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26 Types of Photography to Explore (for Inspiration)

26 Aug

The post 26 Types of Photography to Explore (for Inspiration) appeared first on Digital Photography School. It was authored by Megan Kennedy.

26 types of photography to explore (for inspiration)

There are dozens of types of photography, covering a wide range of subjects and themes. Some genres focus on people, others center around the natural environment, others emphasize human-made landscapes, and still others consider cultural objects such as food and products.

Thinking about branching out into a different photographic genre or simply on a hunt for inspiration? Here’s a list of 26 photography types to get your creative juices flowing!

1. Abstract photography

abstract photo of a flower
Canon 5D Mark II | Canon EF 50mm f/1.8 II with extension tubes | f/2.2 | 1/200s | ISO 100

Abstract photography is about expressing a visual image through association, isolation, and recontextualization. Also known as experimental photography, abstract photography isn’t bound by standard photographic conventions (although a sound knowledge of composition and technique can help improve your abstract photos!).

By prioritizing abstraction over the figurative or representational renderings of subject matter, an abstract photographer crafts an image that audiences can explore through intuition and impression. And with a focus on aspects such as light, distance, detail, color, texture, line, camera movement, and focus, abstract photographers experiment with ideas about what actually makes an effective image.

2. Aerial photography

Also known as airborne photography, aerial photography involves making photographs while a camera (either held by a photographer or mounted on special equipment) is airborne. Vehicles for aerial photography can include kites, aircraft, parachutes, rockets, and even pigeons (a technique invented in 1907).

The first aerial photos were made by French photographer Gaspard-Félix Tournachon, who took pictures over Paris in a balloon in 1858. However, the resulting photographs are lost to time, and the earliest surviving aerial photograph, made by James Wallace Black and Samuel Archer King, depicts Boston from a balloon in 1860.

Nowadays, drones are a popular tool for aerial photography. And as drones become more efficient, user-friendly, and economical, many photographers are taking the opportunity to capture unique perspectives from the air.

3. Animal photography

From whales to cats to gerbils, animal photography encompasses both domesticated pets and wildlife. Animal photographers strive to convey the spirit of their subject, and preventing harm to animals is paramount.

Because of the varied behavior and size of animals, animal photography can involve a wide range of gear. Lenses include telephotos, wide-angles, zooms, and primes. Equipment such as hides and camera traps, as well as camouflage and Ghillie suits, are sometimes used to photograph wildlife.

For pet photography, standard zoom lenses are a common choice, although prime lenses or a wide zoom such as a 16-35mm are good alternatives.

4. Architectural photography

Architectural photography is the photography of buildings and similar structures. Architectural photographers prioritize a balance between realism, technical accuracy, and pleasing aesthetics. The first permanent photograph (titled View from the Window at Le Gras by Nicéphore Niépce) doubled as the first architectural photograph. From there, early photographers like Henry Fox Talbot made numerous images with architectural subjects.

Attention to compositional tenets like leading lines, perspective, symmetry, and framing are key methods applied in crafting an architectural photograph. Sometimes, aerial photography is combined with architectural photography to present the viewer with a fresh perspective on an architectural subject.

5. Astrophotography

Humans have been looking at the night sky for millennia, and the jump between the first successful photograph of an astronomical object (the Moon in 1840 by John William Draper) to present-day astrophotography is amazing.

astrophotography of the moon
Canon 5D Mark IV | Canon EF 100-400mm f/4.5-5.6L IS II USM | f/5.6 | 1/1600s | ISO 500

Depending on the subject and your desired outcome, there are tools designed to make the process of photographing the heavens easier. For broad night sky photography, a wide-angle lens with a wide aperture and a quality mirrorless or DSLR camera with an interchangeable lens configuration and manual capabilities is ideal (and a full-frame camera will likely perform better in low-light conditions). A remote shutter release or intervalometer will minimize camera shake.

If you plan to photograph fixed renderings of the night sky (as opposed to star trails), a tracker mechanism is highly recommended. A sturdy tripod is a crucial piece of equipment, and a flashlight for light-painting the surrounding environment to create context can be a useful creative tool.

Light pollution indicator app screenshot
Light pollution indicator apps like LPM (above) are available for Android and iOS devices.

Apps that track weather and light pollution or indicate the darkest times of the month can be handy for determining a shoot date in advance.

In terms of photographing the moon, a telephoto lens mounted to a full-frame camera can work well. Again, a mirrorless or DSLR with an interchangeable lens system and manual capabilities is recommended, along with a remote or shutter release cable and a sturdy tripod. Here’s a useful guide for choosing the right settings to capture beautiful lunar astrophotography.

6. Conceptual photography

While the phrase “conceptual photography” derives from the late 1960s Conceptual Art movement, the term has been used retrospectively to describe a genre or approach to photography that prioritizes the illustration of a concept.

Hippolyte Bayard’s Self Portrait as a Drowned Man (1840) was one of the earliest conceptually based photographs. Bayard, apparently provoked by French authorities failing to recognize his discovery of the photographic process as equal to Daguerre’s daguerreotype, faked a self-portrait depicting his own “dead” body with a summary of his demise written on the back of the photograph.

Conceptual photography thrives on the transmission of ideas. Often surreal or hyper-real in their approach, photographers like John Hilliard, Cindy Sherman, and Chema Madoz are well-known figures in the conceptual field. The diversity and scope of conceptual photography has expanded even further with the availability of photo-editing software.

7. Documentary photography

While sometimes confused with one another, documentary photography and photojournalism are two different fields. Documentary photography relates to long-form projects with a discernible storyline threading throughout a series. Photojournalism, on the other hand, focuses more on breaking news stories.

From the poor Depression-era farming communities documented by Dorothea Lange to Diane Arbus’s haunting portraits of marginalized figures, documentary photography shines a light on often underrepresented facets of life. Through their work, a documentary photographer can enhance awareness of a subject or theme and stimulate an emotional response.

8. Event photography

Put simply, an event photographer specializes in photographing events. Whether focused on a corporate occasion, a birthday, a wedding, or a funeral, event photography is as broad as the many occasions that warrant a photographer on site to capture the moment.

As with all types of photography, preparation is the key to a successful event shoot. Events can be held indoors, outdoors, or both, so lighting conditions can be complex and changeable. Packing a good low-light camera body and lens with a wide maximum aperture is useful for situations where flash might not be appropriate. And creating a shot checklist that is agreed upon by both photographer and client is a good way to establish and capture the images a client is after.

That said, depending on the event, you’ll want to keep an eye out for candid moments and little details; that way, you can create a more intimate collection of event images for the client. Also, don’t forget to stock up on memory cards and batteries.

9. Film photography

Nowadays, digital technology is the dominant medium for image making. Nevertheless, there are still many photographers who use film to create beautiful imagery.

Types of photography film flowers

Film photography can slow down the photographic process, encouraging a more mindful creative approach. A limited amount of film frames can also encourage photographers to shoot more conscientiously, and the use of manual settings can test and refresh technical knowledge.

The aesthetic value of film photography is both nostalgic and dimensional, with quirky cameras like the the Diana or Holga range also enabling spontaneous photography that intersects with the whimsy of cheap toy film cameras.

10. Food photography

There are distinct artistic and technical skills that come with every photographic genre, and food photography is no different. Under the camera lens, food can become a tasty still life artwork rather than your average meal.

The first known photograph of food as a subject was a daguerreotype taken in 1845 by Henry Fox Talbot. His photograph depicted a pineapple and some peaches contained in two baskets set atop a plaid tablecloth. Originally, foods were often photographed in an arrangement similar to the way people were accustomed to encountering a meal – the food was laid out on a table and photographed from overhead (mimicking the point of view of the consumer).

Today, meticulous lighting, selective focus, motion, extreme close-ups, overhead or flat lay perspectives, narrow-angle shots, and a shallow depth of field are just some of the carefully applied techniques designed to create a scene that appeals to a viewer’s taste buds. The introduction of contextual props, shooting in or staging a relevant space (like a café or restaurant), and focusing on compositional tenets like line, texture, and color can also help craft an inviting food-related image.

11. Intentional Camera Movement photography

intentional camera movement at night
Canon 5D Mark II | Canon EF 24-105mm f/4L IS USM | f/4 | 4s | ISO 400

Intentional Camera Movement (or ICM) is one of the more experimental types of photography. Put simply, ICM involves selecting a slower shutter speed and moving the camera and/or zooming during the exposure. The process creates impressionistic renderings of a scene that are marked by the physicality of the photographer.

Getting started with ICM photography is pretty simple. You’ll need a camera with semi-automatic or manual modes and a good camera strap. Secure the camera strap and set the shutter speed to around 1/15s. Press the shutter and physically move the camera around and/or adjust the lens focal length.

When the exposure finishes, check the LCD screen (if possible), take note of the results, and move on to the next frame, making adjustments to camera settings if necessary. The ICM process is experimental and endlessly varied, so trying many different combinations of gesture, camera settings, and subject matter is all part of the fun.

12. Landscape photography

Typically, landscape photographers capture natural (or sometimes semi-natural) vistas. Often showing little to no human activity, landscape photography focuses on strongly defined landforms usually illuminated with ambient light. Some of the most beautiful landscape photographs are motivated by a photographer’s appreciation of natural beauty and the need to see it preserved. Renowned landscape photographer Ansel Adams received both a Conservation Service Award and a Presidential Medal of Freedom in recognition of the influence his work had on the preservation of wilderness and the cultivation of environmental consciousness.

Prior planning goes a long way in photography, and landscape photography is no different. Scouting possible locations before shooting (if only through Google Maps) and calculating light and weather conditions with apps are important steps in the landscape photography process.

In terms of equipment, there are many different approaches to landscape photography. Some photographers pack a wide-angle lens, while others rely on a zoom or prime lens configuration. Regardless of which way you go in terms of lenses, a polarizing filter, a sturdy tripod, and a shutter release cable or intervalometer are major assets. A weatherproof camera setup can come in handy, too.

13. Macro photography

macro photography flower close up
Canon 5D Mark II | Canon EF 50mm f/1.8 II with extension tubes | f/2 | 1/500s | ISO 100

In the early 1900s, F. Percy Smith started photographing small natural subjects with the use of extension tubes and bellows. The increased distance between the negative and the lens culminated in enlarged renderings of subject matter. Nowadays, macro photography involves the use of specialized equipment to obtain close-up images of small subjects that are hard to discern with the naked eye.

With a wealth of lenses, filters, and extension tube configurations to choose from, macro photography provides a fascinating insight into the vivid details that make up our surroundings. Insects, plant life, small animals, snowflakes, raindrops, and spiderwebs are just a few popular macro photography subjects.

14. Minimalist photography

Types of photography minimalist out-of-focus tree
Canon 5D Mark II | Canon EF 100-400mm f/4.5-5.6L IS II USM | f/5 | 1/200s | ISO 100

Minimalist photography is distinguished by its pared-back simplicity, focusing on the smallest amount of objective content possible. Arising from the minimalist art movement of the 1950s, minimalist photography revels in restrained or reductive techniques, appealing to the viewer through simplicity and the shedding of superfluous information.

Minimalist photographers often operate under the assumption that less is more, directing a viewer’s attention to subject matter with efficiency and a judicious use of space. Well-known proponents of minimalist photography include Michael Kenna, Hiroshi Sugimoto, and Uta Barth.

15. Nature photography

Nature photography, as you might imagine, encompasses many types of photography genres. In general terms, nature photography describes photography undertaken outdoors in the hopes of depicting plants, wildlife, and/or natural landscapes. Macro photography is often included under the nature photography heading.

nature misty forest
Canon 5D Mark II | Canon EF 24-105mm f/4L IS USM | f/4 | 1/80s | ISO 250

Trees, landscapes, beaches, insects, stone formations, wildlife…There are hundreds of nature photography subjects, and the selection of equipment for a nature shoot comes down to subject behavior and the desired outcome of an image.

For example, much of landscape photography is done with wide-angle lenses, but a telephoto lens can be critical for capturing wildlife. A macro lens (or a set of extension tubes) is handy for the close-up photography of plants and insects, while a tripod or monopod will be useful for bracing the camera and keeping things steady when a slower shutter speed is required. A camera body that performs well in low-light conditions and features weatherproofing is also ideal. And if you decide to pack all of the above options for one trip, investing in a good backpack is advisable.

There are some environmental concerns involving nature photography. The destruction of a landscape can be caused by the incautious efforts of photographers prioritizing a photograph over the natural environment. Wildlife photography encompasses photographing animals in their natural habitats, but interrupting, staging, or causing harm in an attempt to make a photograph is unethical, with many photo competitions rejecting submissions that negatively impact the well-being of wild fauna. In short, a leave no trace approach is encouraged.

16. Night photography

bokeh at night
Canon 5D Mark IV | Canon EF 24-105mm f/4L IS USM | f/4 | 1/25s | ISO 200

Night photographers specialize in making images when the sun goes down. From the eerily atmospheric street photos of Jessie Tarbox Beals (the first woman night photographer) to the meticulously staged photography of Gregory Crewdson, night photography is dense, beautiful, and sometimes unsettling.

Photographers working at night can use artificial lighting, ambient lighting, or a combination of the two. Astrophotography is conducted at night and uses longer exposures to capture celestial bodies. Light-trail photography captures illuminated subject movement with a slow shutter speed. Cityscapes photographed at night have a distinctly modern appeal, and nocturnal street photography used in conjunction with flash generates an intimate aesthetic.

17. Photojournalism

Photojournalism is the gathering, editing, and presenting of photographic news material. Sometimes conducted in the face of danger, photojournalism has a long history, with many of its proponents advancing the overall course of photography with dedication, creativity, and daring.

According to the code of ethics created by the National Press Photographers Association (NPPA), “It is the individual responsibility of every photojournalist at all times to strive for pictures that report truthfully, honestly, and objectively.” The staging or manipulation of a scene through the direction of the photographer is considered un-photojournalistic or unethical. With the evolving use of modern post-processing techniques, the idea of truthful photojournalism has become an increasingly complicated facet of reportage. In general, a minimal approach to editing is advised, and sticking to simple edits (cropping, contrast adjustments, etc.) is a relatively common photojournalistic guideline.

18. Portrait photography

Portraiture or portrait photography aims to capture the essence of a person or group through photography. The art of portraiture grew with the daguerreotype in the mid-19th century. Reduced sitting times and the relatively low cost of the photographic process saw a general rise in the popularity of early portraiture. Subjects were often positioned against plain backgrounds and illuminated with soft natural lighting. As technology advanced, exposure times shortened further, and the ability to make portraits outside the studio became increasingly common.

Today, there are a range of techniques and approaches to portraiture. The traditional portrait involves a subject (usually in a studio setting), often looking towards the camera. The environmental portrait features a subject situated in a specific environment for context and narrative. A street portrait depicts a subject in a street setting. Conceptual portraiture is shot with an emphasis on ideas based around the sitter, while the self portrait involves a photographer taking a photograph of themselves.

19. Sports photography

Sports photography is a type of photography that covers sporting events. Sometimes considered a branch of photojournalism, sports photographers capture the unfolding drama of a sporting occasion.

Long lenses and camera bodies with high continuous shooting speeds allow for greater reach across the playing field and an increased chance of capturing the perfect shot. However, regular zooms, wide-angle lenses, and prime lenses may also be used during closer encounters, and a sports photographer can have several camera configurations at the ready.

Other important sports photography equipment includes a monopod or tripod. The use of drones and strategically placed cameras triggered by wireless shutter actuators are useful for certain sports activities. And although you never know how a game is going to play out for certain, a good general knowledge of the sporting event always helps to close in on those key moments.

20. Still life photography

Still life is the art of taking photographs of (usually) inanimate subjects. With roots in painting, genres like food photography, object portraiture, flat lay photography, and tabletop photography often coexist under the still life banner. However, there are two main types of still life photography: found still life and created still life.

Found still life photographs feature subjects captured without a photographer’s influence or manipulation. An example of a found still life subject could be an apple fallen from a tree. In contrast, created still life photographs feature objects that the photographer has purposely arranged or manipulated; artificial subjects like vessels (pots, vases, baskets) are often balanced with organic subject matter like flowers, food, vegetables, shells, etc. Well-known masters of still life photography include Olive Cotton, Jan Groover, Sharon Core, and Josef Sudek.

21. Street photography

Street photographers candidly capture life in the public domain, avoiding direct interactions with the subject. And unlike the name suggests, street photography can be done off the beaten track, too – beaches, indoor settings, and rural areas hold just as much potential for street photographers as big cities and crowded streets.

street photography man in the road
Canon 5D Mark II | Canon EF 24-105mm f/4L IS USM | f/4 | 1/500s | ISO 500

As for gear, street photographers generally use a smaller camera that’s less visible and therefore less intrusive or intimidating; such cameras are also lighter to carry around during the hours spent roaming the streets.

In addition, a camera may come with a soft or silent shutter mode for surreptitious exposures. Although the versatility of a zoom lens can be useful in some circumstances, the classic prime lens is more subtle, lessening the chance of interference. The nifty fifty or 50mm lens is a popular choice for street photographers.

22. Travel photography

Shaped by magazines like National Geographic, travel photography depicts a broad variety of subject matter. According to the Photographic Society of America, a travel photograph is a photograph “that expresses the feeling of a time and place, portrays a land, its people, or a culture in its natural state, and has no geographical limitations.”

patterns on a wall
Canon 5D Mark II | Canon EF 24-105mm f/4L IS USM | f/6.3 | 1/200s | ISO 100

As the accessibility of travel increases, the genre of travel photography has been taken up by photographers at all levels. Dedicated travel photographers once earned wages through magazine assignments, commercial undertakings, and stock photography. Nowadays, professional travel photographers also turn to blogging, teaching, touring, and public speaking to generate income.

23. Typological photography

Typological photography is not defined by a particular area of subject matter, but rather by the process and presentation of a photographic series. Typology in itself is the study of types or the systematic classification of subjects according to their common characteristics. Therefore, typological photography aims to document subjects that are similar in nature or theme, creating a visual body of work to compare, contrast, and appreciate as a whole.

road sealant series
A photographic typology of road sealant.

Hilla and Bernd Becher, who made extensive photographic studies of industrial buildings and structures, forged a highly influential style of typological photography. As artists working in collaboration, the married pair recorded and then categorized the formal qualities of their subjects into a neat grid layout. They also maintained a consistent approach in photographing their subjects, relying on a foundation of uniformity to articulate the similarities and differences of each subject alone and as part of a whole. Today, much of modern typological photography revolves around this visual cohesion.

24. Underwater photography

The world below the water’s surface can be as fascinating as it is alien. Underwater photography is the use of specialized photography equipment to document the expanse of an aquatic landscape and its inhabitants (hopefully without drowning your camera equipment in the process!).

The first underwater photograph was believed to have been made by Englishman William Thompson in 1856. Thompson built a metal box housing for a camera to capture the marine landscape of Weymouth Bay in Dorset, England. The shutter was activated by pulling a string on the surface. Much later, in 1960, Jacques Cousteau’s Calypso was invented – the first amphibious 35mm film camera. Today, waterproof housings with control knobs and buttons are industry standard, with some including connectors for external flash units. Rugged compact cameras can also be used in shallow water without housings.

25. Urbex Photography

urbex photography
Canon 5D Mark II | Canon EF 24-105mm f/4L IS USM | f/6.3 | 1/80s | ISO 100

Urbexing (short for urban exploring) is the exploration of human-made structures usually found in a state of abandonment or ruin. Popular urbexing sites include abandoned houses, neglected industrial sites and offices, and dilapidated schools or churches. Many urbex explorers abide by the philosophy “take nothing but pictures, leave nothing but footprints.”

Incorporating photography into an urbexing expedition, many urbexers maintain websites or a social media presence to document their findings.

26. Weather photography

Although weather photography can encompass any kind of meteorological phenomenon, the term has become synonymous with photographing lightning, storms, sunsets, and other dramatic weather events.

Photographers have braved the elements to photograph weather phenomena for over a hundred years. In 1884, a photographer from Kanas named A.A. Adams captured a single image of a cyclone twisting just 14 miles away from where he’d set up his box camera. Today, basic weather photography gear usually encompasses a lightning or remote camera trigger, a sturdy tripod, and a camera with manual and/or Bulb settings. Like landscape photography, wide-angle lenses are useful for capturing large vistas of scenery and weather activity. ND filters and an intervalometer are nice to have, too.

Monitoring meteorological activity and finding locations well before a shoot is a good idea. When dynamic weather activity unfolds, scrambling for a last-minute scenic spot is less than ideal. Above all else, safety and common sense are paramount – shoot storms from a distance, keep up to date with weather notifications and warnings, stay away from metal poles, trees, and open areas, have good weatherproof clothing, and invest in rain protection for your camera.

Types of photography: final words

There are so many different photographic genres that it’s difficult to cover them all in a single article. Nevertheless, a solid knowledge of different types of photography opens the door to new photographic opportunities.

If you’re tiring of landscape photography, why not take up astrophotography? Do you have experience in sports photography? Why not branch out into pet photography? The possibilities are endless, and with a good knowledge of photographic genres, new opportunities are always available!

Now over to you:

Do you have a favorite photographic genre? Do you plan to take up any of the genres discussed in this article? Share your thoughts in the comments below!

The post 26 Types of Photography to Explore (for Inspiration) appeared first on Digital Photography School. It was authored by Megan Kennedy.


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How to Become a Travel Photographer: Types, Pay, and Skills

05 May

What photographer hasn’t dreamed of traveling the world, visiting exotic destinations, and capturing inspiring images? Imagine the sights you would see, the stories you would have to tell. But how practical is a career path as a travel photographer? Is there really a need? Can you actually make a living? What do you have to do to break into the Continue Reading
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DPReview TV: The quality of light, and how different types of lights affect your photos

19 Oct

Having light is critical for photography, but what about the quality of light? Our resident mad scientist, Don Komarechka, explains how different light sources can impact your photos.

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Types of Photography that go Beyond the Scope of Human Vision

13 Mar

The post Types of Photography that go Beyond the Scope of Human Vision appeared first on Digital Photography School. It was authored by Rick Ohnsman.

Types of Photography that go Beyond the Scope of Human Vision

I recently saw a T-shirt for photographers which said, “I Can Freeze Time – What’s Your Superpower?”  It got me thinking about all the things we can do with photography that take us beyond the scope of normal human vision.  The time-space continuum isn’t sufficient here to discuss the how-to of all these different techniques, but instead, my intent is to at least expose (yes… a photographic pun) you to these various types of photography so you too can explore new superpowers at your command.  Put on your tights and cape, and let’s go.

I can Freeze Time T-Shirt - Types of Photography that go Beyond the Scope of Human Vision

Einstein says…

Your head might explode if we got very deep into Albert Einstein’s theories, but one thing to consider as a photographer is his Theory of Relativity.  He postulated that at the speed of light, time stands still.  Do we as photographers really have the ability to freeze time?  After all, the raw materials of photography are light and time. 

When we make an exposure, we allow a measured quality of light to come into our cameras for a set period of time.  The aperture controls that quantity of light. The shutter speed controls how long we allow that light to create an image on the sensor (or the film if you still use that stuff).  ISO is simply how sensitive we choose to make the sensor to that admitted light. 

Now, I’m no Einstein, not even a Bill Nye, but I think in some way, we really do have the ability to alter time with photography. 

Take a quantum leap with me as we explore this.

Time stops at the speed of light
Can we freeze time with photography? I froze the falling sand in this hourglass not with a fast shutter, but with the short duration of a burst from a Speedlight.  8 seconds f/22 ISO 100

Slivers of time

One of the main attractions of photography, even for those who are just snapshooters, is the ability to capture a moment.  What the fallen giant photography company once called a “Kodak Moment.” 

Every photograph captures a scene that never existed before that moment and ceases to exists afterward. 

We record, and later can review, that sliver of time in a photograph.  So in that sense, we really do have the ability to freeze time.  Let’s look at some ways we do that.

Photographs capture slivers of time
A photo captures a sliver of time. The people in the photos on the table are long gone, but we can still see the sliver of time that the photo captured.
Freeze the moment with a fast shutter speed - Types of Photography that go Beyond the Scope of Human Vision
We can freeze time with a fast shutter speed. For the pepper – 1/3200 sec. f/4 ISO 400. For the motorcyclists – 1/1000 sec. f/3.2 ISO 100

Shutter speed

How long we allow the shutter to stay open is the slice of time we capture.  For example, if we shoot at 1/30th of a second, that’s the sliver of time we capture.  Shorten the shutter speed to something like 1/500th of a second and that’s the slice of time captured. 

This is the reason we need faster shutter speeds to freeze faster-moving objects.  Light from the moving object comes into the camera from one point at the beginning of the exposure and other points as the subject moves until the shutter closes. 

Static objects don’t move, so nothing much changes during the exposure duration. 

Fast-moving objects travel a greater distance during the exposure.  We can determine what shutter speed is necessary to freeze the object.  The objective here is to not have the object move appreciably during the exposure, such that it appears “frozen.”

Most of our cameras top out at around 1/4000th to 1/8000th of a second.  That can freeze some pretty fast action.  But what if you have really fast-moving objects you want to freeze?  You can meet your increased need for speed with flash.

Flash duration

If you’re a fan of superheroes, you no doubt have heard of The Flash.  His superpower is the ability to move at incredible speed – so fast that he’s imperceptible to bystanders.  He does have the ability to essentially freeze time, at least relative to the speed of normal humans. 

You, as a photographer, can come closer to freezing really fast-moving objects with your flash. 

Your camera shutter might top out at 1/8000th of a second, but using the extremely short duration of a flash (ditto for Speedlights, studio strobes, any kind of stroboscopic light), you now up the game. 

Rather than reduce the sliver of time with the shutter, you use a much shorter flash duration as the means of making your exposure.  How much shorter?

Use the short duration of a flash to freeze high-speed action
When you -really- want to freeze fast action, use the short duration of a burst of flash. The raspberry – 1/60th sec. f/25 ISO 100 (but the flash at 1/16th power had a duration of just 1/16,000 sec.) The milk splash .3 sec f/8 ISO 800 – flash at 1/32 power for a duration of about 1/10,000 sec.

Look at the table below.  This is for a Canon 580EX speedlight. 

Different flashes will differ, but the constant is that the lower the flash power, the shorter the flash duration. 

Note that at full-power, the 580EX has a flash duration of 1/250 sec.  You can do better with just your camera shutter.  But, at a setting of 1/128th power, we get some serious stopping power, a flash duration of just 1/20,000th of a second.  That will freeze some really fast-moving subjects!

Flash duration table - Types of Photography that go Beyond the Scope of Human Vision

Before you get too cocky with your superpower of freezing time, I wanted to throw in what the big boys at the Massachusetts Institute of Technology (MIT) Media Lab have accomplished. 

They have actually been able to take photographs at the speed of light, capturing the motion of photons (which move at about 186,282 miles per second, 299,792 kps, millions of times faster than even bullets). 

The exposure duration, if that’s the right term for the MIT technique, is less than two-trillionths of a second!

Warping time

Freezing time is magic enough.  But with photography, our superpowers don’t end there.  Did you know you can also warp time, stretching it out or shrinking it down?

Let’s explore some other types of photography.

Silky water effects with long exposure
Making moving water look silky is a favorite photographer’s trick. We essentially stretch time with a slow shutter speed. Thousand Springs, Idaho at left – .3 sec. f/22 ISO 100. Sabbaday Falls, New Hampshire – 5 sec. f/20 ISO 200

Stretching time

When we take a long exposure photo, we allow light to come into the camera for an extended period of time.  All photos are, as described, a “sliver of time,” but sometimes we can allow that sliver to become quite long. 

To not overexpose the image, we must still find proper exposure with the camera’s combination of aperture, shutter speed, and ISO. 

We can set our aperture to the smallest opening of our lens, perhaps f/22, maybe f/32 or even f/64 on large format cameras with special lenses.  We can reduce our ISO to maybe 50.  That will maximize our shutter time. 

If those settings still let in too much light, we can reach for Neutral Density filters to cut the light further and allow even longer exposures.  Now we can make exposures that last for minutes, maybe even hours, rather than fractions of a second.

Slow your shutter with an ND filter
Need to stretch time even further? Put on an ND filter so you can slow the shutter even more. Left – Convict Lake, California – 30 seconds f/13 ISO 100, Center – Boise River, done with a welder’s glass ND – 162 seconds f/8 ISO 400. Right – Oceanside Pier, California 30 sec. f/6.3 ISO 50
Stretch time with a slow shutter speed - Types of Photography that go Beyond the Scope of Human Vision
Slowing down your shutter gives you more time to play with the light and creates light-streak effects. It also allows time for “light-painting” as the image on the far right shows.

Of course, with special photo gear and know-how, you can get really radical.

The longest known photo exposures have a “shutter speed” of…get this – almost 3 years! 

German photography artist, Michael Wesely, who does this kind of thing, says he estimates with the right setup, he could make an exposure that would last 40 years. 

Another guy described as a “conceptual artist and experimental philosopher,” Jonathon Keats, has set up a camera he hopes will take a 1,000-year exposure.

Boise, Idaho "Rush Hour"
A long exposure of traffic is a favorite photographer’s way to “stretch time” and make light streaks of moving objects. This is the Boise, Idaho skyline during “rush hour.” 15 sec. f/13 ISO 100

Shrinking time

How about we go the other direction and shrink time? 

Can we make a photo which reduces what took a long time into a short viewing duration? 

One way to do this with a standard digital camera is to use what we call time-lapse photography.  A camera with an intervalometer will take a shot every so often, taking many individual images over an extended period.  Then, combining the images into what essentially becomes frames in an animation. The long duration becomes a much shorter time-lapse video. 

Time is shrunken down. What might have taken days to shoot, can be viewed in seconds. 

If you’ve seen sequences of things like flowers growing or fruit rotting, this is the technique.  Here’s my feeble attempt.  I’ve forgotten how many individual shots it took to make even this very short 7-second video clip – but it was a bunch. 

I can’t even begin to fathom what it takes to make a truly epic timelapse like this one.

Another option is to do this in an all-in-one, non-moving image.  Taking multiple exposures and combining them into the same final composited image uses this technique.  Take a look at the techniques I used in the following images.

Sequential images depict a sequence
You can show a sequence of motion with different techniques. The peppers image was done with strobed flash. The shot of the total eclipse was constructed from multiple images later composited in Photoshop.
Sequential Image with Microsoft ICE
Combining a multi-shot panorama with the capabilities of Microsoft ICE, you can make sequences like this.

Intentional Camera Movement – ICM

Another way to distort time, and your image, is to intentionally move the camera, and/or the lens during the exposure.  A longer exposure will allow you to do things like swish-pans, zooms, changing focus, or “free-lensing.”

Swish pan
Intentional Camera Movement (ICM) like this vertical swish-pan, can produce very abstract effects. 1/20 sec. f/29 ISO 250

See the light

Humans see and, in normal use, our cameras are designed to capture the portion of the “Electromagnetic Spectrum” we call visible light.  (For a deeper dive into this subject, take a look at my article – “How to Understand Light and Color to Improve your Photography.”

We reference the Kelvin scale when we talk about photography in the visible light realm. Then we use white balance to adjust our cameras to do something our eyes and brains do naturally – adjust to the varying degrees of warm and cool light.

Color Infrared
Foliage turns light, skies go dark, and colors get strange when photographing with a camera altered to be sensitive to the infrared spectrum.

We can’t change the portion of the spectrum we see, but our cameras can.  You can have a camera altered so that is responsive to other wavelengths of light.  This will take a little extra commitment to explore, as once your camera is altered for either infrared or ultraviolet use, it will no longer work for standard photography. 

Some cameras may give you infrared capability without special conversion.  Take a look at this DPS article.

Electromagnetic Spctrum
What our eyes can see is only a tiny portion of the Electromagnetic Spectrum (EMS) called Visible Light. Cameras can be altered to “see” other wavelengths for infrared and ultraviolet photography.
Simulated Infrared with Lightroom
Don’t want to convert your camera for infrared? Tweaking the colors and tones can help you create a pretty good monochrome approximation in Lightroom. There are some good “recipes” for creating presets available.

Cameras can go even further up and down the spectrum of light, though hobbyist photographers aren’t apt to do so. 

Get into even shorter wavelengths of light and you can make X-ray images. 

Go the other direction into long wavelengths, and you’re not using a camera anymore. Instead, you are perhaps cooking dinner in a microwave oven, clocking the speed of a baseball with radar, or even further, listening to the “light” which we know as radio waves.

Kirlian Photography

When seeking out new types of photography, why be limited to light to make a photo?  With Kirlian photography, you can make a “photo” with high-voltage electricity.  Shocking!  – (Well, I hope not). 

Want to give it a go?  Here’s a link to a how-to.

Kirlian Photography - Types of Photography that go Beyond the Scope of Human Vision
Some claim that Kirlian photography, which uses a charged plate to make the image, reveals the Aura of living things, like this fingertip. Guess you’ll have to see for yourself.

HDR

Digital cameras keep getting better and better. However, they still can’t compete with the human eye and brain for capturing scenes that have an extreme range between light and shadow. 

To work around this, photographers will take a series of images at different exposures. They then combine those with what is known as High Dynamic Range (HDR) software. 

This is yet one more of the types of photography you can explore.

Multi-shot image combined with Aurora HDR
Seeking to expand the dynamic range of this image, I combined multiple exposures with Aurora HDR software.

Astro-Photography

Why limit your photography to earth? 

Astrophotography is, as they say, out of this world. 

Much more light-sensitive cameras, better lenses, more noise-free sensors, and noise-reduction techniques allow better long exposure images to be made. 

We can produce digital camera images showing far more than we can see with our naked eyes.

Astro photography Bruneau Dunes, Idaho
The light from these stars in the Milky Way has traveled perhaps tens of thousands of years to reach my camera. Mind-blowing! Taken at Bruneau Dunes State Park, Idaho. 25 sec. f/8 ISO 12,800

Thinking about what we can capture with astrophotography begins to boggle your mind.  When you take a photo of the night sky, you are literally looking back in time… a very long way back.  You’re also looking a long way away… a very very long way.  Literally to infinity and beyond.

The farthest star we can usually see with the naked eye is the faint V762 Cassiopeiae, just barely visible under dark skies and around 16,300 light-years away. 

For most space objects, we use light-years to describe their distance. A light-year is the distance light travels in one Earth year.

So, that means the light entering your camera from that star took over 16,000 years to make the trip.  One light-year is about 6 trillion miles (9 trillion km).  So…(calculator out now…) this star is 9.78E16 miles away, or 97,800,000,000,000,000 or 9.8 quadrillion miles (15.77 quadrillion km) away.  (Talk about focusing at infinity!) 

Even light from astronomical bodies in the neighborhood, so to speak, takes a while to make the trip.  Here are some examples:

  • Sun to Earth – 8 minutes 20 seconds
  • Moon to Earth – 1.3 seconds
  • Mars to Earth – 3 min. 2 seconds.
  • Jupiter to Earth –  About 43 minutes.

Macro and Micro

macro photography flowers and dewdrops
There’s another whole world that awaits when you try macro photography. at left – 1/120 sec. f/1.8 ISO 50, Center – 1/13 sec. f/9 ISO 200, Right – 15 sec. ISO 50 – w/reversed lens.

Think too much about the expansiveness of the universe and you’ll begin to feel really tiny.  So how about we look at some types of photography that will make you feel really large – macro and microphotography. 

Using things like macro lenses, close-up filters, reversed-lens techniques, bellows, and focus-stacking, we can get really up-close-and-personal with the tiny world. 

If you’ve never explored macro photography, take a look at the many ways to get into it. Some of which you can do on-the-cheap as you start out.  There’s another whole world right at your feet.

Focus stacked image
Shoot multiple exposures focused at different spots, and focus-stack them with software to have all the depth-of-field you want. Images stacked with Helicon Focus.
Reversed lens macro photography
Get into macro photography on-the-cheap with an old film camera lens and a reversing ring. image at right – 2.5 sec. ISO 200

Going even further into inner space, you can get a microscope and the proper adapters to attach your camera to it.  Now things like amoebas and paramecium can be your models.

Human vision vs camera vision

If you were a legit superhero, you’d have some kind of special vision, right? 

You’ve heard of Superman’s X-ray vision, but did you know, he also is said to have telescopic vision and can see much further than humans?  He has incredible night vision and can see in the dark.  Also, he has microscopic vision and can see right down to the molecular structure of things.  And like the baby in The Incredibles, Jack-Jack, he also has laser vision and can shoot laser beams out of his eyes. 

So big deal…your camera can do most of that stuff too.

I’m being silly, but suffice it to say, your camera views the world much differently than you. 

A commonly held view is that a 50mm prime lens on a full-frame camera pretty much duplicates the field of human vision.  That point is debated.  The bottom line is that the human eye and brain are much more sophisticated than any camera. Although an eyeball bears similarities to a camera, when coupled to your brain, well… it’s just different.

Positive and Negative image
Dandelion Ying-Yang – We see in color, but the camera can be made to see in monochrome and also reverse the tones to create a negative image.

That said, cameras do have some of the abilities of Superman. 

Coupled with a wide-angle lens, their field of vision can be wider than yours. With a telephoto lens, they can see further. And, with a zoom, they can concentrate on some subjects, excluding others. 

Mounted to a telescope or microscope, they can see into space or down to microscopic levels. 

Their high ISO capabilities can make images in what to you would be almost total darkness.  Add night-vision capabilities and they can boost very low light into an image you can see. 

Thermal imaging cameras view the infrared heat coming off objects.

Lens movement for special photo effects
Move your lens during a long exposure for special effects. The lens was zoomed for the image on the left, 2.5 sec. f/25 ISO 100. The lens was turned from out-of-focus to in-focus for the fireworks – 6 sec. f/8 ISO 100

As for shooting laser beams…some cameras really do use them in focusing. 

My previous cellphone, an LG G3, and my current LG V30 use lasers to focus the camera.  Superman, Jack-Jack, and Buck Rodgers got nuthin’ on us.

Tiny Planet effect
Turn a panoramic shot into a “Tiny Planet” with Microsoft ICE.

Distorted vision

I’m not sure a superhero would brag about having distorted vision as a superpower, but creative photographers sometimes like it. 

Things like crystal balls, prisms, Lens Baby lenses, tilt-shift lenses, fisheye lenses and all manner of other photographic accessories can be used to distort how an image looks. 

You can also play with a photo on the computer to bend and distort it, make “tiny worlds” with editing techniques, sew multiple photos together to make panoramas or even 360-degree virtual reality images.

Be an explorer

Canon has a sponsored group of photographers they call “Explorers of Light.” 

What I’m suggesting is you, too, become an explorer. Tap into your superpowers as a photographer to explore all types of photography.

Just making standard photographs is fine and certainly by itself will keep you busy learning for a lifetime. However, when it’s time to broaden your horizons, there are so many other things to try.

Now superhero, harness the speed of light, and go make some unique photos!

Panorama - Deadhorse State Park, Utah
14-shots stitched together with Microsoft ICE create this panorama taken at Deadhorse State Park, Utah

Do you know any other types of photography that go beyond the scope of human vision? If so, share your thoughts and comments with us below.

The post Types of Photography that go Beyond the Scope of Human Vision appeared first on Digital Photography School. It was authored by Rick Ohnsman.


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Video: Three types of photographers, illustrated by the ‘The Grand Tour’ trio

28 Feb

During an episode in season three of The Grand Tour, hosts Jeremy Clarkson, Richard Hammond and James May take a moment to sit down and discuss the photography equipment they plan to bring to photograph wildlife in Columbia.

The exchange from the trio is right on course with what you’d expect from Jeremy, Richard and James, if you know them from their Top Gear days; the guys poke fun at three different kinds of photographers and the gear they bring along for photoshoots in a way only they can.

Richard opts for the full suite of Canon prime lenses and camera bodies, complete with strobes, filters, a ThinkTank photo belt and BlackRapid camera strap to carry it all. Jeremy, on the other hand, keeps it simple with what appears to be a Canon 5DS R attached to an EF 600mm f/4L IS II. James eschews the weight and debate by further streamlining his gear with a single Canon PowerShot G9 X Mark II.

All in all, the two-minute segment makes for a few good laughs.

Articles: Digital Photography Review (dpreview.com)

 
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How to Create a Portfolio Template in Photoshop and Profit from Layer Types

10 Feb

The post How to Create a Portfolio Template in Photoshop and Profit from Layer Types appeared first on Digital Photography School. It was authored by Ana Mireles.

Create-a-Portfolio-Template-in-Photoshop

Your portfolio is your presentation card. It should always be current with your latest works, coherent with your style and accessible to your clients. Perhaps there’s one on your website, another one printed, and one for pitch presentations. All of them need to be up to date. So, how do you keep up with that? Create a portfolio template that is easy to update that you can scale to different formats.

Keep reading to learn how to create a portfolio template in Photoshop.

Create a Portfolio template examples

While Photoshop is a fantastic photo editing software, it does have some tools that are useful for graphics work too. This will relieve you of the task of having to learn another program like Illustrator. One of the best things for creating a portfolio template is profiting from the characteristics that each type of layer can offer. You can use Vector Layers for your design and logos, Text Layers for all the information, and Smart Objects for your images.

Let’s go through it step by step.

The fundamentals

First of all, what is a Layer?

When you open a new project, whether this is a blank canvas or a photograph, it opens as an image layer by default. This is the base that you build upon. You can then add as many layers as you need.

Imagine that the Layers are paper sheets that you can stack. Each one will then modify, add or block the content of the ones below. The properties of each layer depend on the type of layer it is.

 

Photoshop Layers in Perspective

Layers are one of the most versatile and useful tools in Photoshop.

There are many types of layers, some are stand-alone layers like images or vectors. Others work only in combination, as Adjustment Layers.

The important thing to understand is that each one has different characteristics that can be used to simplify your life. Here I’ll discuss the ones I find most useful to create a portfolio template.

The template

Designing your template

The first thing you’ll need is to draw the design of the template. Here, you can decide the elements and colors you want to use. Because this is a template, it should be able to fit most images and situations. So, you might want to keep it simple, but this is up to you.

In any case, every element that you design is best drawn with the Shape tool. Doing this creates a vector layer by default. To make sure of this, check that the menu in the options bar is set to Shape.

Create a Portfolio Template with Shapes

This is important because, unlike images, vectors are independent of resolution. This gives you the advantage of modifying the elements without losing quality, as you would do with pixels. This is why most graphic programs, like Illustrator, work with vectors. Shapes and vector layers are also great for creating your logo.

Adding a logo

If your logo consists of many shapes, select all of them and turn them into a Smart Object by right-clicking on top and then choosing Convert to Smart Object from the menu.

This is a different type of layer, not only can you scale it as many times as you want – just like the vectors – but you also retain the source data so that you can work non-destructively.

Because of this, every time you open your Smart Object, you’ll still find all the original shape layers to work on them independently.

Create a portfolio template with smart objects

Another cool feature from smart objects is the possibility to link one or more copies.

This means that every time you modify your logo, it will automatically apply the changes to all the copies. This is useful if your design includes more than one logo. To do this, create a copy of the layer by dragging it to the Duplicate Layer button at the bottom of the panel.

Create a logo with smart objects

If you want to keep your copies working independently from each other, you can create a copy of the smart object that it’s not linked. Do this by using New Smart Object via Copy. You can find it in the menu that pops up when you right-click on the layer.

Create a portfolio template with logo

Adding text

This is as straightforward as it sounds. When you use the Text tool, it creates a Text Layer. Keep in mind that because it’s a different kind of layer, not all the tools are available for use. For example, you can’t use the filters.

If you want to use them, you will get a prompt asking you to “rasterize the layer.” This will turn it into an image (a pixel layer). You shouldn’t do this if you want to be able to edit the text in the future. If you do want to rasterize your layer, make a copy of it first and turn off the original by clicking on the “eye” next to the layer in the Layers panel.

Create a Portfolio Template Rasterize Layers

Another useful tip when designing your template is to confine the space for your text, so it doesn’t ruin your design if you change or add content later.

Instead of just clicking and typing, click and drag a rectangle text box where you want the text to be. That way, whatever you type adjusts to that space. I usually put one next to the image to add all the information like title, technique, and project. Then I can update it for every image.

Create a portfolio template

Adding images

The photos are the stars of your project, so you want to make sure to work non-destructively on them. The best choice for this is the Smart Object. 

To add your photo as a Smart Object layer, you have to go to Menu->File->Place. Because in my design, I added a rectangle to serve as a frame for my images, I can now add a Layer Mask to fit it inside without losing any information.

create a portfolio template for your photography

You can do this by placing the smart object directly on top of the rectangle shape designed at the beginning. Now create a Clipping Mask by pressing Cmd+Alt+g (Ctrl+Alt+g on PC). The Mask will reveal the image through the frame without cutting it or changing any of it.

Create a portfolio template

To update the images, you can open the Smart Object and place the new one there so that you don’t change the Layers or Masks of the template.

Save and close

Because you used Vectors, Texts, and Smart Objects, you can change the resolution from web to printing as many times as you want while keeping the quality of it. Just be sure to save each page of the portfolio separately, so you don’t overwrite your template.

Conclusion

I hope that you have found How to Create a Portfolio Template in Photoshop and Profit from Layer Types useful for creating your own portfolio templates.

Remember, save each template as a PSD file so that you can go back and utilize them again when you want to update your photos or text. Saving as a PSD file retains all of your layers so that you can access them and change them easily. If you save it as a JPG or another lossy format that flattens the layers, you will no longer have the ability to edit them.

If you have any other tips for creating a portfolio template, please share them with us in the comments below.

 

The post How to Create a Portfolio Template in Photoshop and Profit from Layer Types appeared first on Digital Photography School. It was authored by Ana Mireles.


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Photography Gear You Will Need for Different Types of Photo Shoots

28 Jan

The post Photography Gear You Will Need for Different Types of Photo Shoots appeared first on Digital Photography School. It was authored by Lily Sawyer.

photography-gear-you-will-need

Have you ever wondered if there is specific photography gear that you will need for different types of photoshoots?

dps-photography-gear-you-will-need-for-different-photoshoots

It has now been over a decade since I started shooting professionally. Over the course of that time, I have often been asked for advice on what camera to buy to take professional images. Now, if you’re into photography, I think you’d agree with me that this is the wrong question to ask. There are far more important factors to consider when taking an amazing image rather than the latest shiny camera.

My answer to the above question is always the same: it’s not the camera (given that camera manufacturers churn out new models year in year out). But instead, it’s two other things – the lens and the photographer.

dps-what-gear-to-bring-for-different-photoshoots

A camera is no good if the photographer doesn’t know how to use it properly to achieve the image they have in mind. Equally, what good is a new latest-tech camera if the lens used for the purpose is not the correct lens? An example being, using an ultra-wide lens to capture a portrait.

Therefore, the better question to ask is, “which is the appropriate lens to use for a particular photoshoot?”

dps-photography-gear-you-will-need-for-different-photoshoots

In other words, it is crucial that you, as the photographer, match your gear to the needs of the photoshoot. This will enable you to achieve the image you have in mind.

This article discusses the photography gear you will need for different types of photoshoots.

However, I know that we each have our own ways of doing things and our own preferences, so bearing this in mind, what I have written below are suggestions and based on what I do as a photographer.

What’s in my gear bag depends on what I’m shooting. I have a variety of photography bags for this reason. As a side note, it is worth investing in proper photography bags to protect your gear.

The Staples

photography-gear-you-will-need

But first, the staples. If you are (or want to be) a professional photographer, this is my recommended minimum photography gear you will need.

For photoshoots, always carry at least 2 camera bodies, ensuring you have one for back-up in case something happens to the other one.

Make sure you sync the times for both cameras, and that the settings are the same.

Also, fully-charge your batteries in both cameras. My cameras are all full-frame. If you have a camera with a crop sensor, this changes the way you capture your images. Here is a helpful article on the difference between full-frame and crop-sensor cameras.

On top of the camera and lenses, I always bring at least 2 flashguns with me and make sure I have spare batteries (or fully charged if they are rechargeables). I use a diffuser cap with my flashguns and generally use these to bounce light both indoors and outdoors rather than directly at the subjects unless I’m shooting backlit.

1. Family photoshoot

dps-photography-gear-you-will-need-for-different-photoshoots

In general terms, the ideal set of lenses for a family photoshoot includes a wide, medium, and a long range of lenses.

My preference is for prime lenses, as they are usually small and handy, and give me sharper and cleaner images.

Good prime lenses can be heavy and also a little expensive. I carry the 35mm f/1.4G, 85mm f/1.8G (also available in 1.4G) and the 105mm f/2.8G. Because these are used on a full-frame camera, the lenses capture their expected focal range accordingly, that is, that a 35mm lens has a 35mm effective field of view. If your camera has a crop sensor with a crop factor of 1.3x for example, then the 35mm will have an effective field of view of a 46mm, the 50mm will have the 65mm and the 105mm will be 135mm. Therefore, you would then need to consider more wiggle room when shooting.

These are important to bear in mind, especially when shooting in small spaces indoors.

The 105mm gives not only a long-range but also macro capability. I like having a macro lens with me, which works wonderfully to capture details.

You can also have zoom lenses in your bag instead of primes. Zoom lenses can be very versatile. For example, the 24-70mm lens will allow you to capture wide and medium-range images with just one lens.

However, they are a little bulky in comparison to primes, especially if the lens is professional and has a fixed aperture. That would also mean better optics, and it would be heavier too.

If you just want to use one lens that covers this range, then there is the 24-105mm Canon lens option.

2. Event Photography

dps-photography-gear-you-will-need-for-different-photoshoots

For events such as birthday parties, product launches, conferences, and suchlike, my preference is to go for zoom lenses rather than primes. Events are usually fast-moving, and I don’t have the time to keep changing lenses.

Often I will have both cameras on me with a double rapid strap. One camera will have the 24-70mm, and the other has the 70-200mm. These are usually sufficient.

I always carry a macro with me, though, just in case. However, with both bulky zooms that cover wide to long-range, I use my nifty 60mm micro lens for extreme close-up and macro shots.

In addition to the above, I also carry with me wireless transceivers that enable me to shoot with off-camera flashes.  Transceivers are wireless transmitters and receivers that enable you to control your flash remotely. This also means you need stands for the flashes. So, carrying a monopod and a gorilla pod, or a tripod if you need more stands.

3. Weddings

dps-photography-gear-you-will-need-for-different-photoshoots

If I’m shooting a wedding alone, I pack all the above minus the 35mm and the 50mm as the zooms already cover these focal ranges. 

Needless to say, I pack my entire arsenal and the kitchen sink when shooting weddings with a second photographer, as with two of us, more gear and back-ups are needed. That means at least four camera bodies, at least six lenses, a minimum of four flashes (sometimes six), and all the transceivers and stands required. 

I have written an article on wedding photography gear you will need when starting out on here.

4. Portraits

dps-photography-gear-you-will-need-for-different-photoshoots

Portrait photography is a specialty that requires a different set of lenses.

For flattering images of a person, I would always use the 85mm for headshots, the 50mm for medium shots, and the 35mm for full-body shots.

You may not need to use all three, so plan ahead of what you might be shooting, so you don’t bring unnecessary gear.

Again if you want the zooms as opposed to the primes, you could always use the 24-70, 24-105, and the 70-200. Just make sure that you shoot within the range mentioned above as a guide.

Longer focal ranges compress the background resulting in a more flattering look compared to using a wide lens. For example, if you use the 24mm, you are shooting so close to the person, you will end up with image distortions.

Depending on the portrait session, I may or may not use off-camera flashes which would require the transceivers. A small reflector is also really handy for portraits, especially when controlling shadows. I have written an article on gear essentials for portrait photography when starting out here.

5. Landscape

dps-photography-gear-you-will-need-for-different-photoshoots

Landscape photography is the opposite of portrait photography, and the lenses and accessories required are different.

You would need wide lenses, such as a 16-35mm or a 24mm to capture wide, expansive shots. You may also want to invest in a telephoto to capture long landscapes with great background compression if you are shooting mountains, for example.

If you plan on doing long exposure photography to achieve soft, blurred waterfalls and waves, you will also want to invest in a tripod and some filters, such as ND and graduated filters. This will enable you to reduced the amount of daylight coming into your lens so that you can slow your shutter speed down without completely over-exposing your image. You would also need a cable or remote shutter release so that you don’t introduce camera shake by pressing the shutter button.

To find out more about landscape photography, read these helpful articles here.

6. Travel

dps-photography-gear-you-will-need-for-different-photoshoots

When speaking of travel, my only experience in this type of photography is family holidays. For professional travel photography, read these articles.

If you are just after good holiday photos that capture memories of your family, then I can help with that. I have tried various holidays with only one lens. One time I just took the 85mm. Another time, I took just the 35mm, the 50mm on another holiday, and, more recently, the 60mm. Following on from these experiences, my personal travel lens is now the 60mm.

The 50mm is also a favorite.

7. Product

dps-photography-gear-you-will-need-for-different-photoshoots

Occasionally, I do some product photography. My go-to lenses for these are the 24-70 and the 60mm micro.

I use off-camera flashes and transceivers and some flags. When shooting small items in a white seamless background, using a white lightbox will help you achieve this easily.

For more tips on product photography, read this article.

8. Interiors

dps-photography-gear-you-will-need-for-different-photoshoots

For interior photography, my go-to lenses are the 24-70mm and the 50mm. You can read more in-depth as to why I use the 50mm here and how I use the 24-70mm especially for shots of an entire room scene.

dps-what-gear-to-bring-for-different-photoshoots

I hope this article and the further links provided have helped you think through what photography gear you will need for different types of photoshoots. If you have any suggestions to add, write them on the comments below.

The post Photography Gear You Will Need for Different Types of Photo Shoots appeared first on Digital Photography School. It was authored by Lily Sawyer.


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6 Types of Portrait Backgrounds for Creative Images

26 Aug

There are many options when choosing backgrounds for your portraits. You can pretty much do anything you want. The key to remember though is lighting and positioning your subjects in relation to that background.

Whether that be natural or artificial lighting, outdoors or indoors, it is vitally important to understand how light also affects your background and not just the subject of your portrait.

#1 Busy or patterned background

6 Types of Portrait Backgrounds You Can Use for Your Images - busy patterned background

Before you look at various types of backgrounds, I’d encourage you to experiment. Don’t be afraid to make mistakes or to try your ideas out. That was what I did with the portraits above. I wanted to see how a portrait could look using a busy background in my own home. I decided to use LED lights for these and moved either the subject or the light around depending on how I wanted the background to look.

Backgrounds can either strengthen your portraits by directing focus toward your subject or vice versa. If the background is too busy such as the one above right, (I feel there is a weaker focus on the girl) make sure your light draws focus towards the subject rather than the lighting the background too much.

I didn’t want the background to be completely dark, however, as I wanted to capture the fairy lights in the fireplace as well as the detail of the wallpaper and other decors. To achieve this, I shot with a small aperture for greater depth of field and put my subject closer to the background. All of these required balancing the exposures in post-processing.

The photo on the left also has a very busy background – a patterned wallpaper. However, unlike the busy photo of the right, I didn’t want to emphasize the pattern but planned to use it as a blurry background. In order to achieve this effect, I shot with a shallow aperture and positioned my subject away from the wall.

#2 Dark textured background

6 Types of Portrait Backgrounds You Can Use for Your Images - dark background

The above set is another one of my experiments. This time I wanted to use textured fabrics in a natural way as a backdrop.

The lighting I used for these portraits was a simple window light coming from the side. The choice of dark fabrics was because I wanted to draw attention to the face and keep everything else rather minimal but rich in texture.

In contrast to the busy patterned background, I reigned in the color palette here to just browns and skin tones. They are simple portraits but are very rich in texture.

#3 Bright background

6 Types of Portrait Backgrounds You Can Use for Your Images - bright background kids photos

When I do outdoor family shots, this is one of my go-to-backgrounds. I look for bright spaces which are not the sky but are brighter than the subject such as foliage, trees, and leaves showing the bright sky behind it.

As long as it’s bright but is not the sky, it’s fine to use. The most important thing to remember is to put your subject in front of the bright background and expose for their face. This means the background gets brighter and the face is properly exposed. Use a flash to light the face if you want but as long as you properly expose the face, the image looks right.

6 Types of Portrait Backgrounds You Can Use for Your Images - kids photos by trees

Another thing to remember is to avoid having any dappled light on your subject’s face. The background can be dappled such as the trees with the light coming through on these the images above but never on the faces. That would more often than not, ruin your image unless you are intentionally doing so in an artistic shot, for example.

#4 Plain dark or light background

kids with dark background - 6 Types of Portrait Backgrounds You Can Use for Your Images

Plain backgrounds whether they be light or dark or mid-tone in color, make for classic portrait shots. You can’t go wrong with them as long as you know what you are doing with your lighting.

In the portraits above, I simply used a dark wall and window light for the main light. I put a reflector on camera right to bounce some of the light. That’s it.

dps-portrait-background-examples

The portraits above were shot in the client’s kitchen where they had a bench by the wall. It was perfect for some quick natural and fun portraits of the children for as long as they sat still! The lighting here was merely the window and skylight on the far right and a weak bounced fill flash behind me on camera left.

My main tip when shooting plain backgrounds is to match the lighting to the background so that if the background is light, then the subjects tend to be lit in the same strength. Similarly, when the background is dark, then I tend to light the subject with a moodier tone.

6 Types of Portrait Backgrounds You Can Use for Your Images - kids on light background

Although this is a personal preference, technically I prefer an even contrast between the subject and the background.

#5 White seamless background

white background portrait of a boy - 6 Types of Portrait Backgrounds You Can Use for Your Images

Contrary to what many people believe, a pure white background is not so easy to achieve. What I mean by that is that you can’t just set up a white background and your subject, take a picture, and you have your nice clean white seamless background. If you do this, you’ll end up with a light grey or off-white, rather muddy background.

Actually, in order to get that bright white background, you have to light the background and light your subject as well.

If you want to learn how to do this properly, read this article I have written and it will show you a step-by-step process of achieving a clean white seamless background – 3 Rookie Mistakes to Avoid When Shooting on a White Background.

#6 Fake background

fake background kids photos - 6 Types of Portrait Backgrounds You Can Use for Your Images

Yes, you can fake a background in Photoshop!

The photos above were shot on a plain dark wall similar to #4 and then I added textures in Photoshop afterward. You do need a separate image of a texture to overlay on the dark wall.

You can see how this is done on this article here I have written on adding overlays: Basic Photoshop Tutorial – How to Add Creative Overlays to Your Portraits

sun flare portrait - 6 Types of Portrait Backgrounds You Can Use for Your Images

Another way of faking it in Photoshop is by adding a sun flare. The background here was just a plain white wall but it was shot in a windowless room with very little ambient light. I used a flash at camera-left to mimic window light. In post-production, I added sun flares so it looks like the girl is sitting next to a window.

Here is an article where you can learn ways on how to add sun flares to your photos in post-production; 2 Quick Ways to Add a Sunflare in Photoshop

I hope this article has helped you in choosing backgrounds for your portraits. If you have any other ideas you wish to share, please do so in the comments below.

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4 Less Popular Types of Lighting Every Photographer Should Know

20 Aug

How can you, as a photographer, best use lighting to your advantage? Working with different kinds of light can be a challenge for even the most seasoned photographers. This often leads to a common suggestion: “Point your shadow at the subject.” Yet certain underutilized less popular types of lighting can actually enhance your photographs.

macro photography bokeh flower dahlia - Types of Lighting

In this article, you’ll get tips for working with four different types of natural lighting, including shade, overcast light, and strong backlighting. Hopefully, you’ll come away with the know-how and inspiration to start using more creative lighting in your own photographs.

macro photography bokeh flower tulip - Types of Lighting

1. Shade plus front light

By “shade plus front light” I’m referring to the lighting situation when the sun is behind you (and coming over your shoulder), but the subject is shaded. That is, the sun would normally front light the subject, but it is blocked by an object.

macro photography bokeh flower trout lily - Types of Lighting

I shaded this trout lily with my body, resulting in a shaded subject and a well-lit background.

Many photographers like to ignore shaded subjects. However, I love this lighting situation for a few reasons.

The first is that it is easier to expose for a shaded subject. You don’t have to deal with intense highlights and shadows. Instead, you can rest easy knowing that the range of lights and darks in your image will be rendered properly by your camera’s sensor.

purple flower - Types of Lighting

Another shaded but front lit situation. Notice the brighter background here.

The second is that this lighting scenario offers up wonderful backgrounds. This is an especially powerful technique when shooting during the “golden hours”, the time just after sunrise and just before sunset.

If you can position the subject so that the sun falls behind it, you can take images with rich, warm background colors. The key is to expose for the main subject (i.e., meter off it), and let the background remain bright. Use a wide aperture to ensure that the background is thrown out of focus.

macro photography bokeh flower cosmos - Types of Lighting

Shading this cosmos flower allowed me to produce a more subtle looking subject with a beautiful background.

Shaded subjects can make for great photographs if you know how to use them!

2. Shade plus backlight

To continue with the “shade” theme, let’s discuss another underutilized type of light: shade and backlight.

By this, I am referring to a situation with a shaded subject where the sun is positioned behind that subject so that you are pointed toward the sun. In this situation, you cannot do the shading yourself. Instead, you have to rely on environmental features to block the light.

macro photography bokeh flower - Types of Lighting

This flower was shaded by some nearby grasses. I was able to get these background highlights by including the edge of the sun in the frame.

What does this type of lighting offer you? Similar to a shaded and front lit subject, a shaded but backlit subject is easier to expose.

If you’re struggling to photograph a brightly colored flower, for instance, it might be beneficial to find a similar specimen in a shaded area. This will help prevent you from blowing out the highlights on the flower’s petals.

macro photography bokeh flower aster - Types of Lighting

Another compelling reason to use this particular type of lighting is that it can create beautiful bokeh. I’m not really talking about bokeh in the sense of that smooth, creamy look that we photographers love (for that, go back to shade plus front light).

Rather, I’m referring to those beautiful geometric shapes that occasionally appear in the background of photographs.

macro photography bokeh flower tulip - Types of Lighting

Notice the slight highlights in the background, created by the shade-sun combination.

How do you do this?

In a backlit environment, the light is often filtered through the surrounding greenery. These are often leaves, but also grasses, shrubs, branches, tree trunks, etc. The rays of the sun are broken up into small points of light, which are then rendered in that geometric fashion when incorporated into your images.

This is a beautiful effect that can add an extra punch to your photographs.

3. Overcast lighting

This type of lighting is more commonly used than the two mentioned above, but overcast light (i.e., light on cloudy days) deserves a mention.

macro photography bokeh flower aster - Types of Lighting

I photographed these flowers on a cloudy afternoon.

You might think that the camera should stay inside on overcast days. After all, the subjects aren’t very well lit, and everything seems a bit gloomy and bland.

Actually, overcast days are fantastic for photography. Especially if you go out toward the middle of the day when the sun is high in the sky (and blocked by clouds), you’ll find wonderfully diffused lighting.

The clouds act as a giant softbox, subtly lighting the entire landscape. This results in colors that are deeply saturated. Macro photographers such as myself love overcast lighting because our flower photographs become much more colorful.

macro photography bokeh flower tulip - Types of Lighting

Another advantage to shooting on overcast days is similar to that of shaded lighting in that the subjects are easier to expose well. There is no bright sunlight to create harsh shadows and unpleasant highlights.

Therefore, overcast days can be a great choice for photographing brightly colored subjects.

4. Direct backlighting

Direct backlighting refers to situations where the sun is directly behind the subject (and therefore directly in front of the photographer).

macro photography bokeh flower tulip - Types of Lighting

The sun is just out of the frame here, above the tulip.

This type of lighting is difficult to work with. Photographers often come away with unwanted flare and a drastically underexposed subject. However, using backlighting is simpler than you might think. Just remember a few key guidelines.

The first thing to note is that I don’t like to use direct backlighting unless the sun is low in the sky. Otherwise, instead of achieving a charming, warm look, you’ll find yourself with a harsh, contrasty image. Sunrise and sunset are your windows, so you’ll need to work quickly and efficiently.

Second, don’t put the sun in the image itself. This will result in a nearly impossible lighting situation. Instead, block the sun with your subject. Move around a bit. Get down low. If you do decide to include the sun in the image, put it at the very edge of the frame (as I did in one of the photos above).

macro photography bokeh flower bleeding heart - Types of Lighting

Backlighting (the sun was in the background on the right-hand side) produced some really interesting bokeh in this bleeding heart photograph.

Third, make sure that your subject stands out against the background. I often try to compose with the subject against the sky.

Fourth, expose for your main subject. Don’t worry about the bright background. Then, once you’ve settled on an accurate exposure for the subject itself, feel free to raise or lower the exposure. Lower it for a slightly darker, more dramatic look (and if you lower it a significant amount, you’ll end up shooting a silhouette). Raise it for a slightly brighter, in-your-face type image.

While there are certainly variations in backlighting conditions, these four guidelines will get you well on your way to shooting some creative backlit images.

Conclusion

While it can be difficult to think outside the box and take risks when it comes to lighting, the rewards can be great.

Try using some of the lighting scenarios discussed above: shade and front light or backlight, overcast light, or even direct backlighting.

Your images will become far more diverse and a lot more impressive!

macro photography bokeh flower aster - Types of Lighting

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6 Types of Bracketing Your Camera Can Do and How to Use Them

06 Dec

Bracketing is a method of taking multiple images of the same scene at different settings in order to capture more detail in your shot.

You might not be aware that there are actually a number of bracketing techniques besides the most common method which is exposure bracketing.

Exposure bracketing allows you to retain more dynamic range in your final image. However, other bracketing techniques which we’ll discuss in this article can help you capture more detail in different focus planes, different color temperatures, or even detail in the amount of noise or grain that is captured.

Let’s go ahead and begin with the bracketing technique that you’re most likely already familiar with – exposure bracketing.

#1 – Exposure Bracketing

In exposure bracketing, we take the same image several times at different exposure values or (EVs) in order to accommodate for the brightest highlights and the darkest shadows in the shot. The resulting images can be merged together either in camera or by using editing software. This produces an image with superior tonal range than what you’d have gotten if you had taken only a single shot.






Most cameras can do this automatically in HDR mode, however, the majority of them are only able to save the resulting image in a JPEG format. That is a huge limitation if you want to change some parameters in post-production like White Balance, Exposure, Saturation, etc.

Your camera will usually have a number of options for you to choose from, like the total number of shots to be taken, drive mode (continuous or single), and the exposure difference between each image (1EV or 2EV). ). The exposure bracketing settings can be found under the drive mode menu on most cameras.

#2 – Focus Bracketing (Stacking)

This bracketing technique is most useful when you have a limited depth of field giving you a narrow sliver of focus in your image. Several images are taken at different focal planes, from the nearest focus distance or plane to the furthest focus distance.

All the other in-camera settings must be constant, your exposure should remain untouched because none of the three pillars of exposure (shutter, aperture, ISO) are changed. Really all that’s changing is the focus point.






In macro photography, this can be very useful because the images can be stacked in order to produce one where the subject is fully in focus as opposed to just a certain part. You can think of this method as slightly widening the depth of field on your subject without losing any silky smooth bokeh you get at wider apertures.

After merging or focus stacking the three focus bracketed images. It’s not perfect but it has more of the bear in focus than any of the other three images.

Not many cameras will have a focus bracketing function or feature, however, if your camera does, I encourage you to read the manual to learn how it works. For those with cameras that don’t have this feature then it’s really simple to do it manually. You want to have your camera on a tripod and you also want to make sure you’re shooting a static subject.

All you have to do is take multiple images at the same settings (I advise the use of manual mode or aperture priority), between each image you want to adjust your focus plane manually from the closest to furthest. You can experiment with different distances between focus planes to get the results you want. In post-production, you the have the freedom to make the entire image sharp, or just all the parts of your subject, or even just select areas.

#3 – Flash Bracketing

In flash bracketing, multiple images are taken of the same scene with varying light intensities from your camera flash or speedlight especially a fill flash. The light intensity from the flash is varied in steps from low to high intensity as images are captured.

You then have a number of images all with different flash exposures from which you can pick the best one.

Neutral or normal intensity




This can be very handy in low light situations or in general where you are unsure what flash intensity is going to correctly expose your image.

Flash exposure bracketing (FEB) can be found as a feature on many speedlights, you might want to read through the manual first to figure out how to find and activate it. For some cameras, it is in the camera menu. Once found it’s as simple as picking the number of photos to take, as well as the flash exposure compensation between them.

The final step is taking the images, it’s important to note that FEB can be very slow due to the limitation of the speedlight recycle rate (the time it takes your speed light to be ready to fire again after an actuation). So always keep that in mind when shooting.

Here’s another example which was done outdoors. Notice how the exposure changes on the girl (due to the amount of flash) but the background remained the same.



#4 – White Balance Bracketing

This is one of the more unusual bracketing techniques available in digital photography. As the name suggests, White Balance bracketing allows you to take several images of the same scene at different color temperatures.

This method mostly applies to photographers that only shoot JPEG since the White Balance of an image can always be changed in post-production if it’s recorded in RAW format. Images are taken at blueish color temperatures in stages all the way to reddish temperatures.




This bracketing technique is particularly useful in scenes where there is mixed lighting and it may be difficult for the Auto White Balance mode to correctly pick a color temperature.

You can then pick the image with the most accurate (or pleasing) color temperature afterward. You can manually set the color temperature range within your camera settings in degrees Kelvin.

White balance bracketing can be found in the camera settings, and you should be able to pick the number of photos to take as well as the white balance difference between them in degrees Kelvin. If your camera does not have the feature then you can individually take the photos manually, changing the white balance between them. Just make sure you shoot in RAW + JPEG so you have more creative freedom in post-production. Use the JPEGs for previewing so you can pick the image with the right color temperature, then match that to your RAW file and you can make all your other edits.

#5 – Depth of Field Bracketing

This is a bracketing technique that is very similar to the focus bracketing (stacking) method mentioned earlier. Multiple images are taken of the same scene at different apertures, your exposure must remain constant meaning that your shutter speed and ISO can change (Aperture Priority is recommended).




Just like in focus bracketing, you are able to get a varying depth of field in your shot when you stack the resulting images in post-production, effectively allowing you to get more in focus while not sacrificing any smooth bokeh you got at your widest aperture.

Depth of field bracketing is a technique that won’t be found on many cameras as a function or feature. You will have to do it manually, the good news is that it’s very easy to do. You want to make sure your camera is in Aperture Priority then take images of the same scene while changing your aperture between each image, it might be handy to use a tripod so that the frame is identical. In post-production, you have the freedom to stack your images and get everything in focus or just the subject in its entirety while keeping some satisfying bokeh.

#6 – ISO Bracketing

The final bracketing technique in digital photography is ISO bracketing. As the name suggests, this method involves taking several images of the same scene at different ISO or sensor gain values.

What might come as a surprise to you is that your aperture and shutter speed must stay constant which results in a number of images all with different signal to noise ratios and also different exposures.

ISO bracketing is useful because you get images with different amounts of noise. So you can pick the aesthetic that’s most pleasing to your eyes in that respect.





ISO bracketing can also be used for HDR in situations where your aperture is closed all the way down but you don’t want a shutter speed that’s too slow (in order to correctly expose) such that things in the scene change between images; like water, people or even marine traffic.

ISO bracketing is one of the less common bracketing methods that can be found as a function in your camera. I advise that you check your camera manual to make sure your camera has this feature. If it doesn’t, then you can put your camera in Manual Mode, then select Auto ISO and activate your exposure bracketing, you can also pick your exposure range as well as the number of pictures to take (note: this only works on some camera models).

If your camera isn’t able to do ISO bracketing via the method mentioned above then you can do it the old school way; manually! Put your camera in Manual Mode, make sure you select an aperture, shutter speed, and an ISO between 800 to 1000 that correctly exposes your image. Take your first image as your base at 0EV, the next step involves lowering and raising your ISO while taking images to get your shots at different exposures.

Conclusion

Most of the bracketing techniques mentioned here in this article are not actually available as built-in features or modes in a lot of the cameras that you and I can buy. However, with the power of full manual controls, you can always try them for yourself and see what kind of results you’re getting.

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