Why are Eyes Red in Photos ?
Red-eye is a phenomenon that happens only when taking photos using a flash. When taking photos in day light or when in high ambient light scenarios people’s eyes look normal. When taking pictures in low ambient light scenarios using a flash the result many times is redness in the people’s eyes.
The reason for the color red is simple – when flash light from the camera hits the eyes it penetrates and is reflected back from the retina. The color of the reflected light is red because the light is actually reflected from the red blood in the retina.
In some scenarios the red-eye is evident while in others it is mild or doesn’t seem to appear at all. One of the main factors for that is the state of the pupils. If the pupils are dilated (for example the pupils dilate in darkness or when drinking alcohol) more light is reflected back from the retina and the eyes in the photo appear redder.
Common Way to Reduce Red-eye
The most commonly used method to reduce red-eye is activating the camera’s built-in red-eye reduction feature. The red-eye reduction feature is very simple yet effective. When turned on the camera shoots a series of pre-flash strobes followed by one more strobe when actually taking the photo. The pre-flash strobes cause the pupils to reduce in size and by the time the photo is taken the pupils are small enough for the eye redness to substantially reduce.
The red-eye reduction feature does what it is supposed to do: reduce the red-eye effect but almost never is it completely prevented. There are many limitations to this feature for example pupils reaction time to light can vary. In addition this feature can have a side-effect that results in photos having people’s eyes closed. The reason is that the pre-flash strobes blind the people and cause them to close their eyes.
Other Ways to Prevent Red-eye
Understanding what causes red-eye helps being more creative in preventing it. Following are some ways to prevent red-eye other than using the built-in camera red-eye reduction feature:
Increasing the light where photos are taken (for example by turning on the lights in a room before taking photos of people) causes people’s pupils to reduce in size and eye redness to reduce.
Point the flash away from the eyes. Since red-eye is caused by flash light reflected from the retina the best way to prevent red-eye would be to eliminate such reflection as much as possible. In most cameras the angle between the flash and the lenses is narrow (this is especially true for built-in flash and pocket cameras) causing most of the flash to bounce back from the retina to the lenses. Increasing the angle (for example by using an external flash) reduces the reflected light. You can also use a bounce flash – by having the flash light bounce off a bright surface (a white wall or a professional reflector) most of the direct reflection from the retina can be eliminated.
Red-eye can also be removed after photos were already taken by using photo processing software on your PC. Most digital cameras include a CD with PC software that embeds this feature. Although this method doesn’t eliminate the red-eye from the source it can result in a practically red-eye free photo. Some software are better than others some are manual while others automatically identify the red-eyes and process that area to revert to normal eye colors.
We use filters in photography to bring back an image to the way our eyes have perceived the original scene. Some times it’s not possible for our cameras to record an exact scene - so we have to rely on the manufacturers of camera products.
If you are only going to buy one filter for your landscape photography a polarizing filter is the one you’ll use most. A polarizing filter can be used with colour or black and white and is probably the most important filter on the market today.
Lets take a quick look at the science behind it. A polarizing filter is made up of two pieces of glass which when rotated cut out all glare on non-metallic surfaces. Light travels in waves - these waves travel in all directions and at different rates and speeds. The polarizing filter works by limiting the amount of waves that enter your lens. You decide how many waves pass through your lens by rotating the filter.
The polarizing filter is most effective with side lighting.
For example: if you are taking a picture of a scenic lake area and there is a messy reflection of the clouds in the lake; it will be too much of a distraction in the final picture. This can be simply removed by rotating the polarizing filter ‘til the clouds disappear. You can view the filter working in the viewfinder of your camera.
The polarizing filter will also darken the blue sky to give it a strong rich colour. It will make mist stand out and can be also used to give fast flowing water a misty effect.
You don’t have to rotate the filter the full amount to get the maximum affect you need, sometimes you will only have to rotate it a small amount. You can decide best for yourself by viewing through your viewfinder while you rotate the polarizing filter.
This filter is not just for a landscape photographer.
There are many different uses for a polarizing filter, which make it so important for all photographers. Property photographers would find this filter extremely handy - when taking an image of a shop front, the polarizing filter will remove glare that reflects off the glass.
Take extreme care when calculating exposure. Remember that you will have to add two stops of light when using the polarizing.
Taking great portraits is as much about people skills as it is about technical ability, or using the latest and greatest photographic equipment. Sure, refining your technical skills and knowledge may expand the extent of your capabilities, and using superior equipment may indeed boost your edge. But, unless you can first see through your subject's eyes, and understand her as a unique individual, and then build rapport with her so you can unveil and accentuate her finest qualities, your portraits will remain mediocre at best. Some lessons learned along my journey as a photographer may help those who choose to follow.
1. If using a tripod, compose your portrait and then take one step just to the side and forward from the camera. Do not look through the viewfinder as you capture your subject's image. This allows you to make eye contact initially with your subject, and then direct her in mood, expression, position, and the angle of gaze you are aiming for. When your subject interacts with your camera, the result can be a cold or lifeless rendering, but when you engage your subject through eye contact, expression, gestures and words, the result can be a warm and candid reflection, charged with mood or emotion.
2. If you are not using a tripod, you really should redouble your effort to maintain constant interaction with your subject. Many photographers tend to keep their eyes in the viewfinder of the camera, but this leads to your subject interacting more with the front glass in your lens than with you. Again, you do not want the sterile and lifeless rendering that most often comes when the camera serves to isolate you the photographer from your subject. Interaction with an inanimate object (your camera) can never be a substitute for interaction with another human being (you), when your goal is to capture the essence of your subject, and reflect the attitude and emotion she was feeling at that moment in time.
3. Allow your subject to be herself. A little girl dressed up in fairy wings for a special picture is very cute, and I suppose there is a place in this world for cute. But, contrast this with the little girl who just loves to dance. You put her in her everyday clothes, stand her in front of a plain backdrop, put on her favorite music and say to her, "can you show me how to dance to this song?" You should have no difficulty in capturing timeless expressions there. Now imagine a jeans and t-shirt kind of guy whose true passion in all of life is sailing. You dress him up in a tailored suit; formally pose him in front of a low key backdrop, seated in a Chippendale chair, and use classic loop lighting. What would be said of this portrait years later? "Who was this guy, an executive?" But just suppose, you photographed this same guy in his favorite t-shirt and blue jeans, at the helm of his beloved sail boat, on a beautiful late afternoon, just as the boat was coming about? What would be said of this portrait years later? "This was Charlie, doing what he loved most! That was such a glorious day." The point is, "keep it honest". Fantasy can be cute, but your subject being herself, years later this will be much more meaningful.
4. Allow your subject's expression to be honest. A frown or a grimace that is genuinely felt can be more interesting than a smile that is forced. I try to never just pose my subject and then say, "Okay, now smile for me." If you want your subject to smile then tell a joke, put on a face, or perhaps merely smile at her and she will smile back at you. People generally tend to reflect in their face what they see in yours, but in my experience this is not always so. Nevertheless, interaction with your subject is the key. That being said, the next time you have a difficult subject ask him to tell you a joke, to bring out a smile, if that's the expression you are after. If you are a professional, you know that smiles sell, but if you're an amateur, you are under no pressure to sell, so make your portraits interesting. Not everything in the world is to smile about.
5. Direct your portraits. Take control of the composition of your portraits! Do not be afraid to tell or show your subject what you want. Sometimes showing is best. I often find that actually demonstrating a pose I have in mind, works better than trying to direct my subject through words alone. If you are photographing a group, your life will be easier, if you arrange and pose the adults first. Then, work your way from oldest (or more mature and settled) to youngest of the children. The point to remember is, as the photographer, you should take charge of the shot. The success or failure of the portrait will be your responsibility, so take charge.
Engage your subject to establish and build rapport with her, to take your photos to a higher level. Make your portraits more meaningful by keeping them honest, and natural. We all know a fantasy photo can be cute, and a formally posed portrait can be graceful and dignified, if that is your subject's personality. But, a portrait that is true to the subject is always more meaningful. Allow your subject to be herself, and never force an expression. Learn to take charge and direct your portraits and you will move far ahead in your journey as a photographer. Practice your people skills with each portrait you take. People skills are the prerequisite to all else, if you want to take great portraits. Good day and happy clicking!
