Time to be with your loved ones

Time to be with loved ones

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25

The answer will be easy to figure out if you understand a little bit what polarization means. I don't have a polarizing filter to play with, but I do have a physics degree, so here it goes: Light reflected by certain types of surfaces (such as glass or water, but not metal) is partially linearly polarized. Light reflected under a certain angle is fully ...


20

For macro of reflecting things you need a as big as possible lightsource. Best would be a macro tent, but you can improvise with a few pieces of paper and light sources. Just cut one piece of paper in half, form a ring from the two pieces, put them on some other papers and put light sources outside the paper: If the stuff is really reflective, put another ...


15

The glare effect on the monitor itself is a digitized effect, it is not real. Technically speaking, it is near impossible to get a clear photograph of a computer screen with the image it is displaying like you can see in that Apple example. What is generally done is a photograph of the screen(s) are taken while they are off, and the images that are ...


15

When it comes to glass it's all about lighting direction. You want to make sure that when you look at the picture through the camera neither the reflection of the lightsource or anything lit by your lightsource is visible. Hold up, I'll draw a diagram: Glass and other shiny objects reflect light back in one direction (like a ball bouncing off a wall). ...


15

The coin reflects light. With a light shining straight on it, much of it may be reflected straight back at the camera: The first thing to do is move the light to the side and put a dark object where it used to be. The dark object is now reflected in the coin, but that's not noticeable: There are still many specular highlights on the relief and ...


11

Any Other advice on increasing the reflection over water surfaces. Specular reflections like you get from water are stronger the lower the angle of incidence. This means when the light is coming almost parallel to the surface and striking a glancing blow. This is easy to achieve under controlled lighting. In natural light this means waiting until the ...


10

Posting some examples will help us identify your problem, but if you're getting distortion because they're wearing very thick, corrective glasses - there's not alot you're going to be able to do. If you're getting odd angles of reflected light, either change the angle of the light by moving the flash or tilting the subject's head. Obviously you can also ...


8

You can get all sorts of interesting shapes and colours when shooting directly into a lightsource like that. All pieces of glass reflect a certain amount of light and transmit a certain amount, so you actually get flare from everything in your scene every time you shoot, only it's usually much dimmer than the rest of the picture so you don't see it. When ...


7

I assume not using the flash is not an option you would consider, obviously that would do it. You can bounce the flash by angling it towards the ceiling or a neutral color wall. That will diffuse the light and reduce the directionality of it. Sometimes this is not an option, such as for a high or colored ceiling. In this case you should probably add a ...


7

Shifting the subject's head or shifting the camera (yourself) are both excellent options. If you run into a situation where you're not able to have the subject change the position or their head, or the camera's angle, a third option is to ask the subject to tilt their glasses a bit (by pushing the rims up off of their ears just a bit). This will angle the ...


7

"Good lighting" for outside pictures is pretty much dusk or dawn. If you're getting a harsh reflection of the sun at this point, you should be able to easily rotate a bit and get the sun out of your frame. In fact, some of the best light is just before the sun rises and just after it sets. There's still plenty of light to shoot with - especially for ...


6

A circular polarizing filter will go a long way to eliminate the reflected light from the water. But you might also want to go in the opposite direction, and try to work out a composition that embraces the reflection, rather than eliminate it. For example, longer exposures that turn the glints into something more silky might get you something nice.


6

You can reduce glare in post if it's a fairly constant tone, for example the white of the trellis. This is done by darkening / increasing the contrast to match the rest of the background and shifting the colour if necessary. However if there is detail in the reflection like there is in the area which covers the girl's face then it's going to be a lot harder ...


4

This looks like an image that you can never take again, so the issue is not how to improve a retake, but to rescue what information you can. If you could return to the scene under identical outdoor lighting conditions, with the same objects in the background, and from the same location re-shoot the window into an empty unlit room, then you could (a) ...


4

The key to photographing this is about the angle of light(s) used to illuminate the surface of the art. It's all about angles and reflection and it's probably easier to illustrate this (pardon my poor Coreldraw skills). The dotted lines connecting the camera show the angles of direct reflection, so if the lighting is inside those lines, the glare will be ...


4

Do something to soften the flash output. Either put a diffuser in front of the flash or bounce it off of some sort of reflector (doesn't have to be fancy -- a sheet of copier paper can do wonders). If at all possible get the flash off of the camera. Even a foot away can/will make a huge difference. A number of companies make brackets to hold the flash ...


3

Glare as you put it is more formally known as a specular reflection. This occurs when you have smooth objects where all the light bounces off in the same direction. This contrasts with rough objects which due to fragments of the surface pointing in different directions, reflects light in different directions. Most objects like your apple produce both ...


3

It probably will take another person to help, or you might get creative with gaffer's tape. Drape a black sheet of cloth over the top and sides of the monitor so no ambient light can directly hit the screen. Fire away with a helper holding up the cloth so you can shoot under it. Creative use of gaffer's tape (it's like masking tape but leaves no residue) ...


3

Are you still wanting to include the moon in the shot? If so, then think about how you control flare during the daytime and shooting into strong light sources. Use a hood to protect from off-axis flares that are outside of the field of view. Remove any non-multicoated filters from the light path as these are sources of flare. Stop down to improve ...


3

A strong graduated ND filter can help reduce the intensity of the flare but wont eliminate it. The moon is by far the brightest object around at night so is inevitably going to be massively overexposed and cause flare. The only way to really achieve a normal looking moon would be to shoot two exposures, one for the cityscape and one for the moon and blend ...


3

The anti-glare coating on the Dell U2711 is indeed problematic. Anti-glare coatings are used on a lot of screens, the majority of them in fact. Most professional grade monitors intended for high-end graphics use, such as for photographic editing, video editing, etc. usually have an anti-glare coating of some kind, although a few are glossy (no ...


2

Shoot in a direction that provides a more consistent reflection. Upwards is a good option, because the sky is a reasonably constant background, which you could somewhat remove in postprocessing. Having the reflection of the photographer in a photo is never a good idea, unless it's intentional. I'll echo Matt's sentiment that there is very little you can do ...


2

You can often fairly easily remove the glass from glasses. That can make it easy to get improved shots. The eyes will only appear distorted if at certain angles, it's something you've just got to look out for. As for candid shots, well, you've just got to pay attention, or make them posed candid shots, so...


2

Specular highlights from flash can be reduced simply by dialing down your flash, or closing down your aperture. Ambient light, the continous sort of light you will have in your image, is controlled by your exposure length, but as flash is instantaneous, only aperture controls the ratio of ambient vs. flash illumination in your photos. If your image is too ...


2

You don't actually have to position your camera on top of the card coin set, you only need to make sure the camera sensor is parallel to the card to prevent converging lines. This means you can move your camera off to the side to prevent reflections and simply crop the resulting images to the view you'd get if your camera were right on top. If you want to ...


2

One trick I will never forget is to bounce the flash off your hand. it does 2 things: bounces light it warms the light a little, due to your fleshy tones It would create a slightly better aesthetic to the image, and make the person not look so cold. In a cramped environment it can be an image saver. Just don't have the flash on full power (read flash ...


2

You just use a gradient in Photoshop. It's impossible to get a glare like that in a photograph, as the border of the screen and the screen area have different reflexive properties. The person that put the glare on those images didn't account for that, which is why the glare doesn't look real.


1

Highlights and shadows are what make the subject appear real and lifelike, and to some extent, glare is part of that. It's just a matter of making the glare appear minimally or positioned best to describe your subject. Anyway, the best source to learn about controlling glare, how it happens, and all sort of other lighting information: Light: Science & ...



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