You’ve seen it before – weird, colored blobs in your photographs radiating outward from some bright point of light. Or maybe it’s just a diffuse glow or lack of contrast. Whatever its appearance, it’s lens flare. Plain old lens flare, or perhaps the spookier sounding “ghosting” or “veiling flare.”

In this article, we’re going to take a look at the nature of flare and ghosting, and the effect of filters on the detriments to image quality.

Flare

Flare occurs when extraneous, non-image forming light hits the image sensor and contributes to the exposure, and results when light reflects off glass-air surfaces of optical elements within a lens. In the instance of filters, this extra light is caused by reflections between the front element and the inward facing surface of the filter, some of which bounce back toward the sensor, resulting in flare.

Flare can take many different forms, from radial streaks from the light source to rainbow circles or arcs. In other instances, light sources can take on a glow much larger than their apparent size to the naked eye. Flare can also appear as a bright spots (ghosting) or a general reduction in contrast (veiling flare).

Here’s an example made with the Nikon 24-70mm f/2.8 at 70mm using a Nikon L37c filter.

In this crop below, flare is evident as a greenish/rainbow arc cutting across the frame. This is a result of the reflections being out of focus relative to the focal plane.

Ghosting

Ghosting, like flare, is due to reflected light hitting the sensor. However, in contrast to the sample of flare above, ghosting occurs when the reflected light closer to the focal plane. The result is that the reflections are essentially more in focus and thus appear as bright and more distinct points in the frame.

Below is an example of ghosting, which often appears opposite the original light source from the center axis of the frame. Additionally, ghosting may often occur in series, with multiple points of ghosting in a single exposure.

Another, more distinct and recognizable form of ghosting is called aperture ghosting, which occurs when these artifacts take on the specific shape of the aperture. They’re most readily identifiable with older style lenses without rounded aperture blades, which can project a series of identically shaped polygons stretching out radially from the light source.

Veiling Flare

One other common instance of degradation shooting into bright light is veiling flare, which takes the form of a general reduction in contrast over the frame.

In addition, due to the addition of non-image forming light to the exposure, areas affected by the flare may appear as lighter as they’re affected by this errant light. The most stark effect of veiling flare can be a lifting of shadows and midtones.

Just as with other forms of flare, using a filter adds another reflective surface to a lens and can make a lens more prone these results.

In the above example, strong backlighting in this late afternoon scene creates a instance of veiling flare, which reduces contrast across the frame and renders a sense of lightness and haze.

This kind of flare is most often see shooting into strong backlighting, such as when the sun is present in the frame. Veiling flare is one of the contributions to the “airy” and “summery” look that’s often seen in modern lifestyle photography.

While veiling flare – just as general flare and ghosting – can occur when using even high quality lenses without filters, the additional reflective surfaces of filters can contribute and exacerbate this effect. This is particularly true of veiling flare caused by oblique light sources outside of the frame.

Benefits of Flare

For all the technical detriment of flare and ghosting, there can be aesthetic benefits to these artifacts. Since we’re used to seeing images with these attributes, they can be visual cues that can actually help people read an image and which can impart character.

One example of this expectation and fulfillment is the inclusion of lens flare in Hollywood films composed of entirely by computer graphics – think sci-fi space scenes and the sun. Even though there’s no physical reason for flare in the special effects scenes, its inclusion satisfies a sense of expectation in a viewer who’s seen hundreds or thousands of images with flare caused by the sun or other bright light sources.

It’s the same kind of conditioning at work that makes people more accepting of grainy black and white images than color images.

In practical terms, there can be “good” examples of flare that can emphasize lighting, at atmosphere and act as an intensifier to images. One example already mentioned is veiling flare, which can enhance or change the mood of a photo, giving it a summery, airy feeling, which can be invaluable to any lifestyle or portrait photography using natural light. Another instance where flare may be welcome is when it contributes to an otherwise bland frame, in which the background is without detail.

Overall, the kind of flare that’s most often pleasing is veiling flare or localized flare around a light source. Both can affect a scene’s mood without completely destroying detail or in such a specific way as ghosting can. That said, when it works with a composition and image without obscuring detail in a subject, even ghosting can be an interesting tool for photographers alongside other kinds of flare.

Ultimately, not all flare is bad – it’s just another tool at one’s disposal in imagemaking, albiet not as controllable as many others in a photographer’s proverbial camera bag. In a recent interview, J.J. Abrams (creator of the TV shows Lost and Alias) commented on the use of intentional flare in the Star Trek reboot, used to such degree that the director comments on flare as being another actor in the production.

The Effects of Filters on Flare

While digital sensors, which largely incorporate IR and UV filters at the sensor plane level, make use of a UV filter unnecessary these day, many photographers still use clear filters (UV or otherwise) as protection for their lenses.

Since filters effectively add another reflective glass-air surface to a lens, increasing the changes of reflections, they’re a liability in terms of flare and ghosting.

Below is a real-world A/B comparison showing the effects of filters – filtered lens on the left, no filter on the right.

UV Filter vs No Filter Comparison

The above shows a pretty typical scene – a backlit afternoon sun, with the example on the left showing the use of a Nikon L37c filter and the example at right with no filter. Overall, the scenes are very similar – can you spot the differences?

One we’ve already looked at as a crop, which is the very slight rainbow arc of flare outside the radius of the sun. The other instance is ghosting, which is seen as the small green elipse in the lower righthand corner of the frame.

Analysis:

Overall, the two images are pretty close to one another, aside from the instances of flare and ghosting. All things being equal, the non-filter image is preferable, as it renders the scene free of any artifacts or image degradation caused by the filter.

On the other hand, these instances of flare and ghosting are pretty tiny, and may be a small price to pay for the peace of mind people feel from protective filters. With cheaper filters, the effects of flare can be much greater, dependent on the quality of the glass used and the effectiveness of the optical coatings.

Summary

With light and photography integrally linked, so too is flare. While filters are often to blame for excess flare and ghosting, given the right shooting circumstances, nearly any lens will produce flare of some kind. The most benign forms of flare have been used by photographers to beautiful effect, whether intentionally or not. In particular, veiling flare produces a look prized by many portrait and lifestyle photographers.

Hopefully this article has shed a little light on the subject of flare. Next time you’re shooting into the sun – or into stage lighting like me – take a moment to think about flare.

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As I’ve mentioned before, one of the very first pieces of music photography advice I ever received was simply, “Don’t forget the drummer.” It came not from another photographer, but from a guitarist in a band I’d befriended when I first started shooting concerts.

I was hanging out with the band in their dressing room before a gig, and the guitarist was noodling around on his guitar. Without looking up, he casually suggested, “Don’t forget the drummer. Photographers always forget the drummer.”

This piece of advice has always stuck with me, and to a certain extent, it’s become a small mantra of mine, as I think it can apply to any kind of situation. To me, it means not taking the easy way out – focusing on the less obvious solutions to a problem. To this end, I try my  best to never forget the drummer when I do a live music shoot.

Here are 6-tips for how to photograph drummers, one of the most challenging subjects on any stage.

Don’t Forget The Drummer

As I wrote in my 5 Tips For Better Concert Photography:

Nevermind that drummers are often poorly lit and trashing about behind a cage of obtrusive metal. When one can get over preening singers and over-socialized guitarists, some of the most dynamic rock images to be made are of a drummer in full swing, arms a-go-go.

Of course, this advice isn’t truly specific to just drummers, but applies to every band member beyond usual suspects. Deep coverage of the band, whether it’s a full-band shot or picking up individual members aside from the obvious targets can result in some of the most rewarding concert images.

6-Tips for Photographing Drummers:

1. Use The Right Lenses
2. Pick Your Angles Carefully
3. High Shutter Speeds
4. Compose for Movement
5. Shoot The Drummer in Context
6. Be Patient

Explanations below.

1) Use The Right Lenses

With most drummers set up at the back of the stage, shooting with a telephoto lens can be a necessity for closing the distance and bringing home compelling drummer shots. I favor a 70-200mm f/2.8 lens as my telephoto zoom of choice, which works well for all but the biggest arena setups.

By contrast, for those situations where distance isn’t a problem, go in for the kill with a wide-angle lens for a more unique perspective.

2) Pick Your Angles Carefully

With often massive drum kits in front of them, finding clean and clear angles can be a huge challenge in photographing drummers. Factor in other band members, mic stands, and monitors in between drummers and photographers, and the literal windows of opportunity are even more narrow.

Making successful photos of drummers often comes down to finding the right position and angle that gives a clear shot of their face, even if it means scoping out several spots. One trick I use is to use my time in the photo pit after the stage is set but before the band comes out to scope out sight lines for the band for all members, but especially for drummers.

3) High Shutter Speeds

With drummers often trashing away, arms a go-go, high shutter speeds are your best bet for clean drummer shots. At shutter speeds that are enough to freeze the action on other band members, the swinging arm and speeding drumsticks of percussionists need even faster shutter speeds to prevent blur, not to mention their often bobbing heads.

I prefer to shoot at 1/200 as a minimum, but 1/250 or even faster is preferable for the cleanest shots in my book.

4) Compose for Movement

One thing that’s different with drummers is that their range of motion is often greater than that of guitarists and singers. Sure, they’re seated, but playing and musical style can dictate a huge range arm motion for drummers. Add in drum sticks, and the arc of motion extends even farther.

Just as you need to choose your angles carefully for clear sight lines through a drum kit, lining up a frame with consideration for the full range of movement will help you plan for the kind of epic gestures and movements that can convey the power of percussion.

5) Shoot The Drummer in Context

One quick tip? Photograph the drummer in the context of the kit, band, and stage. While tight framing can often be the best show of the energy of a drummer, a wider shot that shows their entire kit can be just as impressive, especially for artists who have obviously designed their kit for visual performance as much as functionality.

6) Be Patient

The best advice I can give for photographing drummers is simply to have patience. Even with the right angle and technical details dialed in, nailing a killer drummer shot simply comes down to capturing a decisive moment. While this is really no different than any music photography, the myriad shooting issues surrounding drummers make having patience even more important.

Summary

1. Use The Right Lenses
2. Pick Your Angles Carefully
3. High Shutter Speeds
4. Compose for Movement
5. Shoot The Drummer in Context
6. Be Patient

There you go. 6-tips for shooting drummers. I’ll throw in a 7th tip for free: wear earplugs.

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Whether you’re shooting live music photography, weddings or any photography that involves quick response, fleeting moments and a limited period in which to execute, changing DSLR lenses is practically a necessity for any event to ensure the best and broadest coverage.

While landscape photographers and macro shooters may have the luxury of leisurely lens changes, for any photojournalist and event shooter with more lenses than camera bodies, quick lens changes are a necessary skill.

Here are 5 tips to changing camera lenses better, faster, and stronger. Think 5-second lens changes are impossible? Read on.

Speed Kills

Any music photographer knows the drill. First three songs, no flash. With some bands ripping  through three songs in what seems like as many minutes, changing lenses quickly is a skill that’s a must for any live band photographer.

A lot of young music photographers are flat out scared to change lenses during a three-song set – whether it’s because of dust, being careful with camera equipment, or irrational paranoia.

With these tips, you should be counting your lens changes in the single digits with ease.

5 Tips For Faster Lens Changes

1) Faster Camera Bags

The number one biggest time suck when changing lenses is not having a camera bag that facilitates easy access and fast lens changes. For me, the ideal bag is one that keeps lenses upright, readily accessible and which has a minimum of flaps with which to contend.

The bags that most readily fit this description are modular belt systems with multi-lens pouches, such as those made by Kinesis or Think Tank’s beltbacks and Skin Series, which are modular systems. For me, the key to these systems is the fact that the bags can be used in such a way that lenses are always accessible, without the need to peel back layers of flaps, excess padding, and zippers.

For users of messenger-style  bags like those from Crumpler, simply having the main flap tucked open can save valuable seconds when you need to change lenses quickly.

Additionally, simply re-planning your camera bag to make your most-used and most-changed lenses the readily accessible can make a big difference while shooting.

2) No Caps

This one is easy – If you want the fastest lens changes, do away with your lens caps head of time. This goes for front and rear lens caps. Simply by removing all lens caps before a shoot means you’ll automatically save time removing, stowing, and replacing caps when you need to change lenses.

Sure, your rear elements are going to be exposed to the perils of flying rocker sweat, champagne spray, or who knows what else. But hey – no guts, no glory.

3) Rethink The Lens Hood

Another sure-fire way to speed your lens changes is simply to do away with lens hoods. Short of that, using lens cases/bags that let you store your lenses with hoods in the shooting position will save time and fumbling.

Alternatively, one great alternative is to use collapsable hoods like the Mamiya M77 Rubber Lens Hood, which are permanently attached and go from storage to active in a quick pop – much faster than detaching a reversible stock lens hood and locking it back on.

4) Practice

This might sound silly, but practicing lens changes will make for faster and more efficient shooting. Sure, you’ve probably changed lenses hundred and thousands of times as a photographer – but if you’ve never practiced for speed, you’re only cruising for complacency.

5) No Fear

My last tip? No fear. No fear of dust, of bumping your lenses, or of getting a fingerprint on the rear element of your lens.

Also: Don’t be a wimp. Making the best images isn’t about how pretty your camera gear looks.

Just say no to lens caps.

Summary

1. Faster Camera Bags
2. No Caps
3. Smarter Lens Hoods
4. Practice
5. No Fear

So, there you have it. Five tips to help you with faster lens changes, whether you’re shooting wedding photography or concert photography. With a little planning and a few kit tweaks,  you should be able to get lens changes down to 10-seconds or less with ease, and down to 5-seconds at your most blazing.

Not only will faster lens changes mean you’ll be able to nail the dynamic shots you want, but they should also mean that your DSLR’s sensor should be exposed to dust and outside air for the minimum amount of time.

More than anything, this article is just a detail of thinking and shooting with intent, and optimizing your kit to be as transparent as possible so you can make the images you want. Next time you’re going out to shoot, take a minute to think about your shooting style, your images, and how your gear is going to enable that vision.

If you have your own tips to faster, more efficient lens changes and shooting in general, please leave a comment and share your advice.

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Glam rockers Semi Precious Weapons photographed at Gramercy Theater in NYC

Band portraits. One photographer and at least one person – or five or six – who makes music. Lights, camera, action.

Whether you’re shooting editorial portraits on tour or producing material for a promotional campaign, here are five easy tips for shooting band portraits and promos.

These Here are five simple but important tips for shooting band portraits and promotional photos:

1. Confidence
2. Fluidity
3. Names
4. Positioning
5. Positive Feedback

Before the technical details and lighting setups, these are five indispensable aspects of working for bands in my book. Let’s drill-down.

Party rocker Andrew W.K. photographed on Warped Tour 2010

1) Confidence

Bands are like wild animals: they can smell fear.

If the golden rule of sales is “Always Be Closing,” then for any type of portrait shoot, I propose “Always Be Confident.” In my experience, confidence is contagious, and there’s no better place for it to begin than with the photographer.

Confidence on the part of the photographer produces confidence in one’s subjects, which always translates into better images. When you project professionalism and confidence, subjects are more willing to trust, experiment, and invest themselves in the shoot.

For editorial portraits on assignment that may take place under extreme time frames, this approach is especially critical. In these quick types of shoots, you’re in control of the shoot until the moment you show your subjects that you’re not.

Portraits of pioneering thrash metal band Slayer photographed in 2009 in a 4-minute, 3-light shoot in the band's gear trailer

2) Fluidity

Going off the first tip of confidence, one thing I always strive for in my portrait sessions is a sense of fluidity in the shoot itself. Smooth transitions in positioning, looks, and lighting. Quick and seamless changes in all these areas not only save time, but they set a good working tempo and help establish your control.

This sense of fluidity also translates into multitasking as well. For example, if an assistant is moving a light, I take that opportunity to give direction and feedback, ensuring there’s a minimum of downtime.

Whether it’s a time-tight editorial shoot or a commercial shoot with handlers and art directors standing by, efficiency is never wasted.

Forever The Sickest Kids, who taught me that when in doubt (and when photographing six band members), get in close

3) Names

I’ll tell you guys a secret: I’m horrible with names. And yet, this doesn’t stop me from calling out individuals for a six-piece group when I need to pose them minutes after meeting them.

The trick is simply to memorize the names and faces of everyone in the band ahead of time. Before any shoot with a band who I don’t personally know, I make it a point to memorize the roster, which I consider essential for building rapport and confident direction.

On my first portrait session with Forever The Sickest Kids, their guitarist Caleb noted, “You’re the first photographer to actually learn our names before a shoot!” It’s a small thing, but knowing the names of each and every band member is essential in my book.

Accurately and confidently calling out a band member’s name is not only the most efficient mode for direction (it sure beats pointing and saying “Hey, can you…), it shows a band a simple but important level of investment into the shoot. I find that this level of connection always puts the band more at ease, which translates into more compelling images.

If for some reason you can’t memorize ahead of time or you simply forget, kindly asking for a reminder is a simple act of consideration that will not go unappreciated.

UK electro rock band Deluka photographed their 2010 release, "You Are The Night"

4) Positioning

Together with light and subject, composition is a core pillar in the dynamics of photography, and band portraits are no exception. Very rarely does the Red Rover look of a line of people straight across the most successful arrangement for a compelling portrait.

In my portraits with musicians, I always strive to break up the group and position the members in a natural way. As a general starting point, I tend to position core or senior band members up front in the stagger, but I constantly shuffle members around during the shoot. If nothing else, rearrangement from time to time helps keep everyone fresh and breaks the tedium.

The Dillinger Escape Plan photographed in late 2009 on their headlining tour for "Option Paralysis"

5) Positive Feedback

Positive feedback is an essential tool for any portrait shoot, and band portraits are no exception. I always strive to give my subjects a stream of communication letting them know how the shoot is going, whether it’s positive feedback on an adjustment to posture or the lighting.

In addition to verbal encouragement, one thing I generally try to do is show the band (and any of their representatives on-site) how the lighting looks on the camera’s LCD.

This act serves two purposes. First, it keys the band into the very specific look we’re working with and involves them in the visual process. Second, this establishes the authority and expertise of the photographer. After involving everyone in the specific look we’re creating, I always find that people relax, excitement builds, and the best images are made.

UK punk band TAT photographed on Warped Tour 2009

End Notes:

Whether shooting editorial portraits on location or a commercial in the studio, these five simple tips I always keep in mind for my own work. Better yet, these are tips that anyone can implement – they have nothing to do with your camera gear, lighting setup, or the level of band you’re shooting.

Have fun, guys.

The New Heathers, photographed for the release of their 2009 EP, "The Fuel, The Fire, The Spark"

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Last month, I posted 6 Tips Every New Music Photographer Should Know. These basic tips and pieces of advice were geared more toward getting into live music photography in general and dispelling some myths about what it takes to be a music photographer.

Since we’re kicking off a new year, I’d like to change the angle and open up the discussion. I want you to post your tips for new music photographers.

Your Best Live Music Photography Tips

I double-dog dare you to share your own tips and advice for photographing live music.

For all the older and wiser music photographers, here’s your chance to drop some knowledge on everyone’s heads.

For everyone learning, soak it up!

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