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Halloween Photography Tips


Jack-o-lanterns, costumed adults and children, spooky decorations, trick-or-treating kids……  Halloween is a night of fantasy and also an opportunity for trying out your photographic skills. It’s the perfect setting to try some low light photography techniques, unique compositions, and lots and lots of fun filled experiments like double exposure, 2nd curtain sync, capturing motion blur, stroboscopic flash, multi coloured gels etc etc. lets discuss how best we could capture the night of spooks and spirits in all its essence.


halloween photography
Photo By Jpellgen

Camera Settings for Halloween Photography


It is best to remember that in Halloween pictures we expect drama, contrast, coloured lights, ghoulish lighting and more. It is essential to make your pictures look spooky and so lots of things that we generally would not do will actually work for Halloween.

Check Battery and Storage Medium


Make sure you have a fully charged battery and lots of space in your memory cards. The low light shooting situations drains the batteries faster than in other conditions, also you would probably click a lot more than you would have initially planned, so do carry enough memory cards with you.

Use Fast Zoom Lenses


Since you will be mostly shooting in low light conditions, use the fastest zoom lens you have. A zoom lens is preferred over prime lenses as it avoids the hassle of changing lenses in such risky conditions. A good lens choice will be in the range of 18 – 135mm, or 24 – 70mm. Fast lenses give faster shutter speeds, provide brighter viewfinders and also improve auto focus performance.

photography halloween
Photo By Jesse Draper

ISO


Generally noise is a dreaded issue in digital photography, but for Halloween pictures it could add to the effect. What a blessing, especially when we are shooting in very low light conditions isn’t it? Yes it is best to bump up your ISO a bit so as to get hand-holdable shutter speeds. Do not fear much about noise, a little noise will only add to the effect.

photographing halloween
Photo By Boogeyman13

Aperture


Choose aperture carefully, in most cases you will be shooting wide open to compensate for the lack of light, in situations where you need greater depth of field, use narrow apertures along with higher ISO speeds rather than compensating with shutter speed.

Shutter Speed


The choice of shutter speed should be made by deciding whether you need to capture motion blur or not. Some scenes a lot livelier when there is a hint of motion, try different settings, if you are not sure you could also try Automatic Exposure Bracketing with the camera set to Shutter Priority Mode (TV). Thus the camera will take three successive shots with varying shutter speeds and you could choose which one is best.

White Balance


As you are purposefully aiming to get spooky pictures, you need not worry about whether the white balance is set to the correct setting or not as per the lighting conditions. All you need to think is whether shifting the white balance will give you a more dramatic effect with more saturated colours or stranger shades of colours. My personal preference is to set the white balance to either the Cloudy or Shade mode, as these modes warm up the images a bit and it kind of works for me.

how to photograph jack o lantern
Photo By Mark JP

Flash


Normally if you use flash in a night scene you will lose the ambience and will only get a flat picture, but during Halloween a flash could prove handy to capture some shots which are otherwise not possible, you could also use your flash as focus assist device, use it on camera to purposefully produce the red eye effect and also gel it to give your pictures the effect of coloured light. It will also be a good idea to try some method of diffusing your flash.

Halloween Photography Tips


Start Shooting Early


Do not wait for it to get dark, in fact you will get better shots during the time when the sun has set but the sky has not become completely dark.

Pay Attention To Detail


Halloween is not only about spooky costumes, there are many more things to photograph if you pay attention to them, kids trying out costumes, people helping each other with costumes (especially funny if they are wearing enemy characters (eg. Joker helping Batman tie his mask), Decorations, carving the pumpkin, tired kids sleeping at the end of parties, bags full of treats, shots of parties both before and after, close ups of food etc. There’s a lot going on out there, just try and capture as much as you can.

Always ask Permission


Make sure you ask permission before taking a photograph of someone, especially if you want to photograph children, do ask permission from their parents beforehand.

halloween
Photo By Peter Prehn

Be Quick


During Halloween everybody will be busy trick or treating or with some other activity and when you find an interesting angle or expression or composition you need to act fast and take your shot, else you will miss the opportunity, be alert always.

Shoot People With and Without Masks


If you are photographing friends or family members, (that includes your children), make sure you take shots of them with and without masks.

Vary Your Perspective


Try shooting from a very high angle or a very low angle, the difference in perspective will make your shot unique. Especially if you shoot characters from a low angle it will give them the appearance of being larger than life, thereby accentuating the effect.

halloween photography tips
Photo By Katie Weilbacher

Shoot a Sequence


Always try to narrate a story through your pictures; it is done best with a sequence of shots, for eg. A sequence starting from preparations of Halloween to Cleaning up the next day.

Photographing Jack-o-Lanterns


Jack O Lanterns is the highlight of most Halloween parties, but getting a decent photograph of one is a bit tricky. The technique to get it right is by lighting the lantern from the inside with 3 or 4 candles instead of just one, so there is more light. Compose your frame and place some lit candles around the jack o lantern just out of the frame so it is not visible in the picture but the light coming from it will help expose the outside of the pumpkin and also capture details of its immediate environment. You could modify the effect by either changing the placement of the candles or by adding or taking away some.

photographing jack o lanterns
Photo By Professor Bop

Zoom In To Capture Details


Zoom in tight to focus on finer details, zoom in on the costumes, buttons, shoes, hats, bags, masks, hats and anything else that you find interesting and that screams Halloweeeeennnnn.

Try to take Action Shots


Most pictures you see of Halloween consist of a kid standing still in their costume. However this is kind of a boring way to photograph. A better method is to go candid, let the children enjoy the show and you capture them in various acts like trick or treating, dancing, being goofy etc.

Capture Expressions and Emotions


If you look closely there are a lot of emotions at play during Halloween, especially with children. You could find a wide array of emotions from joy to sorrow, try to capture the emotion in the context of Halloween and your picture will tell a story to everybody who look at it.

Do not Forget to Shoot Pets


Very often you will find costumed dogs and other pets at the party which could be very interesting too. Try to photograph them at the earliest, since there is no guarantee that their costumes stays for long.

photographing pets during halloween
Photo By Anne Marie

Halloween Lighting Trick – ‘Ghoul Lighting’


We are all used to seeing subjects lit from above, as it happens in nature (sunlight) and in most other lighting situations. But to get that spooky feel to your shots, you need to place your light low so that light comes from below the subject, casting shadows across the faces that are eerie or ghoulish. The simplest method to achieve this effect is by shining a flash light up at the subjects face from below the chin. You could also try it with various other light sources, it’s not the light source, but the angle from which the light falls at the subject that is important.

halloween lighting
Photo By Sammee

If the costume or make-up has special effects like blood dripping down the chin etc., you could add more texture to it by lighting it from the side.

Related Reading



    How to Make Your Subject Stand Out From the Background



    When making a photograph, every photographer looks for ways to give prominence to his main subject; he would want the viewer’s eyes to focus directly on to his main subject without any distraction from other background elements which compete for attention. But this is easier said than done, as in many situations you will find that there are elements in the scene which are distracting and which you cannot control. So here are some tips that help you make your subject stand out from the background.

    1. Vary the Exposures


    If possible try to light your subject in such a way that the subject receives at least a stop or two more light than the background. You could achieve this with natural light by placing your subject in direct sunlight with some shady region as the background.  You could also employ reflectors or additional lights to achieve the same. However make sure you expose for the subject, choosing spot metering and taking the reading from the subject will help, for full control over the effect try manual exposure settings.

    exposure
    Photo By Sean Molin

    2. Use Shallow Depth of Field to Blur the Background


    This is one of the most commonly used techniques by photographers since ages and it works like a charm, in most situations. The techniques involves using a wide aperture setting like f/2.8 or f/4 to achieve shallow depth of field with only the subject in sharp focus and everything else (in both foreground and the background) is rendered in a smooth blur. There are certain things like distance from the camera to the subject and distance from the subject to the background which influence the results, general rule is the more distant the background is from the subject the greater the blur and vice versa. And the closer the camera is to the subject the greater the blur and vice versa.

    depth of field
    Photo By Carlos

    3. Make Use of Contrast


    Photographing your subject in front of a contrasting background is one simple technique that will help you make your subject stand out in your shots. Contrast could be achieved by lighting or by selecting contrasting colours.

    contrast
    Photo By Ian

    4. Use Scale or Perspective


    Make use of scale, you can give the viewer a sense of scale (an idea of how big or small your subject really is) by placing it together with another object which is either much smaller or much larger than your main subject. To give prominence to your subject it is better to shoot it together with another smaller subject.

    You could also make use of perspective distortions caused by ultra wide angle lenses to exaggerate your subject. A wide angle lens makes all elements in your frame appear much smaller, the effect is more pronounced for elements which are at a distance from the camera.  So the trick is to use a wide angle lens, place your subject close to the camera (relative to background) and it will give your subject an exaggerated feel with everything else feeling much smaller and distant.
    .
    wide angle
    Photo By Altus Wilder

    5. Make Available Background…….. Unavailable


    If none of the above techniques works or if you intentionally wish to have your subject shot with a black background (it works quite well for many subjects) there is a quick fix solution to eliminate distracting backgrounds. 

    flower on black background
    Photo By Matthew

    Power up your lights (Speedlights/Strobes), set your camera to its sync speed, and choose a narrow enough aperture to eliminate all trace of ambient light, there by rendering your background a perfect black.

    How to Photograph Rain

    This article is primarily about rain photography in general, how to protect your gear, what to shoot, how best to show the effect of rain etc. If you are looking for specific instructions and camera settings to capture rain drops in photography, refer How to Photograph Rain Drops.

    Photographing rain seems simple enough, but when you actually try to achieve a specific effect, you will realize that it is actually a little bit tricky. The low lighting conditions of an overcast day when combined with the presence of water and strong winds can create a unique set of challenges for any photographer, both professional and amateur. In this article we will discuss about challenges faced while photographing rain and how to overcome them.


    rain photography
    Photo By Samson P Samuel


    First thing any photographer should think of while attempting to photograph rain is;

    How do I protect my camera and gear during rain?


    1. Carry a Raincoat


    There are raincoats available from many different manufacturers specifically designed for cameras. They have adjustable bands that hold on to the front of the lens (hood) and also at the rear allowing your hands access to the camera controls. It is not the availability of rain protection gear that is the real problem but having it with you when it rains is. Real professional rain covers that could effectively protect your camera even from heavy rains and storms could be too bulky and not practical to carry with you at all times, so go for something that is light weight, could be easily folded and takes up only a little amount of space in your camera bag.

    2. Carry an Umbrella


    It is always a good idea to carry an umbrella with you, it could be a standard sized one or a smaller version just for the camera; fold-able umbrellas are very compact and are not very heavy too. The problem with umbrellas is that they are not much help if there are strong winds, and it is also not very safe to use during thunderstorms.

    3. Carry a Plastic Bag


    Always carry a couple of plastic bags in your camera bag. It should be big enough to fit your camera and lens comfortably inside. Better if it is made of clear plastic. It would do a reasonably good job at keeping your camera dry during rains. Pull the bag over your camera, punch a hole for the lens, and use a rubber band at the tip of the lens hood to tightly hold the cover in place.

    4. Shoot from Your Car


    The easiest and most practical solution is to sit in your car, roll down the window (preferably the one opposite to you) and shoot. This technique works flawlessly when the wind is at your back. You might want to use a longer focal length lens while shooting from your vehicle.

    rain photography tips
    Photo By Sinu S Kumar

    5. Look around for Available Shelters


    Look around you for a place where you could stay dry and also have reasonably good chances of getting the desired shots, places like porches, awnings, etc make good shelter during rains.

    No matter how well you tried to protect your gear, there will be certain amount of water or moisture present in your equipment, so make sure that you dry your equipment well as soon as you get back home. A hair dryer is a very handy tool to dry your equipment well.

    What to Shoot during Rains?


    Rain has the ability to change scenes dramatically; first of all it clears the streets of people, creating a feeling of abandon or isolation. It could make very familiar landscapes look completely unfamiliar. There are a number of things that a photographer could aim to capture during rains.

    1. Capture candid shots of people trying to protect themselves from the rain, children playing in puddles, etc.
    2. Capture Reflections especially of street lights, lights from shop windows etc, also look out for entire city scapes reflected in small puddle of water.
    3. Capture the rain itself, and the changes it has on the landscapes.
    4. Capture flowing water, water dripping from roofs, leaves etc, and reflections from water drops hanging on leaves, capture wildlife during rains.
    5. Capture Emotions of people, rain has a mysterious effect on people, it brings joy to some and sorrow to others, it all completely depends on the mindset of the people and the situation they are in. try to capture people’s reactions, expressions, and emotions towards rain.

    photographing rain
    Photo By Saji Jayamohan

    How to Photograph Rain?


    The major reason why rain is difficult to photograph is because of the fact that it is a moving object and if not captured correctly it tends to turn your picture into a dull grey effect which is very boring.

    Shutter Speed


    The first thing to realize is that raindrops are actually moving fast, during heavy downpours it could be as fast as 9 meters per second and during slight drizzles it could be around 2 meters per second.  So the key to capturing rain is to determine the exact amount of blur you would like to be present in your rain drops and set your shutter speed accordingly. A good starting point will be 1/60 and see how much blur it causes, if you need more, further reduce the speed and if you need less increase your shutter speed.

    Aperture


    While photographing rains you would also like to convey the environment, the subject as well as the immediate environment (that includes rain) should be in relative focus, so it is recommended not to use too shallow depth of fields. Start somewhere around f/8 and work your way from there.


    how to photograph rain
    Photo By Sinu S Kumar

    ISO


    It is preferable to shoot at ISO 100. It would not be a problem if you have a tripod or anything else to stabilize your camera. Since capturing rains require the deliberate use of slow shutter it is not recommended to raise your ISO.

    Use Flash


    Yes using the flash with suitable flash exposure compensation could produce very nice results. It should only be used at very low power, only providing a little glimmer to the rain drops.

    Shooting Mode


    I recommend shooting in manual mode for predictable results. The falling rain and the complicated un-even low light situation across the frame could often fool the cameras light meter. And more than anything else you are not trying to capture a perfectly exposed picture, but you are trying to capture the mood of the scene and on many occasions that means deliberately underexposing or overexposing your scenes. Also if you are using flash you will be able to control the effect precisely.

    Focal Length


    Longer focal length lenses compresses the scenes and also has the effect of magnifying rain drops, experiment with different focal lengths for your scene and select the one which gives the best effect.

    Lighting Conditions


    Rain becomes more visible when it is backlit. But if you shoot too directly into the light and it could cause flares and the shots will not turn up well. So find the best angle by changing your shooting position. The best possible scenario to shoot rain is when it is lit from the side and you have a dark background for your subject.

    Related Reading



      Using the Digital Camera Histogram as a Light Meter


      In one of the previous articles – Understanding Histograms, we discussed what histogram is and how to use it. Let us now see how we could make use of the histogram feature in our digital camera as a light meter.

      We have already mentioned in the previous article that there is no such thing as a perfect histogram, only correct histograms representing values for what is in front of the camera. The main purpose of the histogram is to see whether a correct exposure has been achieved or not. The photographer should make sure that there are no clipping occurring at either ends of the histogram (clipping is lost information in either the shadows or the highlights). Since clipped highlights are irrecoverable in digital photography, most camera manufacturers provide an additional feature called Highlight warning (commonly called as blinkies). When the highlight warning feature is turned on, while previewing the image in the camera’s LCD monitor, areas where highlights are clipped will blink, flashing a warning.

      The shape of the histogram reveals many important details like whether the subject is dark or light, whether it has an even or uneven distribution of tones, whether the lighting is hard or soft, whether the dynamic range of the scene is within the capabilities of the camera or not etc. As a general rule a histogram representing a correct exposure should not be clipped and should not be too close to the sides. Ideally the histogram should be biased towards the right to get the most out of your digital camera.

      To fully understand this concept let us see how the digital camera sensor records information. The digital camera sensor which is actually a linear device with over 4000 levels of sensitivity uses the first 2048 (50% or half) of the available 4096 levels to record the first stop where the highlight information is recorded. Each subsequent stop records half the light of the previous stop, always using half of the remaining levels. So the next darker stop gets 1,024 levels, the next gets 512, the next 256 and so on.



      So getting the maximum result out of your digital cameras sensor requires using a technique often referred to as ‘exposing to the right’ where the photographer tries to get his histogram as far to the right as possible without clipping the highlights. This technique ensures that maximum information is captured by the camera and also the noise levels remain low. However the pictures will almost always look a bit overexposed and need to be corrected in post production to get a more natural looking image.

      Modern cameras feature RGB histograms which show separate histogram for the red, green and blue channels, they are extremely useful when you are photographing a scene with a predominant colour. For example when photographing foliage you will be able to tell if clipping is occurring or not in the green channel, this is not possible by looking at luminance histogram.

      If you observe closely the camera histogram has been divided into five equal parts by 4 vertical lines, each line is represents a full stop of light. This is helpful to determine the correct exposure or to calculate exposure compensation (increments or decrements) to get the exposure right.

      Related Reading


      Quick Tips - Getting the most out of Your Tele Lens

       

      1. Use Wide Open Apertures


      Wide open apertures (f2.8, f/4, f/5.6) on a tele lens gives very shallow depth of field which renders the background in a smooth blur thereby making the main subject pop off from the frame. This feature could be very useful when you have your subject with a cluttered background and when there are elements in the background which could distract the attention of the viewer from the main subject.

      bird photograph with shallow depth of field
      Photo By John and Fish

      2. Stop down for Landscapes and Architecture


      Yes long tele lenses make great landscapes; they are capable of compressing distance thereby giving the picture a great feel. You will have to stop the lens down to get sufficient depth of field to make both objects in the foreground and background in focus. Narrow apertures often means slower shutter speeds so make use of image stabilization feature if your lens has it, even better if you have access to a monopod or tripod.

      tele lens landscape photograph
      Photo By Storm Crypt

      3. Stack the Focus


      Focus stacking is a common technique used in macro photography. However the same technique could also be used for photographing landscapes, it is extremely useful to get sufficient depth of field in your images especially in situations where stopping down the lens does not produce sufficient depth of field. You could focus stack your images manually using an image editing program like Adobe Photoshop or use specifically designed softwares like Combine ZM (combine zm is a free software).

      4.  Fill The Frame


      One of the major advantages of using a tele lens is the ability to fill the frame with your subject. It is extremely useful as it enables one to exclude some or most parts of the scene from one’s composition. Whether you are shooting wildlife or Landscapes the ability to control what appears in your frame is a huge advantage as you could simply avoid distracting elements and include only those which add visual beauty to your frames.

      wildlife photography
      Photo By Valerie

      5. Try Macro Shots


      A long lens can be used as an excellent macro lens, when choosing a tele lens look for its magnification factor, you could further increase the magnification of a tele lens by adding an extension tube (you can even stack extension tubes); you can get really good magnification from a distance from your subject. This is very convenient when shooting butterflies, dragonflies and other small insects, as you need not startle the insect by getting too close to them, the chances of you getting good pictures are increased many fold by using a tele lens.

      Canon Extension Tube
      Canon Extension Tube

      6. Panning for Action


      Tele lenses are the most suitable lenses available for taking panning shots. The motion blur induced in the background by panning conveys a feeling of motion and the subject which is sharp against the blurred background simply stands out catching the viewer’s full attention. Panning is a perfect technique for both action photographers and wildlife photographers. However mastering the panning technique requires much practice, this article published earlier in our blog could help you master the technique - Panning

      7. Keep Quiet to get the Best Shots


      Tele lenses are primarily used for the reach they provide; especially in situations when you either can’t or could not / should not get close enough to photograph the subject with shorter focal length lenses. In case of wildlife photography tele lenses allows one to photograph the subject without having the need to physically get close, thus enabling the photographer to capture great moments without disturbing the animals. Similarly when trying to take candid photographs of people, a long lens could help you stand a long distance away from the subjects, so they won’t notice you and would not know that they are being photographed. This lets you capture great candid shots of people. However in both the situations the basic strategy to be adopted by the photographer should be to keep a low profile, do not make any quick movements or sounds that could attract attention to him and make the most of the situation.

      8. Adding Teleconverters


      Teleconverters help increase the effective focal length of a lens. They are commonly available in two variants 1.4x and 2x. The 1.4x converter increases the focal length by a factor of 1.4 and a 2x teleconverter actually doubles the lens focal length. Although the added reach of the lens is a good thing to have, it actually comes at a price a 1.4x converter reduces light by 1 full stop (50%) and a 2x teleconverter reduces light by 2 full stops (75%) thereby making the lens slower. Also the presence of added elements affects the picture quality; as a result teleconverters are generally only used in fixed tele photo (prime) lenses which have excellent picture quality.

      Canon Teleconverters 1.4x III and 2x III
      Canon Teleconverters 1.4x III and 2x III

      9. Stacking Teleconverters


      If the subject you are photographing is very co-operative and sits still long enough for you to set up your shot using a tripod then you could consider further extending the reach of your tele lens by stacking teleconverters. It should be noted that image quality will be dependent on the quality of the primary lens and also of the quality of the teleconverters used. A 300mm f/2.8 lens when used along with 1.4x and 2x teleconverters stacked becomes a 840mm f/8 lens. It should be noted that if the lens is mounted on a crop sensor camera you should further add a 1.3x or 1.6x magnification factor to the equation depending on the make of your digital camera. The lens will not only be much slower but also much more susceptible to camera shake. In such situations it is recommended to set up your tripod on a stable ground, tighten up all controls, remove or tie up camera strap so as not to catch wind, use mirror lock-up feature, use remote/cable release, and place a bean bag over the lens for added stability. Also depending on how well your camera handles image noise, slightly bump up the ISO for increased shutter speeds.

      10. Deciding whether to use IS.


      Image stabilization is a great feature to have in a tele photo lens, depending on the technology used image stabilization could add up to 4 stops of stabilization. Some advanced lenses have image stabilization feature that could detect panning motion and automatically switch off image stabilization in that direction. Also some advanced lenses could detect when the camera is set-up on a tripod and adjust settings to suit such conditions, however if your lens is one with only basic image stabilization it is recommended to use it while hand holding the camera and to turn it off when mounting the camera on a tripod as the lens will try to compensate for shake that is not actually present and thus induce shake of its own.

      Canon tele lens
      Canon tele lens

      11. Long lenses and Your Car


      Cars and long tele lenses make excellent pairs, as cars and other vehicles could make excellent hides, birds and other animals are easily scared at the sight of an approaching human, but they are much more tolerant to passing vehicles, as they see these all the time and usually ignore them. So it is a good strategy to use your car as a hide, get as close as possible and use your tele lens from within the car to take your shots, you will not only get good shots, but you will be safe as well. But it is a tricky affair shooting with a tele lens from a vehicle, the following tips would help you master it.
      1. A running car engine could introduce shake so turn off your car engine.
      2. It is my personal observation that unlike birds and other small animals, large mammals like elephants, gaur, bear etc are more comfortable if they hear the engine running and gets alert the moment they sense that the vehicle engine has stopped running and immediately stop whatever it is that they are doing and will stay tense and alert till they hear the car drive away. In such situations, it is best to keep the engine running and do not use the car body to rest the camera instead handhold it.
      3. Air dispersed by passing vehicles could induce shake, so park your vehicle as far off the road as possible.
      4. If you have a bean bag or a pillow (even neck support attachment for the seat or a thick towel would do) drape it over your window and rest the lens on it. A hand draped over the top of the lens will help further reduce camera shake.
      5. If you regularly shoot from your car it is recommended to buy a window mount, they are available from several manufacturers and accept any standard tripod head.
      6. Some photographers set up the tripod inside of the car with its legs extended at unusual angles and wedged between various parts, however I personally do not recommend this method.
      7. One final method is to make use of the cars sunroof (if your car has one large enough) you can stand inside the vehicle; place the camera on a bean bag or a platform with a tripod head and shoot comfortably, however for wildlife photography it is a much more threatening posture than shooting through your window.

      A Tutorial on How to do Smoke Photography


      Photographing smoke is an interesting field which is gaining popularity among the photographer communities. It is a fairly simple process which can be done indoors with very little equipment. The results though unpredictable could be quite rewarding. Here is a tutorial on how to do smoke photography.


      A Tutorial on How to do Smoke Photography
      A Tutorial on How to do Smoke Photography
       

      Equipment Requirements to Photograph Smoke



      1. Camera – preferably a DSLR
      2. Flash – pretty much any flash would do. It is better if the flash has controls to vary power.
      3. Flash Trigger - the flash need to be used off camera so either a sync cord or wireless trigger is required.
      4. Snoot, Grid or Black Cards – to control the light from spilling on to the background  and reducing contrast or towards the camera and creating flare.
      5. Tripod – though it is quite possible to shoot without one, I personally prefer the camera on a tripod as I could watch the smoke patterns, may be modify it a bit and trigger the shutter when I find an interesting shape or pattern form.

      Other than the above mentioned equipments you will need the following.


      1. Black Background – though any dark colour would do, black produces the maximum contrast.
      2. A Table Lamp – a table lamp or any suitable light source to enable you to see smoke.
      3. Incense Sticks – any material that could produce smoke would do. I personally prefer incense sticks as they are not very harmful to us and have a pleasant smell; moreover the smoke it produces has nice texture to it.
      4. Lighter – a lighter or match box to ignite the incense stick
      5. Pan or Plate – to collect ash

      Smoke Photography Setup

      First setup your black background for the shot; you need not use large backgrounds,  but a fairly large black background along with a large room would enable you to increase the distance from the background to the subject thereby eliminating chances of any stray light from hitting the background.

      Place your incense stick on a stand; it would be better if you could put a pan or something to collect the falling ashes. 

      Now place the table lamp to one side of the incense stick, adjust height so that the light would illuminate the smoke when it rises.

      Place your flash on the opposite side of the table lamp; set the flash to appropriate power and attach snoot/grid/black card or whatever it is that you use to make sure that light from the flash does not spill either towards the background or towards the camera. Attach sync cord or wireless trigger to the flash.

      Finally put the camera on a tripod and focus on the incense stick, once focus is right switch the control to manual focus so that focus does not change and recompose your shot as required.

      smoke photography setup
      camera on manual and flash triggered wireless cardboard pieces acting as gobos preventing flash light from falling on the background and towards camera causing flare.

      Camera and Flash Settings


      Aperture – consider using an aperture of f/11 or more for increased depth of field.

      Shutter Speed – set your camera to its sync speed or a little bit lower. For example if your sync speed is 1/200 then set it to 1/160 it will help overcome any lag when using remote triggers.

      ISO – Use the lowest possible ISO setting on your camera. For most cameras it is ISO 100.

      Shoot RAW and use Flash as white balance setting.


      Flash settings – put flash to manual mode, zoom it as much as it allows, most flashes zoom up to 105where are some new ones zoom up to 200. Set the power as desired most often to get apertures of f/11 you will need to use the flash on either ¼ or ½ or even 1/1. It all depends on your flashes make and model and its guide number. So trial and error is the best method.

      Choosing a well ventilated room will ensure that smoke do not build up there by raising health hazards and also fogging the shots. One important tip while attempting smoke photography is that if you studio has either smoke detectors or sprinklers, disable them before igniting your incense, else………..

       Smoke Photography – Post Processing

      Open the RAW file in photoshop. If you have light spill on your black background or if you find your black background is not entirely black adjust the black slider to get it completely black. Once you are satisfied click open image.

      Adding Colour To Smoke

      You can add colour to your smoke in a number of ways, remember in all these settings the colour will only be applied to the smoke and the background remains unaffected. First method is with the hue and saturation tool.

      Click Image > Adjustments > Hue Saturation - adjust sliders to get different effects

      The second method is using photo filters

      Click Image > Adjustments > Photo filter – choose any filter to see its effect on smoke

      The third method is to use the gradient tool

      Click Layer > New > Layer or press Shift+Ctrl+N to create a new layer select the gradient tool (keyboard short cut G), choose your preferred gradient and drag across the new layer as desired. Now change the blending mode of the new layer to multiply and you have your coloured smoke.

      smoke photography post processing
      Smoke photograph coloured using the gradient tool


      Changing Background to White

      Click Image > Adjustments > Invert to change your background colour to white; however doing so will change the colour of the smoke too, it will be opposite colour chosen for the smoke in black.

      tutorial on smoke photography
      smoke photography - background changed to white

      Working with layers to create interesting Shapes and Designs

      Click Layer > Duplicate Layer > OK

      Edit > Transform > Flip Horizontal

      So now we have the exact opposite of the first layer.

      Click Image > Canvas size and Double width of the canvas

      Now align both layers perfectly to form the shape.

      photographing smoke
      Shape created using mirrored layers

      If needed you can click Image > Adjustments > Invert to change one of the sides to white

      smoke photography tutorial
      one side of the photo changed to white

      Doubling the canvas size vertically

      Click Image > Canvas size and Double the height of the canvas

      Now duplicate layers and click Edit > Transform > Flip Vertical

      Align layers to create your shape.

      smoke photography tips
      mirrored vertically

      Your imagination is the limit as to how you create different effects.

      Here is another variation

      how to do smoke photography
      smoke photography tutorial

      And yet another

      advanced smoke photography tips
      smoke photography tips

       
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