If your home is anything like mine there are photos of you and your family dotted all over it. There’s something heartwarming about looking at the different moments in time and reliving them. Remembering how you felt, the smells, tastes and sounds of the day. It’s no wonder that year after year families just like yours and mine enlist the Continue Reading
The post Outfits for Family Photoshoot: How to Choose and Coordinate? appeared first on Photodoto.
Every landscape scene offers a collection of compositions just waiting to be framed by the proper focal length, but how do you choose what one to go with? While the answer will always be subjective, photographer Nigel Danson has shared a video showing how he goes about choosing the best focal length for certain scenes.
The video is a longer watch, coming in at just under 27-minutes, but through it, Danson explains how he chooses a specific focal length and shares example photos captured at different focal lengths to show what tends to work best with different lenses, from a 14mm ultra-wide-angle lens to a 200mm telephoto lens.
It’s a fantastic deep dive into the selection process for landscape photos and even Danson was surprised when he looked through what his most-used focal length was — 24mm. He notes this focal length is likely the most used due to it being difficult to capture portfolio-worthy shots at ultra-wide-angle focal lengths, leaving him ‘more disappointed than pleased,’ upon returning home to cull and edit the captured frames.
Despite his most-used focal length, Danson says his favorite focal lengths to shoot with are at either extreme — either ultra-wide or telephoto — due to the ability to ‘create something more dramatic […] and creative,’ despite it ‘not being easier.’
You can find more videos from Danson on his Youtube channel, follow him on Instagram and visit his website to view his portfolio of work and purchase his new 2021 calendar.
Articles: Digital Photography Review (dpreview.com)
The post How to Choose the Perfect Focus Mode For Every Situation appeared first on Digital Photography School. It was authored by Jaymes Dempsey.
Do you struggle with choosing a focus mode? Do you want to know how to choose the perfect focus mode, every single time you pick up your camera?
You’ve come to the right place.
Because while it may seem to difficult to choose the best focus mode for the situation, there are a few guidelines you can use to ensure you nail focus, consistently.
Let’s dive right in.
Most cameras are equipped with three key focus modes:
AF-S, also known as One Shot.
AF-C, also known as Continuous, also known as AI Servo.
Manual (sometimes abbreviated as M).
Note that some cameras include an additional focus mode, known as AI Focus, also known as AF-A. But it’s a mode that I never use, and I certainly don’t recommend to others (it’s frequently finicky, and not very effective).
Instead, I suggest learning how to use the modes listed above, and you’ll do just fine!
So how do each of these key focus modes work?
Assuming that you use the shutter button to activate focusing:
When set to AF-S, your camera will acquire focus as soon as you half-press the shutter button. And that point of focus will lock until you let go of the shutter.
When set to AF-C, your camera will begin to acquire focus when you half-press the shutter button. But it will continue to refocus as your subject moves (or as your camera moves).
Note that you can tell a camera in AF-C to track a subject as it moves through the frame, or to continuously acquire focus at the center of the image, etc.
When set to manually focus, your camera won’t focus at all. You have to do all the focusing work via the focus ring on your lens.
Make sense?
So, to recap:
AF-S focuses and locks.
AF-C focuses and keeps focusing, potentially even tracking a subject as they move.
And manual leaves control over focus to you, the photographer.
But when should you use each of these focus modes?
Read on to find out!
AF-S focus mode is my go-to, and the mode I use most frequently. When choosing a focus mode, AF-S is my first thought. And if you’re more of a still photographer (i.e., not an action/sports/wildlife shooter), I recommend you use AF-S mode all the time.
This is because it has so many applications, from landscape to street to portrait and more.
Basically, whenever you’re shooting a non-moving subject, AF-S is the way to go. You can set the focus point to the center of the frame, half-press the shutter button to lock focus, and then compose the shot however you like.
(This is often referred to as the focus and recompose technique.)
For instance, if you’re photographing a street scene, you can focus on a prominent element, such as an interesting poster. Then you can carefully compose the scene. And, as soon as all the elements come together (e.g., a person walks through in just the right place), you can take the shot!
I’m also a fan of using AF-S for handheld landscape photography. I’ll often find myself wanting to put elements off-center, so I’ll lock focus in AF-S, then shift the composition slightly.
And then, when I take the shot, it looks exactly the way I envisioned.
Really, AF-S is an extremely useful mode and the one I recommend you use it whenever you’re shooting a motionless scene.
You should use AF-C focus mode whenever you’re shooting action.
You see, AF-C mode allows you to focus and refocus, or focus and track a subject as it moves throughout the frame.
This is invaluable when shooting sports, where players rarely stay still long enough to allow for easy focusing.
AF-C mode is also great for wildlife and bird photography because you’re frequently faced with fast-moving subjects at high magnifications.
And if you’re an insect photographer, you’ll also want to use AF-C mode, assuming you’re shooting an active subject such as a butterfly.
Even pet and street photographers can profit from using AF-C a lot of the time (though I recommend switching between AF-C and AF-S, depending on the situation).
You should also be aware that AF-C often offers quite a few useful AF Area Modes (which are mostly used for tracking). These allow you to specify whether a subject should be tracked at a single autofocus point, by a single point and nearby surrounding points, or across the entire frame.
So, bottom line:
If you’re choosing a focus mode when shooting action, pick AF-C.
Manual focus is often a mode of last resort, and the one that you go to when AF-S and AF-C fail.
Manual focus is very, very slow. It can also be frustrating if you’ve not had much practice with it before. But it’s the only mode that is consistently accurate, no matter the lighting, and no matter the size or color of your subject.
You see, there are some situations where AF-C and AF-S just don’t work well.
Whenever you’re confronted by these situations, your autofocus will hunt like crazy.
Until you switch to manual, that is!
For instance, I do all of my macro photography in manual focus mode. My lenses just can’t handle focusing at such close distances.
I also do still life photography while focusing manually, because I often work in dim light (with a couple of flashes).
I’ve also used manual focus when photographing birds, because my AF-S and AF-C modes struggle when shooting backlit silhouettes.
Note that manual can also be used for finer control over your point of focus. Many landscape photographers use manual focus mode for this very reason. It allows you to choose a point of focus that maximizes your depth of field, and it even allows you to do precise focus-stacking with ease.
So don’t think that manual focus is only for a few specialized genres of photography. It can be useful in a number of different situations, and it pays to practice frequently.
That way, next time you’re in a situation where your autofocus isn’t working, you can quickly switch over to manual and nail the shot.
Now that you’ve finished this article, you know that choosing a focus mode doesn’t have to be hard.
Because you know about AF-S (which is great for still subjects).
You know about AF-C (which is perfect for action photography).
And you know about manual focus, which is useful in quite a few scenarios (including macro, landscape, and still life).
Now over to you:
Which focus mode is your favorite? And how do you go about choosing a focus mode? Let me know in the comments!
The post How to Choose the Perfect Focus Mode For Every Situation appeared first on Digital Photography School. It was authored by Jaymes Dempsey.
The post How to Choose the Best Lens for Wildlife Photography appeared first on Digital Photography School. It was authored by Shreyas Yadav.
Before you select a lens for wildlife photography, first ask yourself – what are you passionate about photographing? Do you love exploring the forest and chasing big cats on a wildlife safari? Perhaps you love photographing birds flying around? Maybe you love to explore reptiles and amphibians?
After you have figured out what you are passionate about, think about how many of those subjects are available and whether you can access that location. For example, if I am passionate about exploring forests full of tigers, leopards, and elephants, I have to see if those subjects – and the location – are accessible to me at least once a month.
Alternatively, if I am passionate about colorful birds, I have to check if I can access those locations at least once a month.
If you can access the location and subject of your choice, you are lucky. It will make your lens selection an easy decision. Since you will be using that lens every month, it makes complete sense to own the glass.
On the other hand, if you love birds and African Big five. If you live away from Africa, then it is better to buy a lens that is perfect for birds – which you are more likely to shoot every weekend. Whereas, you may only visit Africa once every three years. Hence, think about it before you purchase a lens.
The most crucial factor is the budget. How much cash you can allocate to the lens. Keep aside some money for the camera body, accessories, and most importantly for travel, as wildlife photography involves a considerable amount of travel. While travel is sometimes hectic and a bit expensive, it is an awesome experience!
Key factors to consider while selecting the lens for wildlife photography
To summarise, below are the key factors to consider while selecting the lens for wildlife photography:
Let’s start with the technical factors you should consider while choosing the best lens for wildlife photography.
The range of focal lengths is essential to photographing wildlife images. You need longer focal lengths to photograph birds and mammals. For photographing birds, you need a focal length of at least 400 mm. And it can go up to 600 or even 800 mm.
If you are photographing mammals, the required focal length is from 200mm up to 600 mm. The longer the focal length, the better reach you will have.
However, there are exceptions in some of the cases.
When you want to show wildlife in its habitat or if you can approach the wildlife at a close distance, you can use shorter focal lengths, such as 12mm or 14mm.
But in most of the wildlife cases, there will be a distance between you and the wildlife you photograph. Hence longer focal lengths are useful.
Lens aperture determines how much light passes through the lens to the camera’s sensor. Larger apertures help to capture maximum light.
Large aperture lenses focus faster than smaller aperture lenses too.
In wildlife photography, the action is fast, so to capture fast action, you need a quicker focusing lens. Hence, it’s preferable to use a lens with a large aperture in Wildlife photography.
The maximum aperture can be f/2.8 and f/4. The lenses with a fast aperture (smaller number) can focus fast.
Image quality, depth of field, and sharpness are superb for lenses with a faster aperture.
Select the lens with an aperture value of f/2.8 or f/4. The smallest aperture you can go up to is f/5.6. Try not to choose lenses slower than f/5.6.
Focusing speed is critical for wildlife and bird photography.
The best lens should focus fast and accurately and should be able to focus precisely – even in the low light as well.
Focusing speed is mainly dependent on the maximum aperture and lens construction.
While looking at the lens construction, we will not be able to figure out the focusing speed. But, based on the maximum aperture number, we can get an idea of lens focusing speed.
A lens with a maximum aperture of f/2.8 or f/4 focuses fast and accurate.
In general, a fixed focal length lens performs better than a zoom lens because of less moving glass elements. (There are exceptions. Some of the zoom lenses focus fast; we will discuss it later in this article)
Controls and ergonomics determine how you can handle and use the lens.
Lens zooming and manual focus rings should be smooth and accurate.
The lens should zoom with optimized ring rotation, so you don’t have to rotate the zoom ring by 360 degrees.
Autofocus and manual override (A/M or M/A) is a great feature. It means you can autofocus the lens. Further, to fine-tune the focus, you can manually focus it.
Vibration reduction/image stabilization helps to compensate for any camera movement. This feature helps to capture a sharp image at low shutter speed.
The weight of the lens is a significant factor in choosing the lens too. Less weight is always preferred because you can carry the lens while hiking or traveling. Similarly, smaller size lenses are right for traveling and packing.
Most of the wildlife and bird photography lenses are a bit heavy and bigger. Of course, there are exceptions. Some of the lenses are equally great in terms of image quality at a much lower weight and size. But the price of those lenses is higher. We will evaluate those lenses as well in the next sections.
As you will be using the lens for many years, compatibility with a teleconverter is essential.
The lens should be compatible (in terms of Autofocus performance such as accuracy and speed) with the teleconverter.
Teleconverters help to expand the range of the lens. For example, a 70-200mm f/2.8 lens with a 2X converter will be 140-400mm f/5.6. It doubles the focal range of the lens and reduces the maximum aperture of the lens from f/2.8 to f/5.6.
For any lens brand, generally, there are 1.4X, 1.7X, and 2X teleconverters. If the lens is compatible with all 3 teleconverters, it’s excellent! But at least it should be compatible with either one of the teleconverters.
If your lens is compatible with teleconverters, you will be able to extend the focal length of the lens.
The right lens for wildlife photography should be able to take beatings from outdoor weather.
The lens should withstand against rain drizzle, temperature extremes (both hot and cold temperatures), and dust.
Weather sealing should be good enough to stop raindrops and dust from entering into the lens.
The weather sealing of the lens depends on lens construction, protruding lens elements, type of seals at zoom/focus ring, and at the camera mount.
With that said, while photographing outdoors, take care. It is always better to clean the lens after each photography trip. Cleaning of lens contacts, lens mounts, front elements, zoom/focusing rings, and protruding parts is good enough.
Low light focusing performance is dependent on the lens and camera as well. Both camera and lens play an essential role in low light focusing.
Most of the wildlife action happens during early dawn and late dusk. During this edge of day, light conditions are poor.
Good lenses should be fast and accurate enough to focus in low light.
A lens’s low light performance depends on the maximum aperture and moving glass elements. Larger apertures of f/2.8 or f/4 and less moving glass elements mean the lens focuses fast. (Assuming your camera is having excellent low light autofocus performance.)
Now you are aware of what technical factors to look for, let’s learn what types of lenses are available for Wildlife photography.
A prime lens has a fixed focal length.
Prime lenses are best for birds and wildlife at a distance.
Because of fewer moving glass elements and maximum aperture, autofocus performance is excellent.
Image quality, sharpness, low light capability, and focus response is excellent for a prime lens. Prime lenses are compatible with teleconverters too.
One caveat is, if the wildlife approaches closer to you, you cannot zoom out and take the picture. Instead, you are stuck with a fixed focal length. In this case, you may want to take a portrait/close up image.
Compositional flexibility is limited when using prime lenses.
Prime lenses are higher in price and can be a bit heavier as compared to zoom lenses.
However, buying the best prime lens is the most significant investment you can make in your photography. These lenses last more than a decade and keep making beautiful images.
Out of your budget, try to spend the maximum amount of money on buying the best prime lens.
A telephoto zoom lens is a variable focal length lens. You can change the focal length of the lens by rotating the zoom ring on the lens.
Telephoto zoom lenses are best for birds and wildlife at long and short distances.
As compared to prime lenses (fixed focal length), Zoom lenses have more moving glass elements. This affects the focus performance.
However, there are exceptions.
Some of the Telephoto zoom lenses are as fast as prime lenses. We will see which of those lenses are in this article.
Telephoto zoom lenses are compatible with teleconverters. However, teleconverter compatibility is limited. Telephoto zoom lenses are fully compatible with some of the teleconverters, while only partially compatible with other teleconverters.
When choosing a telephoto zoom lens, check the teleconverter compatibility as well.
The main advantage of a zoom lens over a prime lens is variable focal length. Variable focal length helps in photographing farther as well as closer objects. Zoom lenses give freedom in image composition as well.
The size and weight of zoom lenses are relatively manageable as compared to that of prime lenses. Most of the zoom lenses are hand-holdable and travel-friendly.
While selecting the telephoto zoom lens, look out for aperture numbers such as f/2.8 and f/4 (for particular lens you can go up to f/5.6). Try to get the largest possible aperture for the telephoto zoom lens. This helps in autofocus performance, low light capability, Image sharpness, and smooth bokeh.
Micro-lenses are a prime lens (fixed focal length).
If insects, snakes, butterflies, or small creatures are your interest, then micro lenses are for you.
The most popular lenses among the photographers are 105mm f/2.8, 180mm f/2.8 and 90mm f/2.8. Among all 105mm f/2.8 lenses are the right balance of image quality, range, size, weight, and price.
There are additional micro-lenses from third party brands such as Sigma and Tamron.
Micro 4/3rd format lenses are a bit different. The cameras with the Micro 4/3rd system have a smaller sensor size.
For example, a full-frame 100mm lens will become 150mm (1.5 X) on the crop sensor (small camera sensor body). Whereas on the micro 4/3rd system cameras, a 100mm lens will become 200mm (2 X).
Micro 4/3rd systems have their benefits such as size, compactness, weather sealing, and convenience. With a small sensor, as compared to a full-frame sensor, there is a compromise in terms of image quality and dynamic range. Lenses for the Micro 4/3rd system are built well. The quality of the glass, weather sealing, and ergonomics are excellent too.
In wildlife photography, weather conditions will be hostile. You have to hike along with your gear. Size and weather resistance of the equipment matters.
Hence specifically for wildlife, photography Micro 4/3rds is an excellent and unique option to consider.
As you are now aware of what type of lenses are available for wildlife photography, let’s look into the process of lens selection.
These steps will help you to select the best lens for wildlife photography.
Find out what your area of interest is and identify what you want to photograph. You may want to photograph birds or big animals or small creatures. The key is to find out your objects of interest.
Once you have found out what do you love photographing the most, select the lens accordingly. For example, if you love photographing birds, then select a telephoto (prime lens). If you like photographing butterflies, insects, and snakes, then select a micro-lens.
Before you buy the lens, rent it. Also, try renting similar options in the lens. For example, if you are looking for a telephoto (prime) lens for birds, then rent and use the lenses such as 600mm f/4, 500mm f/4, and 400mm f/2.8 and see which lens you find comfortable while using.
If you want to photograph wild animals, try using lenses such as 70-200 f/2.8, 300mm f/4, and 200-500 f/5.6. By using the lens, you will be able to evaluate it better.
Once you have evaluated and tried the lens, it is time to buy the lens. Generally, there is no discount for good lenses. Also, it is better to buy the new lens as you are going to use the lens for a long time (likely, more than a decade). Once you buy the lens, make sure all the functions work correctly.
Make sure you have a lens warranty in place, and you are good to go!
What is your favorite object? Which lens have you selected?
If you have any questions regarding lens selection for wildlife photography, please let us know in the comments below.
The post How to Choose the Best Lens for Wildlife Photography appeared first on Digital Photography School. It was authored by Shreyas Yadav.
The post 4 Tips to Choose the Right Lens for your Photography appeared first on Digital Photography School. It was authored by Karthika Gupta.
A few years ago, I came across the term ‘gear lust.’ Suddenly all those feelings of wanting, dreaming, and lusting over the latest and greatest lens and cameras that I would see in glossy magazines and catalogs were categorized as a known condition. How could I choose the right lens to use and buy for my photography when there were so many options out there?
Did I really need to choose? Couldn’t I just buy everything and make myself a happy camper?
Pretty soon, I came crashing down to earth and realized that buying every single lens out there was not practical and near impossible given my finances and photography budget.
So, I learned fairly quickly how to understand my photographic needs and choose a lens that best fits that need – from a usability, functionality and budget perspective.
Here are some tips on how you can choose the right lens that works for you, based on your photography style, needs, and budget. Remember, these are all very individualistic, so make sure you are honest when answering these questions.
When we are starting out as photographers, there is a need to master everything. And rightfully so.
The early stages of learning any art form is one of exploration, and we should try everything out there.
When I first started, I was exploring different genres and editing styles. I explored moody to black and white, to light and airy, and everything in between.
I soon found myself gravitating towards a light bright airy style. This meant photographing wide open and using a lot of natural light in my photos. I realized that my lens needed to be fast to focus and let me photograph wide open at apertures of around f/1.2 through f/2.
These needs saw me gravitating towards prime lenses. I found that they worked well for me in post-processing for the style that I wanted to focus on too.
So I invested in the Canon 50mm f/1.2 L and a Canon 24-70mm f/2.8 L. Now, 9 years later, I still have both of these lenses and use them consistently.
Even though my genre and specialization have changed slightly, my photography style has remained fairly consistent. So these lenses have served me well.
Taken with my beloved 50mm f/1.2
So, take the time to understand what photography style works for you and then try out different lenses. Do you prefer working with zoom lens, or are primes more your style?
You will find that choosing the right lens for your style of photography becomes much easier when you take the time to understand what your photography style is rather than buying something and then adjusting your style to match the gear you have.
My 24-70mm f/2.8 lives on my camera 80% of the time. This is the lens I choose in a giffy because I know it gives me what I am looking for.
When I first started photography, I considered myself a family and lifestyle photographer. Soon I added newborn and weddings into the mix.
I quickly realized that while I love kids, I just could not handle newborn photos. Newborn shoots take a lot of time and a lot of patience, waiting on babies to be cooperative.
However, I found my sweet spot with weddings and lifestyle photos.
As I tried out different lenses for this type of work, I quickly realized that speed and wide angles were important for family photos and weddings. With weddings, I often found myself in the back of the room, taking photos of the couple at the altar or interacting with family and loved ones. As I did not want to intrude on these special moments, I found that a lens with a good zoom was pertinent.
With this realization, I invested in the Canon 70-200mm f/2.8 because this lens had everything I was looking for – the zoom and speed.
Taken with the 70-200mm f/2.8 shot – I will love this lens till the day I die!
Choosing the right lens sometimes is like choosing your favorite child! You cannot voice it publicly but you know which one is the favorite!
I also found myself renting the Canon 35mm f/1.4 for larger weddings to take wide-angle photos. My second shooter would use this lens to get a different angle as we photographed side-by-side.
So, take the time to understand your photography needs. Do you want to focus on close-up portraits or do you want wide-angle photos of architecture? Perhaps you want to experiment with street photography? Do you want to do more macro or wildlife photos?
Choosing the right lens will become a breeze when you really narrow down what your photography needs are.
If you have to pick only one lens because of your budget, understand that it is perfectly okay, and even the top photographers do that occasionally. The amount of gear you own does not equate to skill and proficiency.
For my very first photoshoot, I rented a Canon EF 50mm f/1.4 lens and used that with my Canon 24-70mm f/2.8. I had no idea what I was doing other than the fact that I had read that the nifty-fifty was the best thing since sliced bread!
I hated that lens and couldn’t wait to return it. Fast forward a few years, and once I had the understanding and the budget, I invested in the L version of the 50mm. It is now my favorite lens for portraits of any kind. The bokeh from this lens is pure magic!
My 24-70mm f/2.8 is almost 9 years old. It has been readjusted multiple times by Canon Professional Services, but I will never get rid of it. It delivers day-in and day-out!
You can get creative with what you have.
Change up your angle. Change up the focal length by moving closer or backing out.
No matter what the limitations, for the most part, you can make it work.
This is the million-dollar question, isn’t it? With so many choices out there, what lens should you choose, and when? Investing in camera gear should always be a healthy balance between need, wants, and budget. The last thing you want is a closet full of gear that you never use.
Rent or borrow a lens that interests you so you can test it out for yourself first before outlaying a big amount of money on something that may not suit your needs.
An example of this is the Sigma 135mm f1.8 I was interested in buying. It is an incredible lens. I was so tempted to buy it having heard about its awesomeness from all my photographer friends. However, when I had a chance to test it out, I realized that I get a lot of the same results from my 70-200mm f2.8 for the way I was using it. So it would have been an unnecessary addition to my gear.
Selling off your unwanted gear is always an option, but it’s better to get it right to start with. Remember, needs and styles constantly change, and that is fairly common among photographers. That way, if you find yourself needing the same lens down the road, you can always keep using what you have or upgrade to a newer version.
As I slowly move away from weddings and more towards travel and culture, my needs have changed. I want to travel light and wanted the most bang for the gear I lug halfway around the world. Hence, I choose lenses that fit that need.
I’ve been lucky, because the lenses I chose for my initial needs, still suit my new needs. My go-to lenses are the 24-70mm f/2.8, 50mm f/1.2 and 70-200mm f/2.8. I find that this combination works the best for travel portraits, wide-angle landscapes as well as the occasional wildlife photos.
Good gear is essential for a good photographer, but expensive gear does not make a good photographer.
If you only have a kit lens and cannot afford anything else, that’s perfectly okay. Master your craft with what you have, and when the time is right, choose the right lens based on what you need and what you can afford, not on what is the latest/coolest gadget on the market.
You may also like:
Photography Gear You Will Need for Different Types of Photo Shoots
Do you have any other tips to choose the right lens for your photography? If so, please share in the comments section.
The post 4 Tips to Choose the Right Lens for your Photography appeared first on Digital Photography School. It was authored by Karthika Gupta.
The post How to Choose Urban Landscapes for Portrait Photography appeared first on Digital Photography School. It was authored by Matt Murray.
Are you bored of doing portrait shoots in the studio or the local park? Try mixing things up with an urban portrait shoot. The city streets, the buildings, the laneways – this is your cinematic backdrop. All you need is a little bit of planning and a lot of imagination. If you’ve never done a shoot like this before, you might be wondering how to choose locations. In this article, I will run you through my process of choosing urban landscapes for portrait photography.
Bailey in a window, Brisbane. I took this shot with some off-camera flash outside my local library. Fujifilm X-T3 with a 23mm f1.4 lens.
You may think that your city or your town has nothing of interest, but it does. You just have to look with a fresh perspective. Sometimes I’ll be on a photo walk with another photographer, and they don’t seem to see the potential that their town has to offer. “Wow, look at that doorway!” I’ll say. With a puzzled face, they reply, “It’s just a doorway!”
No, it’s not just a doorway – it’s a potential scene in your next urban portrait shoot.
Sasha, Brisbane. I used these old street lamps as an element in the shoot. Fujifilm X-T3 with a 56mm f1.2 lens.
Every town or city I’ve ever been to has its charms and a unique look: from modern glass and steel skyscrapers to historic buildings to run-down industrial areas. There are so many aspects of urban locations that you could include in your shoots: laneways, street art, doorways, neon signs, steel shutters, and traffic trails, just to name a few.
There’s also the unique way that light falls in urban environments: harsh beams of light that fall between buildings, beautiful soft light that you find in doorways and under bridges, and in Brisbane, dazzling light reflecting off skyscrapers. The possibilities are endless.
The best time for an urban portrait shoot is whenever you and your client or model are both available. Regardless of the light, the weather, or the locations. The success of the photoshoot is ultimately in your hands.
My favorite time for doing urban portrait shoots is just before dusk. This allows you to get a good mix of golden hour photos with sunlight, blue hour photos as the city lights come into play and nighttime shots with artificial light.
Alyssa in an industrial alleyway, Brisbane. Fujifilm X-T3 with a 60mm f2.4 lens.
I usually run portrait shoots for around 90-minutes, allowing me to shoot in 6-8 locations.
It’s best to do your location scouting at the same time of day that your shoot will take place. This is so you can look at the light, see how it falls, and plan accordingly. In practice, though, I usually end up doing my scouting during the day.
Before I arrange the shoot, I take some time to wander about the city to find 8-10 locations close together. The reason I look for more places than I’ll need is to be flexible on the shoot. Cars or trucks can block alleyways, big crowds could move through the area at the time of the shoot, or the lighting could be all wrong. There’s a whole lot of things that could make the location unsuitable when you arrive at the scene.
Although it’s tempting to plan to shoot in two locations at opposite ends of town, unless you have easy access to transport on the day of the shoot, it will be impractical. Photoshoots can be tiring for everyone, so asking your client or model to walk several city blocks and back again to shoot in one location may not be the best idea.
When you’re scouting for locations, have a notepad and pen ready along with your smartphone. When you see somewhere that you like, take a photo on your phone for reference and jot down some notes. I always draw a map of the city streets in my notebook. Then I plot the locations on it and plan a direction for the shoot.
What I’m looking for during my walk is a cool urban location in which to place the client or model. Some locations will leap out at you, and you will know that you should take some photos there. Others may not reveal their charm until later when the lights are low.
Natasha, Brisbane. I like the very subtle reflection in the polished stone wall behind her. Fujifilm X-T3 with 56mm f1.2 lens
As you’re wandering around, there’s a couple of things you need to keep in mind:
What is this place going to look like at dusk or nighttime? Remember that for many shots, you will be shooting with a wide-open aperture, or close to wide open, so many of the details in the background will be blurred.
It may look cool, but is this place dangerous in any way? Think of how you will place the model or client in this scene – are there any risks that you need to be mindful of? Is there a lot of traffic? Is it a dangerous neighborhood? You should consider all of this when you’re planning, as safety should be your top priority for these shoots.
Below are some of my go-to shots when I plan an urban photoshoot. I took all of these within a few blocks of each other in central Brisbane, Australia.
Neon shots are a favorite with the Instagram crowd, and it’s easy to see why. They are so much fun and a great image idea to have up your sleeve.
Neon signs are something that, quite honestly, I never usually notice. However, as soon as you start looking for them, you’ll be amazed at how many your town has.
Alyssa, Brisbane. This neon light is outside a takeaway shop in central Brisbane. I was attracted to the three different colors the sign had.
As soon as I saw these beer kegs in a laneway outside a pub, I knew I wanted to incorporate them in a shoot. I’ve used them as both a background element and also as a prop for models to sit on.
In this shot of Anne, I struck gold. By chance, it was one of the busiest days for pubs in the year – Melbourne Cup Day. There were a few dozen kegs in a laneway all stacked on one another. I lit this shot with an LED video light.
Anne in front of beer kegs, Brisbane. I love the shape, color, and reflection of the kegs in the background. Fujifilm X-T3 with an 8-16mm f2.8 lens lit with an LED video light.
Many Australian cities are blessed with alleyways. In many ways, they are the perfect place for photoshoots. Expect atmospheric lighting, an industrial look, street art – and best of all – little traffic. While Melbourne may be the laneways capital of Australia, Brisbane has many too.
Natasha in a laneway, Brisbane. I like the color and bokeh that some tiny blue fairy lights provided in this shot. Fujifilm X-T3 with a 56mm f1.2 lens.
This is a really fun place to use for some shots – if you can still find one these days. You may also have to take some time to explain to younger clients or models on how to use a public payphone!
Alyssa in a phone booth in Brisbane. Fujifilm X-T3 with a 35mm f1.4 lens.
Reflections are a go-to image idea for urban portrait shoots. Many buildings provide you with glass or reflective surfaces.
Anne looking into a mirrored surface, Brisbane. Fujifilm X-T2 with a 56mm f1.2 lens.
I love history and nostalgia, but sadly there isn’t much left in my city. One day I noticed this sign and thought I’d love to do some shots here.
Sasha in front of a sign, Brisbane. Fujifilm X-T3 with a 16mm f1.4 lens.
Urban portrait shoots can be a lot of fun. If you’ve never done one before, I hope that this guide has inspired you to look around your city for urban landscapes for portrait photography.
For your first time, you can always ask a friend to be your model if you want to try things out and see how the images look. Practice makes perfect.
Remember, safety is a very important factor in a shoot like this – both for your client or model and for yourself.
Urban shoots have helped me grow as a photographer. I feel more creative, I see possibilities for images in the mundane, and they’ve also helped me to think on my feet and improvise.
So what are you waiting for? An endless array of scenes is right on your doorstep. Take your next portrait shoot to the streets.
Do you have any other tips for scouting urban landscapes for portrait photography? Share with us in the comments!
The post How to Choose Urban Landscapes for Portrait Photography appeared first on Digital Photography School. It was authored by Matt Murray.
The post How to Choose the Perfect Photography Background appeared first on Digital Photography School. It was authored by Kevin Landwer-Johan.
Choosing the perfect photography background is as important as choosing your subject. A background is usually best if it helps enhance your main subject and complements it.
First, you need to consider your subject and your intent for taking photos of it. Then, consider how your subject works with the background. Are your subject and background conflicting? If they are, you must then use some method of controlling the background.
© Kevin Landwer-Johan
Some subjects will look great in a photograph against their natural backdrop. A pink flower against foliage, for example. Others you’ll have to work with to make them stand out or to better relate to their surroundings. This depends on your intent.
Do you want your main subject to be the focus of the viewer’s attention? If so, you must manage your technique in making the photograph so that your subject is most obvious.
Isolating your subject can be achieved in many ways. Some of the main ways to accomplish this are:
© Kevin Landwer-Johan
In this example, the coffee cups are on a plain black background. Lack of detail and high contrast ensures the main subject stands out.
Alternatively, you may decide to incorporate your background into the meaning of your photographs. Placing your main subject in context with its surroundings can often add depth of meaning.
A typical example of this is an environmental portrait. This style of photography uses the background and surroundings to add narrative to the image.
© Kevin Landwer-Johan
In this portrait of a copper craftsman working on his art, the environment helps build a story. His father looking on, the tools and other items on the shelves behind, are all an essential part of the portrait.
My intent was to tell a story illustrating his occupation. If I’d photographed him against a plain background, the photograph would contain very little narrative.
Naturally, where you choose to stand will determine what is behind your main subject.
When you find an interesting subject, don’t only photograph it from one perspective. Move around it. See how it looks if you stand on the other side. The background may be completely different.
Even a slight change in your position can alter what will be visible in the background. Move to your left or right. Shift your view up or down a little. How does this change the relationship between your subject and background?
© Kevin Landwer-Johan
Coming at a low angle to make this landscape, I’ve included the ice boulders, mountains, and glacier in the background. The composition gives context to the ice in the foreground. If I had stood in the same place, looking down at the ice boulders, there would have only been rocks in the background.
Moving closer or further away from your subject also determines what’s in view behind your subject. Changing your lens focal length does too but in different ways. Moving closer with a wide-angle lens has a very different result than standing in the same spot and zooming in.
Always experiment to see what will be included and excluded.
If your main subject is darker or lighter than the background, this can determine the significance of the composition.
A dark subject against a light background looks very different than a lighter subject against a dark background. Generally, a dark background helps isolate a subject. It can also allow for more detail to be visible in the subject.
© Kevin Landwer-Johan
© Kevin Landwer-Johan
Choice of exposure can affect this, as in the photos above of the tree. Both were taken a few minutes apart. All I did was to expose for the tree in the first image and let the sky become overexposed.
In the second photo, I exposed for the sky to show the detail in the clouds. In both images, the tree is isolated, but the feel of the photos is very different.
Depth of field control is a good way to manage your background. Choosing how much or how little is in focus allows you to manage your intention.
By completely blurring a background, you effectively isolate your subject. Partially blurring the background leaves some idea of what’s in the background. But it doesn’t have to be distracting.
© Kevin Landwer-Johan
In this close up of the detail on an old bicycle, I waited until the person on the other bike rode past. My settings were such that it’s obvious it’s a bike in the background.
If I’d chosen to take the photo with a shallower depth of field, the passing bike might have blurred completely. Then it would not have added anything to the photo. If I’d had everything in sharp focus, the passing bike would have been distracting.
Learn to control how much or how little of your composition is in focus. This is an essential tool in determining your background.
© Kevin Landwer-Johan
Making intentional choices about the background is essential to making strong photographs. I am often surprised when I’m teaching photography workshops how little attention people pay to the background.
It’s easy to become transfixed on a wonderful subject. Focusing on other aspects of photography like exposure, you must remember to look at the background as well.
Be intentional. Include only what you want to see. Limit or exaggerate the amount of background detail depending on what you want. The amount of control you have over the background will determine the strength of your photographs.
Do you have any other tips for choosing the perfect photography background? Share with us in the comments!
The post How to Choose the Perfect Photography Background appeared first on Digital Photography School. It was authored by Kevin Landwer-Johan.
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| Small camera with a big lens, being filmed with a big camera with a moderately sized lens, all photographed with a big camera with a moderately sized lens. Out of camera JPEG with the Canon EOS 90D. Canon EF-S 18-135mm F3.5-5.6 @ 42mm | ISO 100 | 1/640 sec | F4.5 |
Due to the basic fundamentals of how the ol’ Internet works, if you’re into digital cameras, you’ve likely already heard of Canon’s newly released crop-sensor duo. We all know that the EOS 90D and EOS M6 Mark II both have 32.5MP sensors, fast burst shooting and crop-free 4K video. The former is a DSLR and the latter comes sans mirror.
But during my time spent sweating through my cotton v-neck at Canon’s Atlanta pre-launch event for the two cameras, I found more than few novel differences that aren’t necessarily obvious from a quick spec-sheet or design-ethos rundown. It’s not quite as simple as ‘EVF vs. OVF,’ ‘big grip vs. small grip,’ and so on.
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| Lenses aside, the EOS 90D and EOS M6 Mark II should produce identical image quality. Out-of-camera JPEG on the EOS 90D Canon EF-S 18-135mm F3.5-5.6 @ 135 mm | ISO 100 | 1/80 sec | F14 |
As I began to think through this article, I couldn’t help but mentally write ‘Whether mirrorless or DSLR, Canon lets you have it your way,’ before remembering that we already had an article with an awfully similar title. Good grief, how much of the English language is doomed to cliché thanks in part to the thinning of popular culture among the rise of infinite and disparate sources of web-based entertainment? Anyway, I digress.
In keeping with the afore-linked tradition, Canon continues to give us the ingredients for broadly comparable image quality in two very different configurations. From a business perspective, it makes immense sense, at least in the United States. Here, DSLR cameras continue to be popular and Canon’s mirrorless presence has, well, room to grow.
I was prepared to prefer the EOS M6 II over the 90D, but that isn’t exactly what happened
And I have to admit, even as a former high-end DSLR user, that I’ve enjoyed the advantages that mirrorless cameras have brought to the market. Good touchscreen interfaces can make up for fewer physical controls, an electronic viewfinder makes it easy to check images in playback under bright daylight, and my back continues to thank me for a generally lighter overall kit.
So I was prepared to greatly prefer the EOS M6 II over the EOS 90D on this pre-launch event. But that isn’t exactly what happened.
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| Fast burst speeds mean it’s more likely I’ll have a decent image from a pan – so long as I don’t fill the buffer up first. Out-of-camera JPEG with the EOS M6 Mark II Canon EF-M 18-150mm F3.5-6.3 @ 76mm | ISO 100 | 1/250 sec | F9 |
I generally think of myself as a car guy, but even so, I didn’t realize that the lifecycle of a drift-car tire is best measured in seconds, not minutes. And with those very fast (10-14 fps) burst speeds, both the EOS 90D and EOS M6 Mark II have buffer life that measures in at far fewer seconds of life than even drift-car tires.
So although the burst rates on the spec sheet may communicate that these cameras can replace your older double-grip sports DSLR, the reality is that you’ll run out of buffer and miss shots unless you dial your speed back, your image quality back, or both. At least the new C-Raw option (which gives you 30-40% smaller Raw files) won’t have a huge impact on image quality for most users, and extends the buffer noticeably.
But buffer depth isn’t all. Yes, let’s delve into EVF vs. OVF.
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| The add-on EVF on the EOS M6 Mark II is good, but fast-action aficionados will likely still prefer the OVF on the EOS 90D. Out-of-camera JPEG with the EOS 90D Canon EF-S 18-135mm F3.5-5.6 @ 135mm | ISO 100 | 1/60 sec | F14 |
The optional electronic viewfinder on the EOS M6 II doesn’t come with the largest magnification on the market (Canon does not disclose the actual figure), but it does offer a good refresh rate and great contrast. At 14 fps on the M6 II, you get a slideshow of the previous images – drop to 7 fps, and you get a live view between shots. I found 7 fps to get me plenty of keepers, plus I was able to easily follow fast-moving cars, and not-so-fast-moving models. And, I was able to use Canon’s Face + Tracking mode: an option only available in live view on the EOS 90D.
The EOS 90D’s iTR tracking accuracy is leagues ahead of the older EOS 80D
Switching over to the optical viewfinder on the EOS 90D, I exclusively used Canon’s iTR tracking through the viewfinder. It’s not as robust as Canon’s Dual Pixel AF in live view – there’s a much smaller AF area, for starters – but I found accuracy and tracking tenacity to be leagues ahead of the older EOS 80D, probably thanks to Canon’s new metering sensor. We’ll be taking a closer look in our full review.
The 90D’s new ‘face detection’ option in the viewfinder is honestly hard to evaluate, as it was hard to tell if it was tracking a face simply because I placed my initial AF point over it and it was tracking color or depth, as opposed to really recognizing a face. There were times when I placed my initial AF point over a face, initiated tracking, and the system jumped to an adjacent face. I’d wager that, at this point, the system just isn’t as reliable as Dual Pixel’s face and eye detection in live view.
Full disclosure – I didn’t shoot any video with these cameras, but I did work alongside a man shooting video with these cameras. We were hoping to have him trade back-and-forth between both the 90D and M6 Mark II while shooting our DPReview TV episode, but fun fact, the 90D is the only camera of the two with a headphone port. Rather than risk losing entire takes due to bad audio, we opted to use the 90D for almost all of our video shooting so we could monitor the microphones Chris and I were using.
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| For stills shooters, 32.5MP should be plenty for almost any purpose. Out-of-camera JPEG using the EOS 90D Canon EF-S 18-135mm F3.5-5.6 @ 35mm | ISO 400 | 1/60 sec | F4.5 |
Audio features aside, the 90D also has a crop mode that improves detail capture in video, and of course, the fully articulating touchscreen which many video shooters prefer over the tilting screen mechanism on the 6D Mark II. This makes it by far the more useful video camera of the two – despite the fact that it comes with a mirrorbox that is totally unnecessary for video capture.
Meanwhile, the EOS M6 Mark II has a 30 fps Raw Burst mode, which is distinctly aimed at stills-photography shooters. Additionally, its short flange-back distance encourages the adapting of non-native lenses, and there’s not a mess of glass and hinges obstructing the sensor if one did want to launch their way into capturing moving pictures.
Most perplexing is that neither camera shoots 24p video at any resolution
But most perplexing for us on staff is the fact that neither camera shoots 24p video – at any resolution. For the average consumer, and indeed, most people who are looking at cameras around this price point for shooting video, it isn’t a deal-breaker. But it’s also simply a software choice – if the camera can record 30p footage, it can certainly record 24p footage. So for those looking at (particularly regarding the M6 II) a small, easily mountable secondary camera for a larger production, you’ll have to pony up the extra cash for a higher-end Canon camera (or a cheaper camera from another brand) that does natively offer this.
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| Out-of-camera JPEG with the EOS 90D Canon EF-S 17-55mm F2.8 @ 20mm | ISO 1000 | 1/80 sec | F4 |
So, which did I really end up preferring? In case it isn’t obvious by now, I like each camera for different reasons.
The EOS M6 Mark II is very quick, but the DSLR still has an advantage in terms of absolute immediacy, helped in no small part by the optical viewfinder. But I just can’t trust viewfinder autofocus the way I can trust Dual Pixel AF. Turns out, though, the bigger and weightier EOS 90D made panning much easier for me, and I consistently got more keepers at lower shutter speeds than I could on the M6 Mark II – and at F9 and up, absolute autofocus accuracy is pretty moot.
But perhaps most telling, I largely prefer the overall selection of images I got from the 90D. Of course there’s no real quality difference – but I used the 90D during the second half of the day and the EOS M6 Mark II during the first half, so maybe I was just more warmed up photographically.
For most other people… the EOS M6 Mark II is probably the better choice
In the end, the EOS 90D is really best suited for those with larger hands and larger lenses, or those traveling in inclement environments, thanks to its tougher weather-sealed body. For most other people, though, the EOS M6 Mark II is probably the better choice. Thanks to its small size (which belies its huge capability), you’re more likely to carry it with you and make more photographs with it as a result. And that’s what really counts.
Oh, and the EOS M6 Mark II is $ 250 US cheaper regardless of what kit option you choose. So, that counts too.
Articles: Digital Photography Review (dpreview.com)
The post How to Choose the Right Computer for Photo Editing appeared first on Digital Photography School. It was authored by Carl Spring.
Buying a new computer can be a minefield. There are so many models to choose from with wildly varying budgets. How do you get the best performance for your budget? Where should you invest your cash (and where can you save)?
This article is straight forward, jargon-free advice on what to think about when buying a computer for photo editing. If you are looking for an in-depth analysis, you are in the wrong place. If you are looking to upgrade your current computer, but are unsure of how to spend your cash wisely, then this article will be a great starting point.
I didn’t want to open this up with something that can descend into arguments. Instead, I thought I’d start with the one topic that everyone can agree on (or not) – Mac vs. PC. Seriously though, I thought it best to get this out of the way first. I’m a Mac guy. I have been for years. I am heavily invested in Apple’s ecosystem, and it works best for me.
However, I will put it on record (and be held to it from this day forward), there is very little difference between Mac and PC. Software in the modern world is platform agnostic and very few programs are Mac-only or PC-only. The price difference is not always as large as people make out, and you will generally be invested in one platform or the other already.
I know there is the old argument that most creatives use Macs over PC, but this is outdated and not strictly true. My personal theory is that Mac products tend to look better (thanks to Johnny Ive) and creative people tend to like to surround themselves with beautiful objects. If you go into a high-end design office, Macs tend to fit with the aesthetic better, hence why we see more Macs in these situations.
Both platforms have their quirks. Both are capable of great results. With a similar spec and finish, there will be a similar price involved.
I am sure there will be some discussion in the comments about this, but I really want to leave this argument here. It is boring, and nobody will ever win. We are on the Internet, after all.
Yes, it’s expensive. Yes, the monitor stand costs more than most monitors. But if these are things you are worried about, this machine (the Mac Pro) is not for you.
Before you begin to look for a computer, invest in a monitor – and for goodness sake, calibrate it. As photographers, we concern ourselves with the best image quality we can achieve. If you are editing the image on a screen with a limited color range and that is way too bright, you will tend to be disappointed when you print your images. They simply will not match what you see on the screen. When looking for a new computer, it is easy get carried away in what processor to go for, or whether we should invest in a larger hard drive. But, surprisingly, a monitor can be, in many cases, an afterthought. It shouldn’t be.
When looking to buy a monitor, you should really aim for one with a wide color gamut and if you can afford it, go for an IPS panel.
Lastly, in terms of resolution, a 4K screen is great but comes with a higher price tag. My advice is color over resolution. 4k is nice, but it is not anywhere near as important as color consistency. I edit on a 2560 x 1440 monitor as when I was looking I could not get the consistency of color I wanted within budget in a 4K screen. I have never wished for more resolution yet.
A high-quality monitor, correctly calibrated, will have the biggest impact on your images.
This is something that depends on your situation. Modern laptops are hugely powerful. The main thing that holds them back is the graphics card. However, with the rise of the external graphics card, this is starting to be negated.
Obviously, the benefit of a laptop is portability. Traveling with your laptop is great as you can edit whilst out and about. You can also get the images off your memory cards (always back them up before you format the card though). For me, as a wedding photographer, being able to import images into the computer whilst I get a break saves me time when I get home. I can also create a preview for the couple on the day of the wedding. This is something that is not possible with a standard PC or iMac. Also, when shooting multi-day music festivals, most outlets require a same-day turnaround of images. In this situation, a laptop is essential.
With modern laptops, the ability to have it transform into your desktop machine has never been easier. I have a 2018 13” MacBook Pro which, with the use of a dock, simply requires me to plug in one cable to connect it to my monitor and external hard drives and charge it. I have a fully-functioning desktop in seconds.
However, this portability comes at a financial cost. You will always pay more for a laptop than a similar specification desktop PC. If you have no need for the mobility advantages of a laptop, you can get a desktop with similar specs for less money.
What you should buy depends on your requirements and your budget. If your budget is small, I would always recommend a desktop PC, as you will get more bang for your buck.
Desktop or laptop? It depends on your needs.
The processor is the brain of your system. When looking at a computer for photo editing, the processor is where you need to be looking to max out as much as your budget can afford. The key thing to look for in processors is the cores. In simple terms, a processor is split into cores. Each core can work on a separate task, so therefore, the more cores you have, the more multi-tasking the computer can do (or the better its ability to split tasks down into smaller parts to complete it quicker).
Ideally, you want to be looking at a quad-core to a six-core processor. A quad-core processor hits this sweet spot of performance to price ratio, but if you can afford to upgrade to a six-core processor, you will see increased performance. After this, unless you are a particularly heavy user, you will see little benefit in more cores.
A processor is where you really need to max out when choosing a new computer.
This is where you may be surprised. If you are using your computer solely for editing photographs and you are not applying several layers and effects in Photoshop, you can easily get away with 8GB of RAM. If you want to push the boat out a little, or are planning on getting a camera with a huge megapixel count, such as the new 64MP Sony, you really need to push this to 16GB.
RAM tends to be one of the cheaper upgrades when configuring a computer. Whilst you may not be needing 16 or 32GB right now, as with all things computer-related, buy the best spec you can afford. This allows you to be happy with your computer for longer. RAM is one of the simple upgrade tasks to do yourself. However, note that in some computers, laptops especially, (yes, I’m looking at you Apple) it is not something that can be done after you have purchased the computer.
Your graphics card (or GPU) is the thing that fools some people. For photography, you really do not need a hugely powerful graphics card. It is something that has one main purpose, which is running your monitor. Now if you are planning on running a dual monitor 4K setup, then it is worth investing a little in your graphics card, but unless you are planning on doing some hardcore gaming, you will not really notice the benefit of the high-end graphics cards in almost all photo editing situations.
When using certain photo editing tools, the graphics card will speed things up a little, but the price to performance ratio of a higher-end graphics card is not as beneficial as spending the money elsewhere, such as an upgrade to your processor.
Now, if you do video editing as well as photo editing, this is where you will see the benefit from a good quality graphics card. If you are doing any type of motion graphics on your videos, you will see an even bigger boost. This is where graphics cards will make a difference. If you are doing video work (or plan to) then you do need to allow some budget for a dedicated graphics card, or GPU if you are going down the laptop route.
There are two types of hard drives: Solid State (also known as SSD) and a Hard Disk Drive (known as HDD). They work in different ways, both of which have advantages and disadvantages.
Hard Disk Drives have been around for years. Data is stored on a rotating platter, which is then accessed by a read/write head to access or write the data. Most hard drives spin at 5400 or 7200 rpm. Simply put, the faster the rpm, the faster the drive can read/write data. Because they have been around for so long, the cost is much lower than a Solid State Drive. This makes this type of drive ideal if you are looking for a large amount of storage. It also means computers with HDD drives tend to be cheaper.
Solid State Drives are much newer technology. You will be most used to them as the storage in your phone and tablet. They work via an inbuilt processor called a Controller that performs the tasks of reading and writing data. The better the quality of the Controller, the faster the drive. They are much faster than Hard Disk Drives, but have one major disadvantage – the price.
The cost per gigabyte of storage Is much greater on SSD drives. On average, it is up to five times more expensive. However, that is really the only downside. SSD drives are much faster, less noisy (an SSD drive has no moving parts, unlike an HDD) and generally a little tougher (the head on an HDD does not like being banged about).
How much faster? Well, on an average computer, the start-up time will generally be over four times faster with an SSD. Programs will load much quicker, and the whole experience just feels snappier.
This is one of those speed boosts that you will not necessarily miss until you have used an SSD-based system. Once you have experienced it, I guarantee, you will not want to go back from it. Upgrading to an SSD on your current computer will give you a great upgrade for relatively little money.
I would always recommend an SSD as your main hard drive and then using larger HDD drives for your storage, either internally or externally. This way, you will have the best of both worlds. If you can afford it, I would suggest a 1TB SSD drive, as this means you can keep current work on the SSD drive to feel the benefits. Then your archive can be kept on HDD to access when you need it.
You also need a backup strategy in place. If you haven’t, please do yourself a favor and read up on how to backup your photos. I would hate the thought of any of you crying over lost photos.
Possibly the most boring photo ever put on DPS. Whilst they are not much to look at, an SSD drive will give you a big speed boost.
I could now list some machines that are currently considered the best for photo editing. If you Google the phrase “best computer for photo editing 2019” you will find several lists. However, I don’t want to do that. Not least because if you are reading this 6 months after I wrote it, it will already be out of date. Instead, I thought I would leave you with the top 6 things to think about when choosing the right computer.
Lastly to go back to the start, Mac or PC? It really doesn’t matter! Unless you can afford to buy a Mac. In which case, you should always buy a Mac! (Sorry PC fanboys and girls, I couldn’t resist. I await my roasting in the comments 
The post How to Choose the Right Computer for Photo Editing appeared first on Digital Photography School. It was authored by Carl Spring.
Are you a video photographer, sports photographer or Vlogger looking for a quality mirrorless camera for your job? Then, worry not as you’ve come to the right place. Currently, there are many mirrorless cameras on the market since Panasonic first introduced the first mirrorless camera in 2008. You will find different mirrorless camera models for all kinds of users from Continue Reading
The post How to Choose the Right Mirrorless Camera For You appeared first on Photodoto.
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