of field be adjusted to get everything in focus?

Yes, using what is called the hyperfocal distance. When you are focused at the hyperfocal distance, your depth of field will extend from half the distance to your focal point to infinity. Use a DOF calculator to find your hyperfocal distance. If you don’t have a DoF calculator, a good rule of thumb is to focus a third of the way into the scene. Using an aperture of about f/11 or higher with a wide angle lens will maximize your depth of field.

What about depth of field in macro photography?

Because most macro images are produced in low light and with a longer focal length, the depth of field is often very shallow. Adjust your lens to the smallest aperture that the light will allow. It may also be necessary to increase your ISO to allow you to properly expose the image and to maximize your depth of field. Still, in many macro images your DoF may be very minute. With this very narrow focus it becomes necessary to use a tripod, because even the slightest movement of the camera will move your macro subject outside your depth of field.

This 120 mm macro even at f/8 still has a very shallow depth of field.

What is bokeh?

Bokeh (boh-ke) comes from the Japanese word meaning blur. This effect is produced by the out-of-focus areas in your image that are beyond the depth of field. Bokeh commonly refers to the pleasing circle shapes caused by the shape of the lens aperture. Usually created when shooting with your aperture wide open, such as f/2.8, bokeh can also be created with smaller apertures if the background is distant enough.

Bokeh in this image was created by the distance of the subject to the background, which fell well beyond the depth of field.

To summarize controlling depth of field:

Increase depth of field

• Narrow your aperture (larger f-number)
• Move farther from the subject
• Shorten focal length

Decrease depth of field

• Widen your aperture (smaller f-number)
• Move closer to the subject
• Lengthen your focal length

Take control of your depth of field. Understanding how these adjustments control your it will greatly improve your photography. What questions do you have about depth of field? Please share your photos and comments.

Nature and Wildlife Photography Tips for Beginners

If you have an interest in wildlife or nature photography there is a good chance you have seen an image at some point that has completely taken your breath away. Maybe it was a photograph of a sweeping landscape washed in the golden light of the dying afternoon sun or close-up of some small natural miracle that you had never noticed before that moment. You might even have asked yourself, “How did they do that?”

Well, the majority of those incredible photographs came about through a good deal of physical hardship, practiced patience, and a healthy amount of self-made luck.

Here are some tips to help you become stronger at wildlife photography and better at recording of the natural world.

Do your homework before heading out

Be as educated as possible before you ever make a photo. Doing your homework is one of the most important, yet loathed parts of wildlife photography. It never pays to walk into a situation and be completely clueless. Though you can never be totally prepared for every challenge you will face (that’s part of the fun) you can educate yourself so that you safely make the most of your outing.

What gear to pack

Advanced gear is not a requirement, however, patience and perseverance are essential. You don’t need the latest and greatest zoom lens or space-age gadgetry in order to produce outstanding nature and wildlife photos. At the same, you must also understand any limitations of your kit, so that you will have realistic expectations and avoid disappointment.

This photograph was made using the 28-135mm kit lens that came with my camera – after I slowly and quietly crawled into range.

Gear up for what you’ll most likely be shooting. Packing for a photographic outing can cause a lot of anxiety. It’s easy to over pack due to fear of lacking a piece of gear. Over packing though, can be even worse than under packing. You become weighed down and uncomfortable. You find yourself not enjoying what you’re doing which is one of the most preventable of all mistakes, made by photographers. Research the animals and scenes you are likely to encounter. Decide what is most and least important to you. Make choices, commit to them, and then let it go. It will make packing a lot less stressful.

If you plan on photographing wildlife, such as birds and animals that scare easily, then pack your best zoom lens so you can keep distance between you and your subject. Shooting landscapes or scenes where stealth is not a concern? You might consider taking along a wider angle lens to better capture your scene. Ultimately, there is no secret formula and no true all-in-one lens to cover every situation. Be informed before you leave so that you can make the best use of whatever lens you have.

A good bag is worth its weight in gold

All the planning in the world isn’t worth much unless you can comfortably carry your essential tools with you. Find a camera bag that can carry the gear you need easily, and is equally comfortable on your body. Bags range greatly in price and quality but you usually get what you pay for. For added piece of mind, you might consider a bag that is semi-weatherproof or water resistant.

My go-to lightweight bag for wildlife photography, shown with and without the handy rain cover deployed.

Read reviews and find a bag that fits your body, your gear, and your planned outing. You will have a much more comfortable and enjoyable experience. Speaking of comfort…

Comfort items

Shoes: A good pair of hiking shoes or boots is one of the most important pieces of gear for any wildlife photographer. Grit, dirt, mud, water, insects, rocks, and creepy-crawlies – you need a pair of shoes or boots that can handle all of these elements. Your shoes should be well fitting and suitable for walking long distances. If your feet become uncomfortable it won’t be long before you start thinking about cutting your trip short.

Prepare a checklist

It’s always a good idea to have a mental checklist before beginning any shoot. Before your outing ask yourself the following questions:

• Are any special permits or permissions required?Some National or State Parks and wildlife sanctuaries require special permits for access to certain areas, especially those deemed as backcountry environments.
• Where will I park my vehicle?This is very important. Believe me, if you park your vehicle in an unauthorized area you will be stuck with a sizeable fine or worse, return to find your vehicle has been towed.
• Are there time restraints of any kind?Most natural areas and parks have hours of operation just like a business. You might arrive expecting to shoot a great sunrise only to find out the location you chose isn’t accessible until after daybreak. Also remember that wild creatures and critters are usually most active in the early morning or late evening.
• What are the expected weather conditions?This is a biggie. Know what to expect as far as the weather is concerned. Check the forecast the day of departure and keep tabs on it throughout the day if possible. NEVER chance endangering yourself or your equipment by venturing out unprepared for bad weather.
• What are the times for sunrise and sunset?Again, be sure the places you want to capture a sunrise or sunset are accessible during those times. You need to also be aware of the schedule so that you can allow enough time to reach your location and set up your gear before it’s go time.
• Are there any commonly photographed animals, landmarks, or structures?Research what is usually photographed around the area you plan to visit. Find a park ranger or staff member and ask about lesser known spots that are less travelled by tourists. Knowing what’s popular will save you time and help to avoid shooting a scene the same way it has been done time and time again. Look for ways to be creative and set your work apart!

So, you’ve researched your location and have a good idea of what to expect. Here are a few basic tips that can help you after you’ve reached your destination.

Shoot RAW

If possible, set your camera to capture images in camera RAW format. RAW image files are basically unprocessed, one might say uncooked, straight from your camera’s image sensor. They contain a massive amount of pixel information when compared to JPEG and take up a lot more memory card space. However, this additional information allows more latitude for adjustments in post-processing.

Use the lowest practical ISO

The ISO number of photographic film and image sensors relates to their sensitivity to light. The boiled down explanation is, everything else being equal, the higher the ISO number the less light is required to make an image. Unfortunately with higher light sensitivity comes increased image noise. In most (but not all) situations you will generally want to use the lowest ISO possible. That is not to say you should be afraid of bumping up the ISO. A fast shutter speed is often needed to capture the quick movements of wildlife and increased noise is far less noticeable than a blurred image.

Use AF continuous (AI Servo) mode when photographing wildlife

Autofocus (AF) can be your best friend or your worst enemy. When it comes to photographing most wildlife, however, autofocus is a great tool! Animals and birds, especially the wild variety, are almost constantly on the move. They shift positions and move closer or farther away selfishly, with little regard for the photo you are so carefully trying to compose. This is when AF-Continuous and AF-Servo modes come in handy. Though called different names depending on your camera’s make, they both accomplish the same objective which is keeping a moving subject constantly in focus. Place your selected focus area over your subject and half-press the shutter button to engage the AF. Focus will be tracked for as long as you follow your subject while maintaining pressure on the shutter button. Read your camera’s manual (you’ve done that already, right?) for detailed information concerning specific autofocus capabilities for your model, and how each mode can be selected.

Don’t forget the tripod

“I really didn’t think I would need my tripod” are words that usually begin a sad story about how a potentially great shot is missed. In most wildlife and nature photography situations a tripod is always a good idea. It’s better to have access to one and not need it than to need it and not have one available. Find the lightest and most compact tripod that is sturdy enough to handle your camera setup.

Learn so you can prepare. Prepare so you can photograph. Photograph so you can grow.

Photographing wildlife can be difficult but it can also yield huge artistic, personal, and even spiritual rewards. So go out and have fun doing what you do, but don’t forget to put the camera down every now and then to enjoy the world around you.

“Nature never goes out of style.” – Unknown

Bird Photography Tips for Beginners

The colour and texture of birds’ plumage makes them fascinating subjects for photography, made all the more exciting by their fleeting and elusive nature. With a lot of patience and practice, and the help of these tips, you’ll soon be on your way to making memorable photographs of our feathered friends.

Equipment

To capture the best bird photography, the most important thing you’ll need is a lens with a very long focal length. How long, exactly? Generally, the longer the better for maximum magnification. But keep in mind that lenses get remarkably heavy – if you’re hiking up a mountain, it might not be practical to carry an extreme telephoto lens, which can weigh in at over ten pounds.

A 70-300mm zoom lens is one of my favourites because it is very versatile and some of them are fairly lightweight. But you’ll get a sharper image with a fixed focal length lens. I recommend trying out a 300mm or 400mm prime lens.

The extra weight of a long lens will increase the likelihood of hand shake blur, which will then be magnified by the distance between you and your subject. If you’re working with a heavy lens, a tripod or monopod will be a great benefit for taking the weight of the lens.

If you want the increased flexibility you’ll get by not using a tripod or monopod, be sure to use a very fast shutter speed to compensate for the hand shake blur.

Camera Settings

Exposure

When photographing birds, using shutter priority mode and a fast shutter speed will ensure you are ready for any action that might happen, even if the bird is standing still at the moment. You never know when it will take flight and you want to be ready when that happens.

Using a wide aperture like f/2.8 or f/4 will give you a shallow depth of field, which helps to isolate the bird from its background and direct attention to its shape and colour.

When you want to have total control over the shutter speed and aperture, use manual mode and set the ISO to auto. That way, the camera will decide which ISO is the best to balance the exposure.

If you have a colourful sky, one option to try is to expose for the sky and allow the bird or birds to become silhouettes.

Focus

How you focus on your subjects will depend on which approach you’re taking, as well as what equipment you have. Some lenses and some camera bodies auto focus faster, and much more accurately than others, so some experimentation is needed to get a sense of how quickly your auto focus motor moves.

Birds are moving subjects, so if you do use auto focus, change it to the “continuous focus” mode (usually called AF-C or AI Servo) which tracks motion. However, you might find that you get better results by learning to focus manually.

There should be an AF/MF switch on your camera and/or lens. If you switch it to MF (manual focus), you can turn the focus ring on your lens to adjust it by hand. This is fairly easy when your subject is still, but it takes a lot of practice to be able to do this quickly enough to lock in on a moving subject.

One method is to set up a perch (such as a bird feeder), with your camera on a tripod, and pre-frame and pre-focus your shot where the bird will be. When it lands, you just have to hit the shutter. There will be no focusing delay, so you can get the exact moment you have been waiting for.

Getting the Shot

Timing and Location

Birds are very active in the spring – the ground softens, plants and seeds starting coming out, and bugs are everywhere. They finally get the feast they’ve been struggling to find all winter. Similarly, in autumn they are avidly gathering food before the frost sets in. Both of these seasons are the best for finding birds near the ground – and whatever the time of year, early mornings and sunny days will draw the most action.

You might get lucky walking along a forest path, making photos of birds as you see them, but because birds see us as predators they will usually flee at the sound of our footsteps.

Instead, you may have better luck by finding a location birds enjoy, hiding yourself, and waiting. This is where the patience comes in to play! The better you hide yourself, the safer they will feel coming near you. Tuck yourself in next to a tree or bush, or hide behind a blind to camouflage yourself, and try to stay as still and quiet as possible.

One of the best places to start photographing birds might be your own backyard. Keep your camera handy with the right lens and camera settings for bird photography so that when one lands in your yard, you’re ready.

You can also seek them out in their natural habitats such as local forests, waterways, and beaches. You can find exotic and interesting species by visiting zoos, bird sanctuaries, and humane societies, or you can take a trip to a nearby national park or nature preserve. Birds that live in areas with more frequent human visitors will likely be less skittish and camera-shy.

Composition

Take care not to neglect your background. It should be clean and simple. Too much clutter will distract attention from the subject itself. Use your perspective and point of view to remove unwanted background objects from the frame, and choose a large aperture to blur them out.

Tips for the Field

• The better your camouflage, the more likely the birds will come near you. Cover your camera with a green or brown sweater to mask its strange appearance.
• Wear neutral clothing and avoid bright colours.
• Make sure to remove or cover all reflective objects on and around you, including your equipment, camera bag, cell phone, and any jewelry you might be wearing.
• If you do find yourself needing to get closer to a bird, keep a low profile. Don’t approach them directly, but rather move toward them in a zig-zag pattern. Keep very quiet and avoid making quick movements and startling them.
• Birds often choose favourite perches. Even if it flutters off before you can get your shot, if you wait silently for a few minutes, it may come back.
• Birds are easily startled, so a beeping camera can frighten them away. Turn off any beeps your camera might make.
  The same goes for flash – turn it off or your bird will be startled by your first shot and quickly leave.

Do you have any other bird photography tips you’d like to add to this list? Please share in the comments below.

Beginners Tips for Night Sky and Star Photography

Star Photography

My favorite type of personal photography is taking night shots of the stars (long exposure pictures). I am often busy shooting pictures of people at weddings, or apartments, or models, and it’s important for me to make sure I take pictures for fun regularly. Taking pictures for no one other than myself is highly rewarding, soul filling, and fun! I also love taking travel photos and HDR photos, in this article we will take a close look at exactly how you can take your own epic star photographs.

30 seconds at f/2.8, ISO 1250

What you need to take jaw-dropping pictures of stars

To take your star pictures, you only need three things:

1. a full-frame camera(for better ISO capabilities)
2. a fisheye lens(for the widest view of the sky)
3. a tripod(for stability during 15 second photos)

(Note: You can do this with a cropped sensor camera, without a tripod, and without a fisheye lens. It will just be a little harder and slightly less jaw-dropping)

25 seconds at f/2.8, ISO 1600

Camera settings

You can nail this shot almost every time with these settings:  25 second exposure, f/2.8, ISO 1600

If your lens doesn’t open up to f/2.8 you can try 30 seconds at f/4 with ISO 1600.

Note: this kind of photography won’t work if there is a full moon out (or even a half moon). Don’t compete with large light sources, the stars will be over powered. The best location for star photography is way out in nature, away from city lights that cause “light pollution.”

13.0 seconds at f/2.8, ISO 1600

Why to use these settings

The most important component of these settings is the 25 second exposure. An exposure longer than about 25 seconds will start to show star trails. Photographing star trails is a legitimate type of photographyon its own, but not the type of photography you are trying to do here. Since you are limited to about 15-25 seconds max shutter speed, you still need to let in more light. The largest aperture you can find on a fisheye lens is f/2.8, and still your picture might not be quite bright enough to look stunning. So this is where the ISO comes into play. On a full-frame camera like the 5D Mark III or the Nikon D800 you can bump the ISO up to around 2000 without seeing much noise. You’ll learn how to reduce noise in Lightroom in the next section for a super clean photo.

Editing in Lightroom

I do extensive retouching in Lightroom after I take my photos. I’ll usually boost the exposure up by a stop or more and I’ll use Noise Reduction under the Detail section to reduce any unwanted “noise” (those pesky extra white, red or blue pixels that show up when you push the ISO too high). Here is a standard star photo of mine and the Lightroom settings I used to create it:

25 seconds at f/2.8, ISO 1600

Here are the Lightroom settings I used to edit the above photo:

1) You can see in the first panel that I bumped the whites up to +46 and brought the blacks down to -52. I really wanted to emphasize the stars against the dark sky and this is a good way to do that. Pushing the clarity up to +55 also helps define the stars against the sky, making them nice and crispy. I boosted the saturation to bring out any colors that are in the sky.

2) In the second panel you can see that I sharpened up the image a bit, also to emphasize the stars. At the same time, I brought up the noise reduction to 33 to smooth out some of the noise that might show up, and I brought up the color to 25 for the same reasons.

Pro tips

Here is where you can have fun with the editing. Play around with the split toning sliders to make the colors in your sky appear magical. In the photo above you can see a little bit of turquoise in the lower part of the sky, and that comes from boosting that color in the Shadows of the Split Toning slider here:

You can also affect the color of the sky by playing around with the temperature and huesliders to get some pretty magnificent looking star photos. Take a look at this one photo rendered three different ways:

Another pro tip that you may have noticed in all of the photo examples I gave here is this – shoot your stars in context. It really tells a great story to see a silhouette of a pine tree or a house in the background, and it shows the magnitude of the scene when you have an object in the foreground to compare to the stars.

Lastly, make sure you know which direction the Milky Way is. You can use an app likeSky Map to see exactly what stars are in the sky above you.

Have fun shooting, and please share your pictures below!

Read more from our Tips & Tutorials category

A Beginners Introduction to Using Layers

Using layers in your photo editing software is one of the most important things you can do to create great images. Layers are so powerful, even the most basic understanding of them can improve your photography tremendously. The good news is that using layers is extremely easy, and very quick. If you follow along with this tutorial and incorporate the techniques, you’ll see a huge difference in the quality of your images.

While there are countless things you can do with layers, it’s convenient to group them into three main categories:

1. Exposure blending
2. Local adjustments to specific parts of an image
3. Special techniques

We’ll go through all three categories in this tutorial. Please keep in mind this guide is meant to demonstrate the power of layers and why you want to use them. It’s not a software-specific guide and the exact mouse-clicks and menu items may vary slightly among the different photo editing packages available. That said, the use of layers is very similar in all software.

EXPOSURE BLENDING

Exposure blending is one of the best techniques you can use to improve your photos. It’s critical to understand and use this skill. It’s also super-easy!

First, let’s understand why you need to blend exposures. We know that a camera has limited “dynamic range”. That means the camera has a hard time capturing very bright parts of a scene and very dark parts in a single photo. As a photographer, you would generally choose to prioritize one over the other. This is a sacrifice photographers have been dealing with for decades.
Exposure blending solves this problem.

You simply take two or more photos of the scene at various exposures and blend the best parts of each exposure to produce a single image where all areas are exposed correctly. Wait you say, isn’t that HDR? In a way it sort of is. The difference between automated HDR software and this technique is that HDR software uses a computer algorithm to choose the areas of your photo to blend, while using layers gives you complete control over the final image. It can also be a much quicker process than using dedicated HDR software. Both processes can be considered “High Dynamic Range” photography, and both have their place.

So how do we do it? It’s very simple, you layer the photos with different exposures on top of each other and then manually blend them. Before we blend exposures, let’s take a quick look at how layers work.

Here we see two photos, one of the Brooklyn Bridge and one from Bora Bora.

To layer them, I’ll copy-and-paste one photo on top of the other in my editing software. (There are a variety of ways to layer photos depending on the software you use. I use copy-and-paste). After I paste the Brooklyn Bridge photo on top of the Bora Bora photo, you can now see on the right of the screen, where the red arrow points, that the photos are now layered in one document (see image below).

If I were to take an eraser brush and swipe it across the top layer, I will erase that top photo and “reveal” the photo below it. Here’s an example after I’ve taken a swipe with the eraser brush.

That’s all there is to understanding the very basics of how layers work. With just that little piece of knowledge, your photography can be completely transformed.

In the example above, I used the eraser brush to reveal the layer below. That’s one way of doing it, and I showed you that first because it’s an easy way to demonstrate layers. However, most people use what’s called a “layer mask” instead of the eraser brush. Don’t worry, it’s not complicated.

A layer mask is just another way of revealing the photo below. Instead of using the eraser brush to reveal the bottom photo, you create a middle layer between the two photos called a “mask layer” and you draw on it with a paintbrush – wherever you paint, the top photo is “erased” revealing the bottom photo.

To create a layer mask, just layer two photos on top of each other like I did above, then from the menu click “Create Layer Mask –> Reveal All”. Then you use the paintbrush on the mask to reveal the bottom photo. Painting with the color black reveals the layer below, and if you switch the color to white, it will “undo” wherever you’ve painted black so you can clean up any strokes you didn’t want to make (black reveals, white hides the layer below). Here is the same example below with a layer mask – you’ll see the effect is identical. Notice the new mask layer by the red arrow.

The great part about layer masks is that you can save the entire set of multiple exposures along with the masks in a single file, which you can edit later. The original exposures are left completely untouched. That’s the difference between using a mask and using the “eraser brush” directly on your photo. With a mask, you can always go back at any time and paint with the white paintbrush to undo anything you need to.

Now that you know how to use layers, exposure blending is very easy. Here’s a photo I took in Grand Teton National Park. Notice that the mountains and sky look properly exposed, but the foreground foliage is way too dark.

Without exposure blending, the photo above is the best I could do. However, while I was at the location, I also took another photo with the foreground exposed properly. Notice though how the sky is completely blown out and the mountains are overexposed now.

With layers, I can easily blend these two images to create the perfect combination, and it only takes a few seconds. I just take the photo with the good exposure for the mountains and paste it on top of the photo with the good exposure for the foreground. With the properly exposed foreground on the bottom, I use the brush to reveal that bottom photo wherever the leaves are too dark. Here it is after one swipe with the brush. You’ll see the better exposure is revealed below.

That’s it. After some practice, you’ll be able to do this very quickly, with the final photo looking like this.

Of course there is one key thing to remember: You must take multiple exposures at varying brightnesses when you’re at the scene!

If you forget, you can sometimes fudge it and brighten dark areas in your editing software, but you can never darken the overly bright parts if you forget to take a photo with those areas properly exposed. Always make sure at least one photo has the bright areas exposed properly (nothing clipped or overexposed).

Here’s an additional example of exposure blending below. How many of us have taken this shot? Sure would be nice to see what’s outside that window.

If you took another exposure with the outside properly exposed, it’s simply matter of layering the two photos on top of each other and revealing the bottom photo with the properly exposed window. Here’s the photo for just the outside.

…and the final blend looks like this.

Let’s talk about the opacity and color you can use with the brush when painting on a mask layer. We know that a black paintbrush erases the top photo revealing the photo below, and that a white paintbrush is like an “undo” that puts the top photo back where needed. In addition to just the white and black paintbrush, you can also use any shade of grey. Using a grey paintbrush blends the two photos together, making the top photo slightly transparent so you see both the top and bottom photo at the same time. The darker the grey the more the top photo is erased. The lighter the grey, the more the top photo is visible. This allows for very subtle and realistic blending of the two photos. You may also see it as “opacity” in your software. When the brush opacity is 100%, the brush is at “full strength”. When you swipe the brush, it erases 100% of the top layer fully revealing the layer below. If you set it for 50%, a swipe of the brush works at half-strength.

Here’s an example of a swipe of the brush at 50% opacity or medium grey.

Notice how you can see both the Brooklyn Bridge and Bora Bora at the same time. Adjusting the opacity or grey-level lets you apply the effects more subtly and with more control as needed. For example, with the Grand Teton photo in the earlier example, where the foreground leaves meet the background mountains, I might use the brush with 50% opacity so it’s a nice seamless blend, that’s unnoticeable. Another way to create a seamless blend is to use a brush with a low “hardness” — that is, the center of the brush is 100% opacity while the outer edges are less strong, creating a smooth effect.

LOCAL ADJUSTMENTS

After exposure blending, one of the most important techniques you can do with layers is to make local adjustments. That just means tweaking certain parts of the photo while leaving the rest of the photo as is.

Below is a great example of using layers for a quick local adjustment. Have you ever taken a photo where different parts of the photo have mixed lighting and different white balances? In the photo below, you can see that the camera’s flash has cast an unflattering blueish tint onto the people’s faces, contradicting the warm glow of the Eiffel Tower in the background.

With layers, you can easily solve this problem. Here is the corrected photo.

To do this requires just three quick steps:

1. Create a copy of the original photo and set it aside
2. Adjust the original photo paying attention only to the area that needs to be fixed (in this case adjust the White Balance of the image paying attention to the faces and ignoring everything else)
3. Paste the untouched copy that you put aside on top of the adjusted photo, and “erase away” the top photo revealing the adjusted layer below, just where you want to see the adjustment.

In this example, you can see exactly where I “erased away” the bad white balance revealing the better white balance below.

If you shoot in RAW format, you can create the two versions of the photo with the two appropriate white balances in your RAW converter. If you don’t shoot raw, just create a second copy of the original photo, change the color balance in your editing software, and layer as described above.

Using layers you can selectively apply saturation adjustments, brightness/contrast, sharpening, etc. This allows for an incredible amount of control over the final image. Just create a version of the photo with the adjustments, put it as the bottom layer, and reveal it with the brush just in the spots you choose.

For example, in this photo of the Rockefeller Center Christmas Tree in NYC, just the lights on the tree needed a levels and sharpness adjustment. You can see the difference that local adjustment makes to the entire photo in this before and after.

Before

After

SPECIAL TECHNIQUES

In addition to using layers for exposure blending and applying local adjustments, you can use layers for a wide variety of additional purposes. I’ve listed some really cool techniques below.

Blinking in group portraits: Have you ever taken a group shot and there’s always one person blinking or making an odd face? Next time, mount the camera on a tripod and use your camera’s continuous shooting (i.e. rapid-fire) mode to take a few photos in quick succession. If one person is blinking in the photo you like best, just put that photo as the top layer and put another photo without him blinking underneath, and “erase” the top photo with the blink to reveal the bottom photo below with his eyes open.

For cool sports effects, use a tripod and take rapid-fire photos of the action, layer the photos, and “erase” away the top photo to reveal the person moving in the subsequent shots.

You can get really creative with this effect – here’s six of me playing a soccer game.

For special “flying” effects, take two photos from a tripod, one with a person on a ladder, one with the just the background (ladder and person removed). Then layer the photos and “erase” the ladder.

Here’s what it looked like with one swipe of the brush “erasing” the ladder and revealing the background.

Many people find that automated HDR software can produce unnatural effects. If you’ve used HDR software to create an HDR image that you like, but there are certain parts that appear unnatural (for example, the sky), blend a little bit of the original non-HDR photo using layers to make it more natural.

You already learned that painting with a black brush reveals the layer below. Wherever there is black, the top layer is “erased”. What if we didn’t use a brush at all, and instead used another way to paint black? This opens up a whole new set of possibilities. For example, this is a simple gradient, a pattern that goes from white to black gradually.

If instead of using a black brush to reveal the bottom photo, we used this gradient, we get an instant Neutral Density filter! Apply this gradient using the Fill tool on the mask instead of painting with a brush, and where the black is, the bottom photo will be revealed. Put the black part of the gradient over the area of the photo where you want to adjust exposure and you’ll have a beautiful transition.

You can also use other tools to apply black to the mask. In the earlier example with the view outside the window, rather than painting with a brush, you could use the “draw rectangle” tool to place a black rectangle over the window, revealing the view outside.

Hopefully you’ve seen just how simple it is to use layers in your work, and how powerful they are. From blending multiple exposures, to adjusting your photos and using special techniques, layers take your images to a whole new level.

Please feel free to ask any questions in the comments below.