Experienced portrait photographers often shoot outdoors with natural light when conditions are right for soft, even illumination. Other shooters, on the other hand, avoid supplemental light at all costs because of a misconception that the technique is too difficult to master.

We’re going to correct all that in today’s quick tutorial from noted photographer Manny Ortis who explains how to harness the power of a single flash when available light doesn’t deliver flattering results. His method is easy enough for anyone to master and takes barely six minutes to explain.

Ortiz specializes in cityscape, portraiture, and street photography, so he’s a perfect instructor for the job. In this episode he describes situations in which natural light gets the job done, and he provides several examples of images shot with and without flash. Then he alleviates your concerns about complexity by demonstrating everything you need to know to get started with outdoor flash photography today.

Along the way you’ll pick up some great tips on gear, composition, posing, and camera/flash settings for capturing outdoor portraits that make you and your model proud. You’ll also learn how to position yourself and a subject properly relative to the sun—whether or not you’re using supplemental light—to avoid hotspots and other unwanted effects.

Ortiz illustrates why “every inch matters” when it comes to the placement of your flash, and how a small shift one way or the other can make a huge difference in the results. He also includes exposure information with his images so you’ll understand exactly how he made the shots.

Other important tips include using background elements like buildings or foliage to frame a model for an eye-catching look. You’ll also see how the focal length of a lens factors into the equation. As for exposure, Ortiz says this:  “When I expose for back-lit natural light portraits I tend to slightly underexpose the model to avoid completely blowing out the sky.”

Some photographers prefer exposing for the sky and relying upon dynamic range to recover the shadows, but Ortiz explains why that approach has “backfired on me way too many times.” So take a look and compare the photos captured with and without flash, and then decide which images you like best.

So take a deep breath, find a willing model, and get out there and experiment with what you just learned. You’ll improve the quality of your portraits and have a better understanding of how easy flash photography is to do.

Be sure to visit Ortiz’ popular YouTube channel where you’ll find  many more helpful tips and techniques. On a related note, we also suggest watching a video we shared recently, discussing the best lenses to use for capturing beautiful spring portrait photographs.

A tripod is the only accessory that makes every image sharper. Premium British tripod manufacturer 3 Legged Thing just introduced accessories that greatly expand tripod applications for all content creators: the 3 Legged Thing Ultra Plates. There’s also an accessory for these new accessories: The Thingy.

3 Legged Thing Ultra Plates (and the chance to score a Thingy) are being offered on Kickstarter NOW. Backers who pledge within the first 48 hours receive bonus discounts.

3 Legged Thing Ultra Plates comprise a set of Arca-Swiss compatible extended-span release plates in four lengths from about 6 to 12 inches (150 to 300mm). They allow photographers and videographers to mount a variety of different items, including cameras, microphones, monitors and lights, to a single plate for greater control and more convenient use. Spotting scopes and binoculars can be attached for wildlife work.

Constructed from single billets of anodized aerospace-grade magnesium alloy, Ultra Plates provide several features that enable camera gear and accessory setups that satisfy the individually unique needs of content creators, photographers and filmmakers.

Why They’re So Useful
1. Like any Arca-Swiss compatible baseplate, at the basic level, 3 Legged Thing Ultra Plates allow you to quickly attach your camera securely and easily to a tripod head. Even the shortest (5.9-inch) Ultra Plate is better than the small square baseplate that comes with most tripods because it provides a more rigid platform and allows lateral movement. It also allows the camera to sit level on a flat surface when not attached to a tripod.

2. Because of the Ultra Plates’ innovative design, content creators and filmmakers can manage cable routing and attach other accessories (lights, monitors, selfie mirrors, etc.).

3. Wildlife and sports photographers can deploy the optional accessory “The Thingy” to the end of the Ultra Plate to create a more stable platform for cameras with long lenses.

4. You can attach two cameras side-by-side on the longest (11.8-inch) plate to shoot with different focal lengths or to try your hand at homebrew stereo* photography.

(*You’re on your own, stereo fanatics—results are not guaranteed. But if you can make it work, tell Shutterbug about it.)

My Take After Using Ultra Plates for 30+ Days
No owner’s manual needed, 3LT Ultra Plates are straightforward and intuitive to put into action. A minute or two spent configuring the accessories makes complicated setups a breeze. If you frequently use a particular arrangement, Ultra Plates facilitate consistently repeatable configurations.

Only 3 Legged Thing could create an accessory that’s so simple yet so useful. 3LT’s Ultra Plates expand the functionality of any tripod, plus they’re gorgeous and exceptionally well made.

Ultra Plates are available in 3 Legged Thing’s signature colors: Copper (orange) and Darkness (matte black) and are being launched through 3 Legged Thing’s first-ever Kickstarter campaign.

Kickstarter Deets and Link
Backers who pledge their support in the first 48 hours will enjoy extra discounts via exclusive Early Bird bundle offers. Throughout the Kickstarter campaign, generous discounts from the anticipated street price will be available. Visit 3 Legged Thing’s Kickstarter pages for pricing and updated delivery information.

Additionally, backers who pledge support will have access to The Thingy, one of the coolest gadgets we’ve seen in years.

Shutterbug virtually never reports on products that are still offered only via crowdfunding, but 3LT deserves an exception because of their unparalleled history of producing exciting, innovative, high-quality products with very weird names.

Bottom Line
Leave it to 3 Legged Thing to create an accessory that significantly expands the functionality of a tool savvy photographers use regularly — the tripod. 3LT’s Ultra Plates are a Must Have. And if you shoot long lenses, The Thingy is just the thingy for you.

3 Legged Thing Store
To browse and buy other 3 Legged Thing products, visit the 3 Legged Thing Store on Amazon.

—Jon Sienkiewicz

(As an Amazon Associate, Shutterbug earns from qualifying purchases linked in this story.)

Earlier this month we featured a Lightroom tutorial explaining how to edit sunset photos to enhance those gorgeous golden colors so your photos are as captivating as the scene you saw through the viewfinder. Today we’re taking a different approach to maximize the impact of Blue Hour images.

Blue Hour is that magical time just before sunrise and immediately after the sun drops below the horizon in early evening when the landscape is bathed in blue light that imbues photos with beautiful soft, cool light that conveys a sense of peace and tranquility. For some reason sunset photos are more common among landscape photographers, but images shot at Blue Hour are just as captivating.

We often turn to German landscape photographer Christian Mohrle who isn’t shy about sharing the editing techniques that contribute to his stunning imagery. You may want to download today’s demonstration image so you can follow along and mimic his edit as the steps are explained.

With most post-processing techniques it helps to make a few basic adjustments before jumping into selective enhancements like color grading and masking, and that’s what Mohrle does here to embellish his pretty Blue Hour seascape. He first changes the profile from Adobe Color to Adobe Standard, which immediately lessens contrast.

Other preliminary adjustments are geared toward improving exposure because the overall shot includes areas with very deep shadows, while highlights in the sky also need to be enhanced. It’s important to take a subtle approach when increasing exposure in images like this to avoid overexposing highlights in key elements and their reflections on the water. Otherwise details will be lost.

Mohrle walks you through the initial global adjustments and then turns his attention to making  selective enhancements to specific area within the frame. He applies a linear gradient over the top of the image to darken the sky, and another liner gradient to make reflections clearer and enhance the tones of the water in the foreground.

Now it’s time for some simple color grading, and Mohrle pulls up Lightroom’s Color Mixer for some quick and easy refinements. All that’s left to complete the job is a bit of sharpening and cleanup. The final result is very impressive as you can see by comparing Mohrle’s before/after images.

Landscape photographers owe it to themselves to explore Mohrle’s instructional YouTube channel where’s there’s much more great advice for elevating their work.

And be sure to watch the tutorial mentioned above, so you understand how to bring out the best in every unset photo you shoot.

One of the first things we do when configuring a new camera is deciding whether to set the Color Space to Adobe RGB or sRGB. And this isn’t a set-it-and-forget-it choice because the mode you select depends upon how you plan to use the photos you capture.

Instructor Vlad Manea is a Romanian pro based in Germany who specializes in shooting and editing tutorials with beginning photographers in mind. In this four-minute episode he demystifies the concept of color space so you can make the best choice every photo you shoot..

Most cameras offer a choice of two Color Space settings—Adobe RGB and sRGB. As Manea says, “In this video I explain it all for editing, printing, the Internet, and sharing so you get the very best and consistent results.”

Manea explains the concept like this: “Color Space is essentially the range of colors that are available on your camera. As you may already know, the term “RGB” stands for red, green, and blue. These are the three colors that are represented in every color image that you capture. The common default setting is sRGB—a more limited color space than its big brother Adobe RGB.

So why wouldn’t you just set the camera for Adobe RGB and move on to other matters? Pardon his language but Manea says that approach is “totally crap.” His reason is this: “The Adobe RGB color space is primarily intended for people who do a lot of prints or for applications like magazines where the end result is printed commercially.”

Manea reinforces this view by explaining that Adobe RGB is more akin to the CMYK spectrum (cyan, magenta, yellow and black) than the smaller sRGB color space. He also discusses the importance of using the same color space across your various image-editing apps and the camera. This also holds true when exporting your files.

According to Manea this is the problem: If you mix different color space settings you won’t have any color consistency with the images you share, print, exhibit, or share online.

Manea’s advice is simple and based upon the end use of an image: “if it’s online, shoot sRGB, if it’s for print, shoot Adobe RGB.” He also notes that even if you shoot in Adobe RGB, the color space is often automatically changed to sRGB when posting these images online.

There are a few more tips worthy of consideration, and Manea also illustrates where to find the Color Space options within a cameras menu. The bottom line: Be smart and be consistent when making an appropriate choice for the specific task at hand.

There are many more lessons for budding photographers on Manea’s informative YouTube channel, so be sure to take a look when you have time. And on a related note, don’t miss the tutorial we posted earlier from an accomplished outdoor shooter, explaining a simple Lightroom technique for enhancing landscape photographs with dull colors.