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How to Do Storytelling With Your Images: 8 Useful Tips

25 May

The post How to Do Storytelling With Your Images: 8 Useful Tips appeared first on Digital Photography School. It was authored by Ben McKechnie.

As a photographer of people and cultures, I spend a lot of time thinking about storytelling with my images – how I can convey emotions and narratives through a few simple frames.

Beginners often fail to think about the storytelling aspect of photography, and that’s okay. When you’re just starting out, it’s important to focus on lighting, composition, and camera settings. But once you’ve familiarized yourself with those key concepts, what’s the next logical step? How do you hook people for more than just a few seconds?

Storytelling.

In this article, I share eight tips to get you started with storytelling in photography, accompanied by my own images to help illustrate the points. The photos may be taken in far-flung locations, but I promise you: the tips I offer can be applied anywhere on Earth.

1. Include small details to tell a story in a single frame

Imagine your task is to tell the story of a person. A parent, or even yourself.

How would you do it?

A standard portrait wouldn’t tell the full story. A person’s full story is often in the details: a picture of their desk, travel books strewn across a bedroom floor, a close-up of their hands dirty from working in the garden, a wide-angle portrait of them surrounded by a few of their favorite things.

So the next time you’re photographing a person, try to include small details that add to their story.

I didn’t visit India to focus my lens on poverty alone. However, when trying to tell the story of Mumbai, it would have been dishonest of me not to include it. Confronted with the scene above, I saw the gap between the rich and poor. The small details here are my subject’s plastic bag, the skin condition on his arm, and his frail body. A big (and still important) detail is his juxtaposition with a backdrop of expensive high-rise buildings.

2. Aim for variety in a series of shots

This storytelling tip is related to the last point:

You must take a variety of different images of a single situation. Whether you want to photograph a camel market in India, a farmers’ market in a Chicago suburb, or your niece’s birthday party, just creating one type of photo won’t tell the whole story.

Instead, you need portraits, wide-angle shots, shots from up high, shots from down low, action shots, zoomed-in details, and more. All of these perspectives combined tell the whole story.

In the image series below, I tried to tell the story of a sunrise hot air balloon flight over the ancient, temple-strewn plain of Bagan, Myanmar. Capturing a variety of images was key to my success.

3. Take control of the entire frame

Now that you’re thinking about telling stories, you’re not just a photographer; you’re a storyteller, too. And that role involves taking control of the whole frame.

In other words:

Don’t just think about your subject, their lighting, their positioning. Be aware of the whole scene in front of you, including surrounding details, backdrops, shadows, bright areas, etc.

Sometimes, I lie flat on the ground with my camera. Why? I want to include environmental details in the frame that improve the shot through storytelling. I get strange looks, but I don’t care; it’s the price of telling the real story.

do storytelling images riverfront barges — I tried to tell the whole story of this chaotic riverfront by zooming out and including multiple subjects (Dhaka, Bangladesh).

4. Plan ahead with a shot list

Whether you’re heading out into your hometown for some street photography or to the Eiffel Tower for some vacation photography, why not create a shot list? I’m talking about ideas for specific shots, angles you want to try, and people you might include in the frame.

Research the kind of shots that other photographers have taken at your destination. Seek out new angles that’ll produce fresh storytelling even at well-known locations.

do storytelling images taj mahal — A traditional Taj Mahal composition that I just had to include on my shot list. I focused on capturing beautiful light and clean lines instead of a brand-new angle.

do storytelling images dog taj mahal — Sometimes seeking out fresh angles is a real pain in the neck, especially when you’re photographing buildings like the Taj Mahal. I jumped for joy when I saw this dog showing the Taj some serious love at sunset. I’d like to think even animals can appreciate how awesome this building is.

5. Learn to narrow down, trim, and exclude

Uploading a hundred photos to Facebook, all of a similar setting and taken from the same few angles, is a surefire way to lose people’s attention. Those 100 photos could easily be narrowed down to the 10 essential storytelling shots.

So learn to be selective! Start sharing only your best images.

Loktak Lake (pictured below) was so spectacular that I wandered around a single hilltop taking hundreds of images. It was bliss. A lot of the results were great, but would I really want to dump them all online for friends, family, and followers to sift through? No, I would not!

Instead, it’s important to find a few favorites that tell your subject’s story:

6. Emotions are an important part of storytelling

To capture emotions, you’ll primarily need people and faces. Emotion can also be communicated through body language, so capturing whole bodies works sometimes, too.

At the marvelous Mother’s Market in Manipur, India, I met these lovely ladies (above) animatedly playing a board game. I broke the ice by asking if I could join in. They said “No,” but it made them laugh and I got permission to shoot away. The best photos came after they’d forgotten about me; their natural expressions returned and I was able to capture their emotions.

7. Don’t forget about the basics

In your bid to learn storytelling, don’t forget about settings, composition, and lighting. It’s all too easy to fall out of touch with photography basics, especially when you’re first learning to tell a story with pictures.

After all, when you’re thinking about storytelling, you might start to drift away from photographic fundamentals.

So instead of replacing composition, settings, and lighting with storytelling, make sure everything works together. A shot with beautiful light, excellent composition, perfect exposure, and a great story? That’s how you capture people’s attention!

8. Use narrative structure

How does a traditional novel or movie work? Novels and movies are stories, so they contain beginnings, middles, and ends.

You can do the same with your photos!

If you’re just starting out taking a series of storytelling pictures, try creating a chronological narrative. It’s by no means the only or even recommended narrative structure to follow, but it’s a fun and easy way to practice.

You might tell the story of a single day in a place you know well. Start with sunrise, then take photos throughout the day as the light changes. Conclude the series with sunset and night shots.

Here, I attempted to tell the story of day and night on the rivers running through the cities of Chittagong and Dhaka:

Telling a story with pictures: final words

Now that you’ve finished this article, you’re ready to begin telling stories with your photos!

So remember these tips, get out there with your camera, and have fun.

Now over to you:

Have you tried doing storytelling photography? What was it like? Did you enjoy it? Share your thoughts and storytelling images in the comments below!

The post How to Do Storytelling With Your Images: 8 Useful Tips appeared first on Digital Photography School. It was authored by Ben McKechnie.

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The Best Lens for Street Photography: Top 11 Picks (in 2021)

24 May

The post The Best Lens for Street Photography: Top 11 Picks (in 2021) appeared first on Digital Photography School. It was authored by Simon Bond.

What’s the best lens for street photography on the market today?

In this article, I’ll share my favorite street photography lenses, including options for all budgets and camera brands. I’ll also explain how you can pick the perfect street lens for your needs – by taking into account important factors such as focal length, sharpness, and low-light performance.

So if you like street photography and you’re looking to buy a new lens to improve your photos, then read on.

people walking on the street — Which direction will you go with your street photography?
Canon 5D Mark II | Canon 50mm f/1.2L | f/8 | 1/800s | ISO 320

1. Canon EF 50mm f/1.2L USM

best street photography lens Canon 50mm f/1.2

If you’re prepared to pay the price, then the Canon 50mm f/1.2L is one of the best lenses for street photography available today. The large aperture lets you photograph in low-light conditions without needing to boost the ISO, and the optics and build quality are outstanding. The 50mm f/1.2 works well for both street photography and street portraits (i.e., posed portraits with people on the streets), and the standard focal length offers enough reach for intimate compositions.

Low-light performance: Stellar; not many lenses have an aperture as large as f/1.2
Quality: Excellent build, just what you’d expect from a flagship Canon lens
Price: On the expensive side ($ 1399 USD)
Weight: Pretty heavy, thanks to the solid build quality and wide maximum aperture

2. Canon EF 50mm f/1.8 STM

Like the 50mm f/1.2, above, the Canon 50mm f/1.8 STM is a great lens to have in your street photography bag – in fact, there are plenty of reasons to buy it over the f/1.2 version. For one, the cheaper price is going to be much more appealing, especially if you’re new to photography and not yet ready to commit to more expensive gear. And the 50mm f/1.8 is also much smaller and lighter than its bulky f/1.2 sibling. While low-light performance isn’t on par with other lenses on this list, you can still count on the 50mm f/1.8 in the shade and at night.

Low-light performance: Pretty good, thanks to a relatively large maximum aperture
Quality: Good, but not as solid as the f/1.2 version (above)
Price: You can pick up this lens for just over $ 100 USD – it’s just about the cheapest lens you can buy
Weight: The size and weight of this lens make it easy to carry around

3. Canon EF 135mm f/2L USM

Those looking for a longer street photography lens could do a lot worse than the Canon 135mm f/2L. At 135mm, you’ll be able to photograph your street scenes from a distance, though the size of the 135mm f/2 makes discreet shooting difficult. It’s a great lens for separating your main subject from a busy background – you can use that extra focal length to compress the scene, and the f/2 aperture helps achieve outstanding background bokeh. And while the 135mm f/2 isn’t as forgiving as a 50mm lens, you can use it in low light, especially at f/2.

Low-light performance: Good for the longer 135mm focal length
Quality: A great build that’s usable in all weather conditions
Price: Reasonable ($ 999 USD) for a high-level lens
Weight: Relatively heavy, but much lighter than a 70-200mm f/2.8

4. Nikon AF-S 50mm f/1.8G

Nikon users looking for an affordable street photography lens should consider the 50mm f/1.8G. It offers good quality with an aperture that’s large enough for most situations, plus the 50mm focal length is a street photography classic. Nice build, weight, and size make it a great option for any Nikon street photographer.

Low-light performance: Good for most situations
Quality: Well built
Price: The most affordable lens for Nikon street photographers (that offers a decent maximum aperture)
Weight: The slightly smaller aperture means less lens glass, which means it’s easy to carry

5. Nikon 24-85mm f/2.8-4D

Thanks to its zoom range, the Nikon 24-85mm offers a little more flexibility than other options on this list – and it can double as a general-purpose lens, too. It’s a step up from a kit lens and offers you an aperture of f/2.8 on the wide end. This lens covers the 50mm focal distance that many consider optimal for street photography, and you’ll be able to zoom in and out, a major advantage if you want to frame a photo quickly without needing to move. The major downside is the 24-85mm’s low-light capabilities; the f/2.8 to f/4 maximum aperture just won’t be enough for some situations.

Low-light performance: Decent, but not what you get with a prime lens
Quality: Good overall quality for street photography
Price: In the midrange price bracket (around $ 750 USD). You’re paying for a zoom lens with a large maximum aperture.
Weight: The lens is heavier than a prime lens (a compromise for more focal length flexibility)

6. Sony 35mm f/2.8 Sonnar T FE ZA

While 35mm is on the wider side for street photography, the Sony 35mm f/2.8 is great for those with an APS-C sensor who want to photograph with a 50mm field of view. Build quality is good, so you can shoot in most conditions. And while the f/2.8 aperture isn’t ideal for nighttime outings, it’s more than enough for daytime and twilight street photography.

Low-light performance: It’s going to be more of a challenge to use this lens in dim light, though the wide focal length means you can handhold at a slightly slower shutter speed.
Quality: It’s a nice lens, and its compact size is a definite plus for street photography
Price: In the midrange price bracket ($ 799 USD)
Weight: Coming in at just 4.2 oz (119g), this lens isn’t heavy

7. Sony E 50mm f/1.8 OSS

If you’re just getting into street photography, you’re a Sony APS-C user, and you want an affordable option, then the Sony 50mm f/1.8 could be the lens for you. The sleek, compact design makes it ideal for the street photographer, and its fast focusing is important for nailing the perfect shot. You get a 75mm effective focal length, which is a bit tight for some photographers – but if you like the narrower field of view, then the 50mm f/1.8 is a perfect choice.

Low-light performance: The larger maximum aperture is good for most low-light situations
Quality: Well built; ideal for both beginners and more experienced photographers
Price: Offers great value (around $ 350 USD)
Weight: Standard primes aren’t usually heavy, and this lens weighs just over 7 oz (200 g)

8. Fujinon XF 35mm f/1.4 R

The Fujinon 35mm f/1.4 is a great lens for any Fujifilm camera user, whether you’re interested in street photography, portraits, or simply creating abstract bokeh. The lens is sharp, has decent focus speeds, and offers an f/1.4 for nice blurred-out backgrounds and nighttime photography. The bokeh effect is especially good (and can produce very nice street photography backgrounds).

Low-light performance: With a 35mm focal length and a maximum aperture of f/1.4, this lens is ideal for low-light shooting.
Quality: A solid, dependable lens; will keep up with the fast pace of street photography
Price: Midrange ($ 599 USD), thanks to the wide maximum aperture
Weight: Decent to carry around for a day on the street

9. Fujinon XF 56mm f/1.2 R

The Fujinon 56mm f/1.2 offers a wide maximum aperture, one that’s perfect for low-light street photography, plus it can generate beautiful backgrounds. The focal length is on the long side – on Fujifilm APS-C cameras, it’s an effective 84mm – but you can use it for close-ups, tighter scenics, and intimate street portraits. And for an f/1.2 lens, the price is pretty reasonable!

Low-light performance: You’re not going to get a better lens than this for low-light scenes
Quality: This is a great piece of glass that produces excellent images
Price: Quality lenses cost a lot; this lens will set you back around $ 1000 USD
Weight: It’s heavier than most of the primes on this list, but that’s one of the tradeoffs for such a wide maximum aperture

10. Sigma 35mm f/1.4 ART DG HSM

Sigma has been making excellent lenses with its ART series, and the 35mm f/1.4 is no exception. The lens comes in mounts for all the major camera manufacturers, including Nikon, Canon, and Sony, and while it’s a third-party lens, it does well against the other glass on this list. The large aperture and medium-wide focal length make this an ideal lens for any street photographer, whether shooting in the day or at night. It really is one of the best lenses for street photography available today, and it’s cheaper than the high-end lenses offered by other major manufacturers.

Low-light performance: Strong. This is a fast lens that allows for great images in tricky lighting
Quality: Very nice; Sigma is one of the best third-party manufacturers, and the ART series is top-notch
Price: For around $ 700 USD, you’re picking up excellent glass at a midrange price.
Weight: The Sigma 35mm f/1.4 is on the heavier end of the scale

11. Tamron 24-70mm f/2.8 Di VC USD G2

Looking for a versatile street photography lens? The Tamron 24-70mm offers a similar focal range to a kit lens but with a fast f/2.8 aperture. You get significant flexibility thanks to the wide-to-telephoto zoom capabilities, so you can easily capture street photos that require rapid changes in composition. The downside is this lens’s size and weight (f/2.8 zoom lenses are always on the heavier side). For a zoom lens, the f/2.8 aperture is impressive and will let you blur out backgrounds, though you might prefer a larger-apertured prime lens in low light. Bottom line: The 24-70mm is a good daytime street photography lens, and it’s also perfect for other types of photography, such as travel.

Low-light performance: Not the best; you’ll primarily use this lens in the daytime
Quality: Good quality, with image stabilization compensating for the smaller aperture
Price: On the pricier side ($ 1200 USD), though it is multifunctional thanks to its range of focal lengths
Weight: Pretty heavy, but the zoom range lets you carry one lens rather than several

Factors to consider before buying a street photography lens

All the lenses on this list are great, but the final decision is up to you – and should depend on your shooting style and preferred type of street photography.

So here are the key items to consider when looking for the perfect street photography lens:

Focal length

Many photographers say the best focal length for street photography is 50mm, and 50mm lenses do offer a great perspective (plus, this field of view has been popularized by many famous street photographers). Those who like the 50mm focal length but use crop sensors should go for a 35mm lens.

That said, you don’t need to feel constrained by what has come before, and wider focal lengths are becoming more popular among street photographers.

best street photography lens nighttime — Nighttime street photography needs a larger aperture or a high ISO.
Canon 5D Mark II | Canon 50mm f/1.2L | f/2 | 1/400s | ISO 500

Low-light performance

For moody and dramatic street photos, you’ll often need to shoot in low light. You might find yourself doing street photography in a dingy indoor market, at twilight, or at night – and in all of those situations, a lens with a large aperture provides a major advantage. Yes, modern cameras perform well at high ISOs, which negates the need for a high aperture to some extent. However, a large aperture is still required if you want beautiful bokeh lights in the background of your low-light photos.

Size and weight

To get great street photos, you’ll need to be out walking for much of the day. This means a smaller, lighter setup is a big help. Try to pick just one lens and keep it as light as possible.

Autofocus speed

Street photography is often done in fast-paced and dynamic environments, so if your lens is too slow to focus, you’ll miss a lot of shots. You need a lens that focuses almost instantly, especially if you hope to capture action-oriented street images.

Sharpness

Pretty much all forms of photography require sharpness, and street photography is no exception. Look for a lens that gives you crisp, clear, detailed photos. Some street photographers do like a softer, grainier look, but you can add this in post-processing. Generally speaking, the sharper the lens, the better.

street at night — Canon 5D Mark II | Canon 50mm f/1.2L | f/2 | 1/60s | ISO 1000

Time to choose the best lens for street photography

Now that you’ve finished this article, you should be ready to choose the right street photography lens for your needs.

Remember: the best street photography lens is the one that matches the aesthetic you want to create. So don’t think too much about the popularity of different lenses; instead, ask yourself how they’ll work with your interests and style.

Now over to you:

Which of these lenses is your favorite? Is there one in particular that appeals to you for street shooting? Share your thoughts in the comments below!

the best street photography lens — The best lens for street photography will allow you to get close to the action!
Canon 5D Mark II | Canon 17-40mm f/4L | 24mm | f/4 | 1/60s | ISO 2500

The post The Best Lens for Street Photography: Top 11 Picks (in 2021) appeared first on Digital Photography School. It was authored by Simon Bond.

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Scoring explained: Why we think the Fujifilm GFX 100S’ peers are cameras half its price (NOT the Sony a1)

23 May

I’m, at best, a keen enthusiast photographer but the GFX 100S’ strengths are all in areas that benefit the kinds of photos I like to take (everyday scenes, landscape, portraiture), whereas the a1’s aren’t: its speed would be utterly wasted on me.

The GFX 100S is one of the highest-end cameras we’ve ever reviewed, which has the effect of making it a difficult camera to review. I wanted to write a little bit about that challenge, why we compared it with full-frame cameras, and yet didn’t compare it to others.

The main difficulty of reviewing a medium-format camera is that there’s a class of wildly expensive, essentially pro-only camera bodies beyond it, that we don’t cover. And, while Phase One has been kind enough to lend us some cameras and digital backs in the past, I wouldn’t claim to have used them enough to form an opinion worth publishing. It could be argued that without testing it in a series of studio shoots, it’s not really practical to form an opinion worth publishing.

The GFX 100S seems pricey when compared to most full-frame cameras but is comparatively affordable for something offering beyond full-frame image quality.

It’s a similar challenge with the more ambitious video gear we’re starting to encounter. Obviously the world of ALL CAPS cinema cameras from ARRI and RED exists beyond the more accessible likes of the Sony FX3 and Panasonic S1H, so how can we put the more affordable models in context? How can you review them properly?

The clue both for ‘affordable’ medium-format and video-focused hybrids, is that they’re at the upper extreme what we test. In other words, they’re the option you might reach for, if you go beyond the level of gear we usually cover. And, in turn, that explains why we tend to compare them to the level of gear below: because that’s the alternative you might otherwise settle for.

The comparative accessibility of the GFX 100S means it’s likely that some photographers who’d otherwise buy something like a Canon EOS R5, Sony a7R IV or Nikon Z7 II might consider stretching their budget to get one. At which point, it’s important that our review makes sense of the difference.

So why didn’t we compare it with the Sony a1 if we’re comparing it to full-frame cameras?

It’s understandable why some people draw parallels between the Fujifilm GFX 100S and the Sony a1. For a start, they were released at a similar time, so the earlier camera will have still been very fresh in the mind when the second was launched. Also, both cameras cost a similar amount of money. Finally, they’re both cameras that try to offer something beyond the latest fast-ish high resolution full-frame models. So why, if it makes sense to compare both with the likes of the Canon EOS R5, aren’t we comparing them to each other?

The Canon EOS R5 is high res, fast, and a pretty capable video camera. You have to spend a fair amount more money to get something significantly more capable. The Fujifilm and Sony offer very different types of ‘more.’

Quite simply because, while all the above is true, the comparison falls apart as soon as you look at precisely what they offer over high-res full-frame. The a1 offers speed (of both shooting and autofocus), along with 8K video and photojournalist-friendly communication options. The GFX 100S offers resolution and image quality in a way that is likely to delight landscape shooters and studio-based pros. There’s no real overlap in the things they offer over the more affordable cameras.

There’s no real overlap in the things they offer over the more affordable cameras.

The context for each camera is also rather different. Whereas $ 6500 is fairly typical for a flagship sports camera, it’s comparatively inexpensive for a medium-format camera offering a step up in image quality.

It’s easy to argue that the a1 is the more impressive technological achievement: its cutting-edge sensor raises the level of what mirrorless cameras can do (at least until we’ve seen what Nikon and Canon’s Stacked CMOS cameras are capable of). And it’s a project with no obvious corner cutting: none of the stripped-down video capabilities of the a9 series, for instance. By contrast, the GFX 100S has been reworked by the engineering and marketing departments to make the original GFX 100’s capabilities accessible to a wider audience.

In addition to speed of shooting, speed of AF and impressive video, the a1 offers a range of pro-friendly features, including an Ethernet connection.

Which is why, as hard as we’ve tried to make our scoring system coherent across categories, you can’t just look at the numbers and say ‘the Sony scored 3% more, and hence is better, without qualification, than the Fujifilm’. It’s a level of nuance that is never going to be conveyed by a single number (or a single number and an award).

Instead our reviews spell out the basis on which the conclusion was drawn. The ‘How it compares…’ section of our reviews lists what we believe a camera’s peers to be, and why. We then explicitly detail the pertinent real-world differences after the conclusion.

Reviewing always gets more difficult when it comes to extremes of price and performance, which is why we try to contextualize how these exotic outliers compare to the more affordable options. Because ultimately, our job is to provide a basis from which people can make informed decisions (whichever way they decide), not to award bragging rights.

Articles: Digital Photography Review (dpreview.com)

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11 Sunset Photography Tips for Beautiful Results

23 May

The post 11 Sunset Photography Tips for Beautiful Results appeared first on Digital Photography School. It was authored by Darren Rowse.

If you’re looking to do gorgeous sunset photography, then you’ve come to the right place.

Because in this article, I’m going to share 11 simple tips that will instantly improve your sunset photos.

Specifically, I’m going to explain:

How to capture beautiful sunset tones consistently
How to create balanced, pro-level sunset compositions
The best type of weather for sunset photos
Much more!In fact, sunsets (and sunrises) aren’t even difficult to photograph!

Ready to become a sunset photography master?

Let’s dive right in.

1. For the best shots, plan ahead

While you can sometimes capture beautiful sunset shots without any forethought…

…the best shots usually come from real planning.

So scope out places that might be good for sunsets the day or two before your shoot. Look for interesting locations – locations where you can photograph the sun all the way down to the horizon, and where there will be opportunities for shots that include foreground elements and silhouettes.

Sunsets only take a few minutes, which is why you want to think about these elements before the sunset begins. Otherwise, you might miss the best shots.

Find out when the sun will set, then arrive at least half an hour beforehand. It’s often in the lead up to a sunset that the real magic happens.

And keep an eye on the weather. There are a variety of different types of sunsets that produce a range of different types of lights and patterns in the sky. Don’t just head out on clear days, because while these can produce some wonderful colors, it’s usually the days with (partial) clouds when the real action happens.

(Also, dust and smoke in the air can produce amazing results, too.)

Consider the equipment you might need. Take a tripod, lenses with a range of focal lengths, and extra batteries.

That way, when the sky turns beautiful, you’ll be ready!

2. Shoot at a variety of focal lengths

Most sunsets are photographed with wide-angle lenses, and these focal lengths can make for beautiful images. A lens in the 10-30mm range will give you sweeping shots of your sunset scene.

However, if you want the sun itself to be a main feature of the shot, you’ll need to zoom right in. The sun is just half a degree across, so when you shoot with a wide-angle lens, the sun will be tiny in the frame. If you want to highlight the sun, you’ll need to zoom in with a 200mm lens or longer.

(This, in turn, will increase your need for a tripod!)

Also, be hyper-aware of eye-safety concerns: looking at the sun is always dangerous. And it’s even more dangerous when you look at it through a telephoto lens. So if you do include the sun in your composition, never look through your camera’s optical viewfinder. Instead, use Live View to check your composition and exposure on the rear LCD.

(If you use a mirrorless camera, this won’t be an issue. You can safely look at the sun through the electronic viewfinder.)

3. Use the rule of thirds to improve your sunset photography compositions

The rule of thirds states that you should position key elements of your scene a third of the way into the frame.

So instead of putting the horizon in the center of the composition, put it toward the top or the bottom, like this:

Do you see how the horizon is a third of the way up from the bottom? That’s what the rule of thirds suggests.

And it’s not just about horizons. You can also use the rule of thirds to position the sun, foreground elements, background elements, you name it.

Of course, the rule of thirds isn’t a requirement. And you can break the rule of thirds for stunning results in certain situations.

But in general, the rule of thirds is a great starting point – so unless you have a good reason to do otherwise, I highly recommend you follow it!

4. Experiment with different exposures (to achieve a magical result)

First things first:

When doing sunset photography, you should always shoot with a semi-automatic or Manual mode. Don’t let your camera dictate your settings for you (in other words: get off Auto mode immediately!).

So before starting a sunset shoot, switch your camera over to Aperture Priority mode, Shutter Priority mode, or Manual mode.

And don’t just take one shot at one exposure. Instead, take a variety of shots at different exposures.

So while you can try a “standard” exposure based on your camera’s recommendation…

…don’t be afraid to underexpose by raising your shutter speed or narrowing your aperture. And don’t be afraid to overexpose by doing the opposite.

The great thing about sunsets is that there is no one “right” exposure. You can get stunning results with underexposure and overexposure; the key is to experiment.

(Personally, I tend to start with a relatively quick shutter speed, then slowly work down to slower shutter speeds for brighter, more luminous shots.)

5. Bracket often

In the previous tip, I talked about experimenting with different exposures.

But did you know that there’s a technique, called bracketing, that guides you in your exposure experimentation?

Here’s how it works:

First, take a photo using your camera’s suggested settings.

Then adjust the settings (either manually or via exposure compensation) to slightly underexpose the photo and then to slightly overexpose the photo.

So if your camera says to shoot at f/8, you would take your first shot at f/8, as recommended. But your second shot would be at f/5.6, and your third shot would be at f/11.

That way, you’d end up with a “standard” shot, a darker shot, and a brighter shot, all of which will give you different colors and effects.

It’s a good way to guide your experimentation, and it’s also a good way to create “insurance” photos – so that, if you overexpose the standard shot on accident, you still have a darker file on your memory card.

Make sense?

6. Auto Exposure Lock is your friend

Bracketing can be a lot of fun, but it also takes time – and it’s not the most precise way to create a well-exposed image.

That’s where Auto Exposure Lock (AEL) comes in handy.

Using AEL is simple. First, you point your camera at the area of the scene you want perfectly exposed, such as a beautiful foreground feature.

Then lock the exposure.

Finally, reframe the picture (while maintaining the exposure lock).

Basically, it lets you determine the exposure without interference from the ultra-bright sunset, which can wreak havoc on a camera’s meter.

Also note that you can use Auto Exposure Lock to create beautiful silhouettes; just point your camera at the brightest part of the sky, lock the exposure, and then reframe with a foreground subject. The result will look like this:

Cool, right?

7. For the best colors, get off Auto White Balance

Your white balance setting adjusts the temperature of the colors in your scene.

So depending on the white balance, you’ll end up with a cooler (bluer) photo or a warmer (redder) photo.

When the white balance is set to Auto, your camera will automatically deal with the color temperature. And while this can sometimes work, it often gives subpar results – where you lose the warm golden tones of your sunset.

So instead of using Auto White Balance, switch your camera to the Cloudy or Shade presets, which will warm things up a little.

Alternatively, if you’re shooting a sunset and you do want a cooler, moody shot, you can experiment with other white balance settings, such as Incandescent.

One more thing:

If you shoot in RAW, it’s true that you can always tweak the white balance during post-processing. However, this is often pretty inconvenient; after all, how much time do you want to spend adjusting the white balance in front of your computer?

Which is why it’s worth getting the white balance right in-camera.

8. Always bring a tripod for the sharpest results

If you’re shooting at longer shutter speeds, such as 1/60s and beyond, then a tripod makes a huge difference.

It’ll keep your camera stable – so that your files remain tack sharp.

When you’re out doing sunset photography, you don’t need to start the shoot with a tripod, because the minutes leading up to a sunset bring plenty of light.

But as the sun sinks on the horizon, a tripod will become more and more necessary. (And by the time the sun is gone, a tripod will be absolutely essential.)

Note that you might want to use a tripod for your whole photoshoot, especially if you plan to capture long exposures that feature moving water, like this one:

What if you don’t have a tripod? Or you forget to bring one?

In such cases, I recommend you stabilize your camera against an object. You can put it on the hood of a car, or you can just set it on the ground; whatever allows you to minimize movement as much as possible.

9. Don’t be afraid to focus manually

We all love autofocus – but sometimes, when shooting in extreme lighting conditions, autofocus just won’t get the job done. Your lens will hunt all around, and the shot will end up out of focus.

That’s where manual focus comes in handy.

Now, not all lenses support manual focus. Some only allow for autofocusing, in which case you’re out of luck.

But many lenses do let you focus manually (and you can generally activate manual focus by pushing the AF/MF switch on the lens barrel to MF).

So when your lens starts to hunt, don’t fret; just swap over to manual focus and keep shooting!

10. Shoot more than just the sunset

Here’s one of the many wonderful things about sunsets:

They don’t just create wonderful colors in the sky; they also cast a beautiful golden light that is great for other types of photography!

So as the sunset progresses, keep an eye on other photographic opportunities around you. For instance, you can capture portrait, landscape, or macro shots. In the light of the setting sun, it’ll all turn out amazing!

11. Keep shooting (even after the sun is gone)

A sunset constantly changes over time – which means that every additional minute is an opportunity for a different shot.

So don’t take a few shots and call it an evening. Instead, stick around and photograph the sun as it goes down. You can continue to capture the same composition, or you can test out different compositions; the key is to keep your camera out and your finger on the shutter button.

Also make sure to capture different exposures (bracket!) and consider working with different focal lengths, as I’ve discussed above.

And finally:

Don’t pack up once the sun is gone. The period after the sun has disappeared – called the blue hour – can be great for photography, too, thanks to its beautiful colors and ethereal light. So if you still have the energy, keep finding compositions until the colors have vanished completely from the horizon.

Sunset photography tips: conclusion

Now that you know these tips, you’re well on your way to capturing some stunning sunset photography of your own.

So the next time the sun starts to get low in the sky…

…grab your camera and head outside!

Amazing images await.

Now over to you:

Which of these sunset photography tips is your favorite? Are you going to use any of them the next time you photograph a sunset? Share your thoughts (and sunset photos) in the comments below!

The post 11 Sunset Photography Tips for Beautiful Results appeared first on Digital Photography School. It was authored by Darren Rowse.

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DPReview TV: Requiem For Sony A-Mount

22 May

Recently, we learned that Sony’s ‘SLT’ digital SLRs were no longer available for purchase in some territories, probably marking the end of the A-mount originally developed by Minolta. In this episode of DPReview TV, Chris and Jordan fondly look back at the A-mount.

Subscribe to our YouTube channel to get new episodes of DPReview TV every week.

Intro
Film era
Early digital
The a100
Favorite lenses
SLT era
E-mount vs A-mount
Adapters
The wrap

Articles: Digital Photography Review (dpreview.com)

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How to Achieve Blurred Backgrounds in Portrait Photography

22 May

The post How to Achieve Blurred Backgrounds in Portrait Photography appeared first on Digital Photography School. It was authored by Darlene Hildebrandt.

How can you create a beautiful, soft blurred background, like the one you see below?

It’s a question I hear over and over from my students. But there’s a major misconception among new portrait photographers: that to achieve such a stunning background blur, you need to go out and buy an expensive lens.

And this is just plain wrong.

Because while it’s true that certain (often expensive) lenses are better for creating blurred backgrounds, it’s also true that several other key factors go into achieving the soft background look – and most photographers fail to consider these factors and how they can be used for gorgeous results.

In other words:

You are capable of creating a lovely blurred background, and you can probably do it with the lenses you already own.

So if you want to learn how to create that gorgeous background, then read on!

Four factors affect background blur

Whenever you see a beautifully blurred background, know that four factors together produced the effect:

the aperture setting
the focal length of the lens
the distance between the subject and the background
the distance between your camera and the subject

If you use a wide aperture, you’ll get a blurry background, sure – and this is what most photographers think of when they see beautiful background bokeh.

But you can use a relatively narrow aperture and achieve the same look with a longer focal length, or by increasing the subject-background distance, or by getting closer to your subject.

So even if you have a lens with a relatively narrow maximum aperture, such as f/5.6, you can get the look you’re after. You just have to carefully control the other background blur factors.

Make sense?

The background blur factors: a quick demonstration

To demonstrate the factors affecting background blur, I’ve created some example photos of a friend’s daughter (she was a more willing subject than my husband!).

This first set of images was taken with my subject about two feet away from the front door of the house. The focal lengths used for all the example shots are (on a full-frame body) 16mm, 35mm, 70mm, and 150mm; note that I backed up with each shot to keep the framing constant. Also, I am deliberately not divulging my aperture, though it is the same for every image.

Now, the second set of images below was taken with my subject about 20 feet away from the house. Again, each time I changed focal lengths, I moved farther away to keep my subject the same size in the frame.

example portraits with subject farther from background

Now take a careful look at each set of images. What do you see?

Did you notice how much softer the background is in the second set of images? Especially at the 150mm focal length?

Remember: All eight images were taken with the same aperture. The only adjustment made for the first set is the lens focal length. And the only difference between the first set and the second set is the distance between the subject and the background; I had my subject move several feet forward.

But what about the aperture?

As you know, I deliberately withheld the aperture – but would you be surprised if I said that all the images were taken at f/5.6?

It’s true! I used an f/5.6 aperture for each shot. Not the first aperture you think of when someone says “blurred background,” right?

Which means that, as long as you have a lens that can shoot at f/5.6, you can get the same exact look.

One more comparison using f/2.8

Just to further prove the point, here are two more sets of images. All the shots are taken at f/2.8, though the first set shows my subject positioned close to the house, whereas the second set shows my subject positioned away from the house.

Can you see how much more the focal length and the distance between the subject and the background affect the background compared to the wide aperture? There’s not a big difference between these shots and the shots at f/5.6 – but there is a huge difference between the images shot at different focal lengths, as well as the images shot with the subject close versus far from the background.

background blur at f/2.8 (taken farther away from the background)

Capturing blurred backgrounds: key takeaways

While using a wide aperture is a factor in creating a blurred background, it is not the only factor. And in my opinion, it’s not the most important.

Instead, if you want to create beautiful backgrounds, make sure you:

Use a longer lens (I generally shoot at 85mm or longer for portraits)
Ask your subject to move away from the background (note that this also depends on the environment, so make sure you do a bit of location-scouting before taking out your camera!)

You can also consider getting closer to your subject; this will increase the blur, though it’ll also tighten up your framing – just something to keep in mind.

Now, go look at the image at the top of the article again.

It, too, was taken at f/5.6! Bet you didn’t guess that the first time you looked at it, am I right?

And here’s one last set of examples to show you the power of a long focal length plus a distant background:

portrait of girl at f/2.8 background blur camera — Taken with a 200mm lens at f/2.8

portrait of girl at f/2.8 with blurry background — 200mm lens at f/2.8

portrait of girl at f/5.6 blurry background in-camera — 200mm lens at f/5.6

Background blur: final words

Now that you’ve finished this article, you know how to create stunning background blur – and you know that you don’t need an expensive f/1.2 lens to make it happen.

In fact, I challenge you to test this out yourself. Find a willing subject, start them close to the background, then slowly move them forward. Test out different focal lengths, different apertures, and different distances to your subject.

In the end, you’ll have some stunning shots – even if you only shoot at f/5.6 and beyond.

Now over to you:

Do you struggle to get perfect blurred backgrounds? Which of the tips from this article are you going to use first? Share your thoughts in the comments below!

The post How to Achieve Blurred Backgrounds in Portrait Photography appeared first on Digital Photography School. It was authored by Darlene Hildebrandt.

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The Weekly Photography Challenge – Architecture

22 May

The post The Weekly Photography Challenge – Architecture appeared first on Digital Photography School. It was authored by Sime.

“Architectural photography is about capturing the design and accurately representing a building, but to also have your photographs be aesthetically pleasing to your viewer’s eye”

Now I’m no architecture photography, but I know a really good one (Hi Mike!) and love his work, it’s quite amazing, so that, combined with one of your suggestions that we try ‘architecture’ is the reason for this week’s photo challenge theme! #dPSArchitecture

Don’t have access to some stunning, amazing architecturally designed skyscraper? Photograph your own house/apartment/caravan! Push that creativity and do your best! After this photo I’ve put a glut (is that a collective noun for url’s) of links to articles on dPS that might help!

The Weekly Photography Challenge – Architecture — Photo by Anders Jildén on Unsplash

We have tried this theme before now, but it was a long time ago! Check out what people submitted back then, and here’s a great article on creative architecture photography techniques, could be handy! Perhaps you’re more of a storyteller and you’d prefer a different approach! Go for it! Lastly, here are 6 more ways to try your hand at making architecture photography stand out. That oughta do it!

Amazing photos above, huh! DO NOT let those put you off, they’re polished and stunning, but they’re there to inspire you to make yours the best it can be!

Now how to get yours online…

Great! How do I upload my photos?

Upload your photo into the comments field (look for the little camera icon in the Disqus comments section below this post) and they’ll get embedded for us all to see. Or, if you’d prefer, upload them to your favourite photo-sharing site and leave the link to them.

Weekly Photography Challenge – Looking Up

The post The Weekly Photography Challenge – Architecture appeared first on Digital Photography School. It was authored by Sime.

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The Best Gear of 2021? TIPA Announces Its Winners

22 May

The post The Best Gear of 2021? TIPA Announces Its Winners appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

The Technical Image Press Association (TIPA) has released its 2021 World Awards recipients, celebrating the best cameras, lenses, and other photography gear released over the past year.

Hailed as the “most coveted photo and imaging awards worldwide,” TIPA aims to “both recognize and honor [photography] industry companies and their products.” Winners are chosen by TIPA member magazine representatives, who vote for class-leading gear across dozens of categories, including Best APS-C Camera (Entry-Level, Advanced, and Expert), Best Tripod, Best Telephoto Zoom Lens, and much more.

All the usual suspects took prizes, with Sony grabbing an impressive six awards (including Best Full Frame Professional Camera, Best Photo/Video Camera (Expert), and Best Photo Smartphone). Sigma snagged four awards, Canon and Nikon each snapped up three, while Fujifilm and Tamron took two.

Olympus was notably absent for the second year running, but Pentax made the list – thanks to its K-3 Mark III – for the first time since 2015.

While the TIPA awards can only reveal so much, this year’s awardees do seem representative of the broader camera world – where Sony, Canon, and Nikon dominate headlines, Olympus and Panasonic cater to a niche audience, and third-party manufacturers such as Tamron and Sigma offer highly respected alternatives to Canon, Sony, and Nikon glass.

In fact, out of nine lens awards, six were handed to third-party lens manufacturers. And the trend is hardly new. Last year, six out of eleven lens awards went to third-party manufacturers, and the year prior saw six out of twelve. It highlights the outstanding products offered by “optics-first” companies such as Tamron, Sigma, and Laowa.

Below, I’ve included the full list of awards and the corresponding winners. Give it a read – and once you’re done, leave a comment. Did any equipment deserve to be awarded that was skipped? What do you think of TIPA’s picks? Share your thoughts!

The TIPA World Awards 2021 winners

Best APS-C Camera (Entry-Level): Canon EOS M50 Mark II
Best APS-C Camera (Advanced): Fujifilm X-S10
Best APS-C Camera (Expert): Pentax K-3 Mark III
Best Full Frame Camera (Advanced): Nikon Z6 II
Best Full Frame Camera (Expert): Nikon Z7 II
Best Full Frame Professional Camera: Sony a1
Best Photo/Video Camera (Advanced): Sigma fp L
Best Photo/Video Camera (Expert): Sony a7S III
Best Medium Format Camera: Fujifilm GFX 100s
Best Prime Wide Angle Lens: Laowa 15mm f/4.5 Zero-D Shift
Best Prime Standard Lens: Sony FE 50mm f/1.2 GM
Best Prime Telephoto Lens: Canon RF 600mm f/11 IS STM
Best Wide Angle Zoom Lens: Nikon Nikkor Z 14-24mm f/2.8 S
Best Standard Zoom Lens: Tamron 17-70mm f/2.8 Di III-A VC RXD
Best Telephoto Zoom Lens: Tamron 70-180mm f/2.8 Di III VXD
Best Ultra-Telephoto Zoom Lens: Sigma 100-400mm f/5-6.3 DG DN OS | Contemporary
Best Portrait Lens: Sigma 85mm f/1.4 DG DN | Art
Best Macro Lens: Sigma 105mm f/2.8 DG DN Macro | Art
Best Vlogger Camera: Sony ZV-1
Best Professional Video Camera: Panasonic Lumix DC-BGH1
Best Fine Art Printing Solution: Hahnemühle Print – Protect – Authenticate Product Range
Best Photo Printer: Canon imagePROGRAF PRO-300
Best Imaging Software Expert: Zoner Photo Studio X
Best Imaging Software Professional: DxO PhotoLab 4
Best Lighting Technology: Profoto AirX
Best Portable Flash: Godox Pocket Flash AD100Pro
Best Tripod: Vanguard VEO 3GO series
Best Tripod Head: Gitzo Ball Head Series 4
Best Gimbal System: Manfrotto Fast Gimboom and Gimbal series
Best Enthusiast Photo Monitor: ViewSonic VP2768a
Best Professional Photo Monitor: LG UltraWide Thunderbolt 4
Best Professional Video Monitor: LG UltraFine OLED Pro
Best Photo Smartphone: Sony Xperia 1 III
Best Power Accessory: NITECORE SCL10 2-in-1 Smart Camera Light & Power Bank
Best Video Accessory: RØDE Wireless GO II
Best Photo Accessory: Hoya PROND GRAD Circular Graduated ND Filters
Best Retail Finishing System: CEWE Photocenter
Best Photo Lab: WhiteWall Room View
Best Photo Service: CEWE Photo Calendar A2 Gold Edition
Best Imaging Computer: Asus ZenBook Pro Duo 15

The post The Best Gear of 2021? TIPA Announces Its Winners appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

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Slideshow: The best entries so far for the 2021 Comedy Wildlife Awards

21 May

The best entries so far for the 2021 Comedy Wildlife Awards

Now in its 7th year, the annual Comedy Wildlife Awards showcases some of the funniest wildlife moments caught on camera. Here are some of the best entries, out of thousands submitted from around the world, so far, that the judges and organizers felt the urge to share with the public.

‘A lot of wildlife shown in these images are facing threats to their populations and habitats that are heart-breaking. With this competition, we wanted to capture people’s attention and energy by giving them a giggle. In order to protect animals, we need people to fall in love with them. We think these wondrous shots show a side of wildlife that we don’t often get to see. They remind us of the beauty, and comedy, in our natural world that needs protecting,’ says Tom Sullam, the competition’s co-founder.

You still have six more weeks to enter the 2021 Comedy Wildlife Awards. Photographers are allowed to submit up to 10 images. The grand prize includes a safari to Maasai Mara in Kenya. 10% of the competition’s total net revenue will be donated to the Save Wild Orangutans charity.

Entry: ‘Bald Eagle Gets a Surprise’ by Arthur Trevino

Location: Hygiene, CO

Animal Description: Bald Eagle & Prairie Dog

Artist Description: When this Bald Eagle missed on its attempt to grab this prairie dog, the prairie dog jumped towards the eagle and startled it long enough to escape to a nearby burrow. A real David vs Goliath story!

Entry: ‘Monday Morning Mood’ by Andrew Mayes

Location: Rietvlei Nature Reserve, South Africa

Animal Description: Pied Starling

Arist Description: I took this shot while photographing a group of Pied starlings perched in a tree at the Rietvlei Nature Reserve in South Africa. It perfectly sums up my mood on most Monday mornings 🙂

Entry: ‘ROFL’ by Giovanni Querzani

Location: Serengeti National Park, Tanzania

Animal Description: Young Lion

Artist Description: A young lion in the Serengeti National Park, Tanzania, who apparently is laughing at my photography skills.

Entry: ‘Quarantine Life’ by Kevin Biskaborn

Location: South Western Ontario, Canada

Animal Description: Raccoon

Artist Description: Isolated inside with your family eager to get out and explore the world? These eastern raccoon kits are too. Just when you think there’s no more room in the tree hollow, mother raccoon appears and displays just how compact the space is. The babies clambered all over their mom and each another, struggling to take a look at the exact same time.

This photo was taken in Southwestern Ontario, Canada. After exploring a particular area with numerous tree hallows, I identified it as a hot spot for raccoon families. Since raccoons will move from den to den, often not spending more than one night at a time in a particular den, locating an area with numerous options is key to locating the animals.

I stumbled across this family and immediately worked on leveling the camera with the hole to prevent an upward angle. When the camera and tripod were ready, the baby raccoons were extremely curious (and cooperative), sticking their heads out for a closer look!

Entry: ‘Yoga Bittern’ by KT Wong

Location: Satay By The Bay, Singapore

Animal Description: Yellow Bittern

Artist Description: A Yellow Bittern was trying very hard to get into a comfortable hunting position. I got this shot when it was between 2 stalks of lotus flower.

Entry: ‘Missed!’ by Lea Scaddan

Location: Perth, Australia

Animal Description: Western Grey Kangaroo

Artist Description: Two Western Grey Kangaroos were fighting and one missed kicking him in the stomach.

Entry: ‘Yay – It’s Friday!’ by Lucy Beveridge

Location: Kgalagadi Transfrontier Park, South Africa

Animal Description: Springbok

Artist Description: A young springbok, all ears and spindly legs, caught in midair while pronking as the sun started to rise over the Kgalagadi Transfrontier Park. There’s not much information on why the Springbok pronk but some theories suggest it is a way of showing fitness and strength to ward off predators and attract mates. It has also been said that this small, dainty and largely unappreciated antelope also pronks out of excitement, jumping for joy!

Entry: ‘Sweet Lips Are For Kissing’ by Philipp Stahr

Location: Curaçao, Dutch Caribbean

Animal Description: Boxfish

Artist Description: This picture was taken at Curaçao, Dutch Caribbean. Usually box fishes are difficult to take pictures of, since they do not have a problem of a diver coming close, but if you show interest, they always turn the back and not the face to you. That’s why I tried to swim 0.5m above the fish and showing no interest at all to him.

The same time I had my camera not in front of me, but below at my chest pointing to the bottom. When the right moment had come, I turned the camera 90 degrees to the front and just point and shoot, hoping to have the fish in focus. Never expected to have its beautiful lips that close!

Entry: ‘Cranky Hippo’ by Rohin Bakshi

Location: Vwaza Game Reserve, Malawi

Animal Description: Hippo

Artist Description: The baby hippo wanted his mother’s attention, but it seems he wasn’t getting any.

Entry: ‘Happy’ by Tom Svensson

Location: Falklands

Animal Description: Penguin

Artist Description: These penguins was surfing on the waves on to land and looked so happy each time.

Entry: ‘Houston – We’ve Got a Problem!’ by Txema Garcia Laseca

Location: Pantanal (Brazil)

Animal: Amazon Kingfisher

Artist Description: This fish is astonished when has been trapped for a fisher bird.

Articles: Digital Photography Review (dpreview.com)

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iPhone Live Photos: A Comprehensive Guide

20 May

The post iPhone Live Photos: A Comprehensive Guide appeared first on Digital Photography School. It was authored by Simon Ringsmuth.

Baked into every iPhone is a neat trick – one that combines the serendipity of photos with the magic of video to produce a Live Photo. These aren’t the same as normal photos, but they’re not exactly videos, either.

Live Photos are images that can be edited, adjusted, and shared just like any other image. But they are also tiny video clips: each contains three seconds of video showing a brief moment right before, during, and after you take the picture.

To learn more about Live Photos, including how to use and edit them, keep reading!

What are iPhone Live Photos?

First introduced in the iPhone 6s, Live Photos are a great way to add a bit of context to your iPhone pictures.

Instead of just taking a picture of your kids, you capture the photo – but you also get a brief clip of them running and laughing. Rather than photographing only a flower, your iPhone captures the flower, but it also displays the wind, moving insects, and background noise. A snapshot of your friend holding a freshly caught fish becomes a short clip where you can see the fish wiggling and flopping free.

These short bits of video might not sound like much, but they can go a long way toward bringing a still scene to life. A simple Live Photo can trigger emotions and memories years later that you never knew you wanted to save. The best part about Live Photos is that you don’t have to do anything to create or view them – they’re captured automatically by your iPhone unless you turn the option off manually.

That said, despite the prevalence of Live Photos, there’s still a great deal of confusion among iPhone users. For instance, how do you use Live Photos? How do you edit and share them? What are their benefits and drawbacks? That’s what I aim to cover in the rest of this article.

iPhone Live Photos kids frozen lake — I shot this as a Live Photo on my iPhone, so I get a bit of motion to go along with the still image.

How to use Live Photos

As with a lot of things in the Apple ecosystem, using Live Photos requires almost zero effort. Any time the camera interface is open, there is an icon in the top-right corner that looks like three concentric circles (pictured below). If there is a line through the icon, Live Photos is turned off. If there is no line, it means Live Photos is enabled. Tap the icon to switch between On and Off.

activating the Live Photos feature — Tap the concentric circle icon in the top-right corner to enable or disable Live Photos.

When Live Photos is enabled, you don’t have to do anything different when you take a picture. Any time you press the shutter button, your iPhone automatically captures the picture and a bit of video. It’s almost like a short animation, or like a moving picture you might see in one of the Harry Potter movies.

If you don’t want to toggle the Live Photos setting every time, navigate to Settings and then choose Camera>Preserve Settings. If you have Live Photo checked, the camera app will remember whether you had Live Photos enabled or disabled the last time you used it. That way you won’t have to click the Live Photos icon every single time you want to take a picture – it will be enabled or disabled depending on your previous settings.

iPhone Live Photos preserve settings — To make your iPhone remember whether you had Live Photos turned on or off, toggle the **Preserve Settings>Live Photo** option.

Once the Live Photos setting is enabled, all you have to do is snap a picture and your phone takes care of the rest. There are no parameters to tweak, no options to configure, and no changes from one iPhone to the next. Every time you take a picture, your phone automatically saves a Live Photo.

What can you do with Live Photos?

Apple cofounder Steve Jobs once said that people don’t know what they want until you give it to them. Live Photos are kind of like that, in that they give you a tiny glimpse into the context of your images.

People take pictures with their phones every day, but those images are devoid of the audiovisual context that Live Photos provide. Live Photos aren’t life-altering or world-changing, but the few seconds of video alongside each photo is so nice that it’s hard to give up once you’re used to it.

In fact, the real benefit of Live Photos isn’t readily apparent until you start scrolling back through images from months or years ago. You see a picture of a parent, child, or loved one – and you suddenly realize you also have a few seconds of their voice and past life. That’s when Live Photos become indispensable.

Personally, I don’t find Live Photos to be particularly useful for landscapes, animals, or everyday objects, but it’s those images of the people in my life that make me glad to have Live Photos as an option.

kids looking in a box — I didn’t remember what was going on in this picture of my relatives from several years ago. But since it was a Live Photo, all I had to do was tap and hold. Turns out they were caring for a small animal.

How to view Live Photos

While taking Live Photos is easy, viewing them can be a bit confusing. As you scroll through your photo library, there aren’t any indicators that separate Live Photos from normal photos. And when you tap on a Live Photo, all you see is a still image.

Viewing a Live Photo sent by someone else can be tricky, too, because it looks like any other picture.

When scrolling through your iPhone photo library, there isn’t any way to automatically distinguish Live Photos from normal photos.

The key to viewing Live Photos lies in the key to operating your phone: You have to use your fingers. So to view a Live Photo, whether in your own photo library or one sent to you in a text message, you have to press and hold. The pressure will activate the Live function and start playing the video.

(Note: If you are viewing Live Photos on a Mac computer in the Messages or Photos apps, you have to click and hold on with the mouse cursor.)

Viewing Live Photos is one thing, but what about finding them in the first place? With scant visual clues to separate Live Photos from normal images, locating them can be confusing. Fortunately, you can use the Media Type option in your iPhone photo library to show all Live Photos; this eliminates the need to scroll through all your images in the hopes of randomly stumbling across a Live Photo.

iPhone Live Photos albums — Open the **Photos** app on your iPhone, then tap **Albums**. Finally, scroll down to **Media Types** to see all your Live Photos.

There are also a few hints embedded in every Live Photo to help you know what you’re looking at: Every Live Photo has the word “Live” in the top-left corner, along with the Live Photos bullseye icon. And when you receive a Live Photo over text message, you won’t see the word “Live” – but you will see the Live Photos icon, which means you can tap and hold to view the clip.

How to edit Live Photos

One of the most compelling features of Live Photos is how they can be edited and tweaked just like any other image.

You can use the iPhone Photos app to crop, adjust color, change brightness, add a vignette, and even use filters such as Mono, Silvertone, Dramatic, and more.

You can also change the Key Photo – the image that shows up when you first view a Live Photo (before video playback begins).

When editing a Live Photo, you can tap and drag the horizontal bar at the bottom of the screen to change the displayed still photo (also known as the *Key Photo*).

I’m a fan of Live Photo editing capabilities; they reinforce the idea that Live Photos aren’t to be treated differently from any other picture. Editing prohibitions or restrictions would be a big drawback – but at present, the only thing you can’t do with a Live Photo is use markup effects to draw on it.

(If you do want to add markup, the Live Photo is discarded and you’re left with a still image. It’s not necessarily a bad tradeoff, just something to keep in mind.)

Apple also gives you some fun ways to edit your Live Photos that go beyond what you can do with normal images. When viewing a Live Photo, you can tap the Share button to save it as a movie, which can then be sent to anyone for viewing on any device – iPhone, Windows computer, etc. You can tweak things even further with some fun effects, too.

For instance, tap and hold on a Live Photo, then – without letting go – swipe upward. This brings up an Effects menu, where you can make a Live Photo loop, bounce back and forth from the end to the beginning, or create a long exposure that blurs all the frames together. These can be shared like other Live Photos, exported as movie files, or uploaded to websites like Giphy.com, which can turn the content into animated GIFs.

Live Photo separated into HEIC and MOV files — If you sync your pictures to iCloud then download a Live Photo to your computer, you get two files: a still image and a movie, which is the Live Photo.

If you have your iPhone pictures synced to your Mac via iCloud, you can even separate a Live Photo into its component parts: a single HEIC image file and a QuickTime movie file. (HEIC files are similar to JPEG files, but they offer more color information and better compression.) You can then edit and share each file individually, or you can use software such as iMovie or Adobe Premiere to stitch multiple Live Photo QuickTime movies into a single video.

Drawbacks to Live Photos

There are a few caveats to keep in mind when using Live Photos.

For one, while Live Photos are a great way to add a bit of context to your memories, they do take up more storage space than traditional photos. The exact file size varies, but Live Photos are generally about twice as large as normal photos. Even if you have 256 GB or 512 GB of storage space, Live Photos can eat through this pretty quickly.

That’s not to say you shouldn’t take Live Photos; just be aware of your storage limitations.

If you find yourself running low on iPhone storage, it’s possible that Live Photos are part of the problem.

Also, Live Photos exist only within the Apple ecosystem. Other Apple users can see the entire three-second clip – but if you send a Live Photo to an Android user, they’ll only receive a single JPEG image. There is a process you can use to export a Live Photo as a movie clip or animated GIF file, but those extra steps are an obvious inconvenience.

And Live Photos offer no customization options, which might bother folks who enjoy tweaking things to fit their own preferences. Every Live Photo is exactly 3 seconds – no more, no less. Every Live Photo is also shot at the same resolution and quality settings, and these limits can be somewhat frustrating. It would be nice if Apple had the option to shoot longer Live Photos, but I wouldn’t count on that changing anytime soon.

iPhone Live Photos kids tennis — This still image turned out great. But what if I had just a few seconds of him swinging at the tennis ball? Thanks to Live Photos, I do. Once you start using Live Photos, you might never want to go back to still images.

iPhone Live Photos: final words

Live Photos are a great way to get more enjoyment out of everyday images.

While drawbacks exist, the benefits mostly outweigh the negatives – and it can be incredibly rewarding to look back on these brief video snippets years later. You will find yourself enjoying your images in a whole new way, and the creative sharing options might open up new doors you never knew existed.

Now over to you:

What do you think of iPhone Live Photos? Do you plan to use them often? Do you prefer them to still images? Share your thoughts in the comments below!

Live Photos FAQ

How do I turn on Live Photos?

With your camera app open, tap the little bullseye icon in the top-right corner. If the icon is yellow, then Live Photos are enabled. If the icon is white, Live Photos are disabled.

How much storage space do Live Photos use?

As a rule of thumb, Live Photos are about twice the size of a normal image. Most Live Photos are about 6-7 MB in size, though this varies depending on the subject you’re shooting.

How do I share a Live Photo to an Android phone?

When you tap the Share button, use the “Save as Video” option. This will convert your Live Photo into a movie file, which you can send to an Android phone (or share with someone who uses a Windows computer).

How can I turn a Live Photo into an animated GIF?

Your iPhone can’t do this by itself, but you can save a Live Photo as a movie and then upload the movie to a GIF website such as Giphy. The GIF website will convert your movie into an animated GIF, which you can share with others.

The post iPhone Live Photos: A Comprehensive Guide appeared first on Digital Photography School. It was authored by Simon Ringsmuth.

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