We compare two popular APS-C cameras: the Fujifilm X-S10 and the Sony a6400. In a bizarre twist, Chris is left to argue with himself (literally). Meanwhile, Jordan is stuck in Pentax K-01 video purgatory. It’s enough to make your head spin.
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Articles: Digital Photography Review (dpreview.com)
The post Understanding all the Different Image File Formats appeared first on Digital Photography School. It was authored by Kav Dadfar.
When you take a photograph, the camera is capturing data, which creates a digital image. But there are many different types of image file formats that can be retrieved and edited using post-processing software.
The most commonly-used formats are:
Choosing the right file format is important and can even be critical, depending on the level of quality – and the level of post-processing – that you require.
Now, to help you better understand the different file formats, and to ensure that you pick the right format for your needs, we’ve put together this comprehensive guide. It covers the pros and cons of using each image file format – so that, by the time you’re finished, you’ll be able to select the perfect format with ease!
JPEG is probably the best known of all image file formats, and it’s what many cameras use as the default output.
The thing you should remember is that JPEG files are compressed in-camera, and thus result in a loss of detail and quality. They are essentially set up to store as many images on the memory card as possible.
Some cameras will have options for different JPEG quality levels (e.g., low, medium, and high). The better the photo quality, the less compression the camera will perform on the original photograph.
Generally speaking, JPEGs should be used:
TIFF is commonly used in the photography industry; it’s generally requested by publishers. Even if the end file format will be a JPEG, the initial file is often a TIFF.
TIFF files are usually uncompressed, so they offer the opportunity for extensive post-processing. And because TIFFs are uncompressed, they are much bigger files, and will take up a lot of space – both on your memory card and on your computer.
Some cameras offer TIFF as their highest-quality image format.
RAW files are generally available on advanced compact cameras, DSLRs, and mirrorless cameras.
Simply put, RAW is the best option if you want to get the highest-quality files from your camera, and it’s the option preferred by professional photographers. If you don’t use RAW files, then your camera will make adjustments automatically to your images, and these will be permanently embedded into your photos.
RAW files are created using a process that retains all of the information originally captured. This means that adjustments such as white balance, exposure, contrast, saturation, and sharpness can all be altered in image-editing software after the photo has been taken.
Photographing in RAW format requires plenty of memory cards, not to mention considerable post-processing time. It also requires some basic knowledge of image-editing software such as Adobe Lightroom, because files will have to be edited and converted out of the RAW format before they can be used (i.e., before they can be shared online, printed, sent to friends, etc.).
Just about every camera these days uses a different proprietary format to capture RAW files. Even cameras from the same manufacturer will often use different formats, which means image editing software must be able to read files from all of these different cameras.
As a result, editing software providers face a challenge: how to manage and continuously provide updates for their program so it can read all these different file formats.
Enter the DNG.
This file format, created by Adobe, is an attempt to provide a standard RAW file for all manufacturers and cameras.
The DNG is offered as a main RAW file format, or as an alternative to the manufacturer’s native RAW format. One of the problems with keeping images in the original RAW format is that, several years from now, you may be unable to access these files, because they are specific to cameras and manufacturers.
But using an Adobe DNG Converter means you can also store your RAW files as DNGs for maximum future-proofing.
This does add another step to the post-processing workflow, which takes extra time. However, editing software such as Lightroom can convert large batches of files to DNGs so that it doesn’t have to be done manually.
Designed in the ’90s as an improvement on the GIF file format, PNG files are ideal for use on the internet.
PNGs are compressed in a lossless format, and therefore retain all detail. But unlike other file formats, PNG quality doesn’t mean big file sizes – and this is useful on the internet, because you need pages to load quickly.
The other benefit of PNG files is that they allow for partial and total transparency, which is ideal for overlays and logos.
Like PNGs, GIFs are ideal for use on the internet. Lossless compression means image quality is not sacrificed, and like PNGs, GIFs offer the ability to maintain transparency (though they don’t support partial transparency). GIFs also allow for animation.
However, the limitation of GIF files is that they can only contain a maximum of 256 colors. Therefore, GIFs are not the best choice for photos, but rather for images with a limited color palette.
Another lossless file format, the BMP was invented by Microsoft, initially for use on the Windows platform. However, BMPs are now recognized by programs on Macs, as well.
BMPs are large files, as color data is saved in each individual pixel without any compression. As a result, BMPs provide a high-quality digital file, which is great for use in print but not ideal for the web.
This file type is what Adobe Photoshop uses as a default to save data. The big advantage of the PSD is that it allows for manipulation on specific individual layers, rather than on the main image itself.
This makes PSDs absolutely essential for any sort of extensive manipulation of the original photograph, such as retouching. PSDs give far greater flexibility and the ability to fine-tune an image, because layers can be added, removed, or edited at any time without affecting the original photo.
But remember:
Once a layered PSD file is flattened (this essentially merges all of the layers), it can’t be undone. So make sure you save your file as a PSD before flattening if there’s a chance you might want to rework some of the layers later on.
Now that you’ve finished this article, you know all the common image file types.
Professional photographers generally capture in RAW format (even if the final file needed is a JPEG), convert those files to DNGs, then edit in software such as Photoshop or Lightroom.
But as you can see, choosing the right file format when capturing the original photo – then choosing the right file format when saving the photo later – is absolutely essential.
What’s your favorite image file format? Do you use any formats not mentioned in this article? Share your thoughts in the comments below!
The post Understanding all the Different Image File Formats appeared first on Digital Photography School. It was authored by Kav Dadfar.
South Korean battery charger manufacturer Lycan has launched a Kickstarter campaign to help it introduce a single device that can simultaneously charge and manage up to four different types of camera battery. The idea of the proposed Bronine Volkit is that users will be able to save space, reduce waste and save money by using a single charger and a series of battery holders to deal with multiple batteries from most popular camera brands.
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Up to four individual battery holders connect directly to the main charging station and the station’s screen displays information about the amount of charge in the battery, the voltage of the battery and a graphic that shows how much more power is needed. The station is able to determine the voltage required by each battery and is able to tailor its supply between 1 and 20V through each of the four ports. The charger itself can be powered via a QC or PD high-speed USB charging adapter indoors, via the cigar lighter in a car or when outside by a USB power bank.
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Along with the charging unit Lycan has introduced what it calls Camera Kits which are holders for specific batteries. The company says it will have holders for Canon, Nikon, Sony, Olympus, Panasonic, Fujifilm and GoPro cameras as well as the ability to charge batteries from DJI drones and the sort of cylindrical lithium-ion batteries used in some gimbals. It is recommended that those thinking of backing the campaign check to ensure batteries from their camera are compatible, as not all models from all manufacturers are covered.
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The Bronine Volkit chargers will come in two or four battery capacity options and will cost from $ 69 including two battery holders. The company says it already has working prototypes and it aims to begin shipping in March 2021. For more information see the Bronine Volkit Kickstarter page, or visit the Lycan website.
Disclaimer: Remember to do your research with any crowdfunding project. DPReview does its best to share only the projects that look legitimate and come from reliable creators, but as with any crowdfunded campaign, there’s always the risk of the product or service never coming to fruition.
Articles: Digital Photography Review (dpreview.com)
The post Dare to be Different With Your Photos appeared first on Digital Photography School. It was authored by Rick Ohnsman.
It’s estimated that over two billion photos are uploaded to the internet every day. We are deluged with images. So if you’re a photographer looking to stand out from the crowd, then going to the same iconic locations, framing up and shooting the same compositions, and looking to emulate the great images you might find from skilled photographers is not what you should do.
You need to dare to be different with your photography – by making the shot in a way people haven’t seen before. If the reaction you want is “Wow!” rather than “Meh,” you need to mix it up.
I belong to a camera club, and we routinely show our images for review and critique. Something I hear too often when a great photo is displayed is, “Where’d you shoot that?”
I guess it’s a fair question. But I’m always concerned that the person asking it is thinking: If I go there, get the same light, perhaps use the same camera settings, and shoot from the same spot, I could make a great photo, too!”
But why would you want to be a copycat?
Sure, we all like to go to the iconic spots, but why not try to make a shot that is different and uniquely yours, one that stands out from the crowd?
To be seen, don’t be one of the “herd.”
I just got back from a trip to Yellowstone National Park. While I was there, I wanted to see the Grand Prismatic Spring, a very iconic spot and a natural wonder well worth seeing.
Upon reaching the overlook, I had to wait to even get to the edge as dozens of tourists took turns at the rail, shooting with their cellphone cameras, posing for selfies, even asking photographers like me, who were carrying obviously more sophisticated camera gear, if we’d snap their group photo with their cellphone.
I get it: They wanted a photographic souvenir of being at the Grand Prismatic Spring, a shot they could post on social media to share with their friends.
That’s fine, but what about you? Are you a serious photographer looking to make artistic photographs? Or are you a tourist looking for a snapshot?
Sure, I wanted to see the Grand Prismatic Spring. And yes, I took my camera and made a shot.
In fact, I’ve photographed next to other photographers at similar iconic locations. How could you not photograph the Statue of Liberty in New York, the Golden Gate Bridge in San Francisco, the Eiffel Tower in Paris, Mesa Arch in Canyonlands National Park, or the Sydney Opera House in Australia (the list goes on)?
So hit the iconic spots, make the usual shot, and check it off your bucket list.
But then find ways to change things up. Go to the lesser-known spots and make some photographs others won’t have considered – images that are uniquely yours.
But how do you make shots that don’t look like the tens of thousands taken by others?
Let’s explore that.
Amateur photographers almost never use tripods. So they often raise their camera to their eye and shoot from a standing position.
Hence, the great majority of their shots are from a five- to six-foot, eye-level height, even when the subject suggests that something else might be better.
A shot of a small child is typically made looking down on the subject, as is a picture of a flower or some other shorter subject. If shooting with a standard digital camera, the great majority of images will be in landscape mode; if shooting with a phone, most shots will be in portrait mode. Little – if any – thought is given to rotating the camera to best suit the subject. The subject will typically be placed dead-center in the frame, so that if the photo is a portrait, then there is an excessive amount of headroom. This type of photographer has never heard of the rule of thirds.
We expect student photographers to be a little better, right? They might shoot with a tripod. Yet I have been to plenty of photo workshops where the photographers are lined up like gunners in a firing squad, cameras on tripods but at that same eye-level height, all trained on the same iconic subject. How much different will their shots be? Maybe they ought to just buy a postcard in the gift shop.
“Sometimes, to stand out, you need to sit down.”
Anthony T. Hincks
I’m not sure of the context in which Mr. Hincks was speaking when he authored this quote. But appropriating it so that it applies to photographers, you need to consider various perspectives to better suit your subject and create images that bring new interpretations and compositions. Get up, get down, shoot from a bird’s-eye perspective or a worm’s-eye perspective. Shoot through objects that create natural frames. Try some point-of-view (POV) shots.
There are lots of things to try in order to explore new looks and create interest, excitement, and mood in your photos.
As a photographer, I expect you are more of a visual learner, so here are some shots to help communicate these concepts:
People might call me names, but as a photographer, there’s one name I hope never applies: Snapshooter. I consider a snapshooter to be the photographer who sees something that catches their attention, raises the camera to their eye, and takes a snapshot. That is the person who gives no thought to composition, angle, perspective, subject, storytelling, or concept. They don’t understand camera controls, exposure, depth of field, or ways to use the camera as a tool to communicate their vision. They probably don’t even grasp the concept of a vision. They don’t take the time to consider what they might do to make their photographs better or different. Can they even communicate what they are trying to say with their images?
But that’s not you, right? You have come to a place called the Digital Photography School, presumably as a person looking to learn how to make better images.
So I challenge you: Dare to be different with your photos. Make photographs that are intentionally creative, unique, tell a story, and show the viewer something in a way they may not have seen it before.
“You walk like others? You talk like others? You think like others? Then the world doesn’t need you, because others are already abundant in the world! Be original!”
Mehmet Murat ildan
The post Dare to be Different With Your Photos appeared first on Digital Photography School. It was authored by Rick Ohnsman.
Having light is critical for photography, but what about the quality of light? Our resident mad scientist, Don Komarechka, explains how different light sources can impact your photos.
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Articles: Digital Photography Review (dpreview.com)
The post 5 Different Approaches to Learning Photography appeared first on Digital Photography School. It was authored by Charlie Moss.
There are many different approaches to learning photography. Some people would have you believe that one way is far superior to others. But the reality is, everyone learns differently. People have different lifestyles and learning methods, various time constraints, and different budgets.
You’re already on a site that offers one way of learning photography, but have you considered the other paths that you could take? Here’s a rundown of different ways that you can structure your practice and improve your photos.
It doesn’t take much to find a myriad of blogs looking to help you learn photography. Anyone from the most experienced professional photographer to someone who just bought their camera can start a blog. I guarantee that you can learn something from all of these photographers.
For some people, like myself, blogs are an excellent format for learning photography. I’m the kind of person who learns well from text and pictures, so I read a lot of different blogs by many different photographers.
There are two significant advantages of blogs over other kinds of learning. The first is that anyone can create them, which leads to all sorts of ideas being shared. The second is that they’re quick to respond to new technologies and techniques. You’ll probably see articles about near gear or styles on a blog way before you see the same information in a book.
Having just said that blogs are more likely to have new information than books, books still have some advantages. They often go into much more detail than blogs, especially where the content is unlikely to change even with new technology.
I have several books that cover scientific aspects of cameras and photography, and they’re still useful almost fifteen years after I bought them.
This solid foundation of knowledge can be where it’s helpful to use a few different approaches to learning photography, topping up your foundations with videos or blogs.
You can often pick up second-hand photography books cheap in thrift stores and on online auction sites. I have some real gems from decades back. They are fascinating to use to learn techniques that were in fashion at the time.
My particular favorites are the 70s and 80s glamour photography books I own; when I started shooting male glamour models and wanted an 80s vibe, they were the first place I looked for inspiration!
YouTube is a great place to find both photographic inspiration and tutorials of all kinds. And just like blogs, everyone can start a channel and upload videos to help other photographers learn.
An advantage of video is that if you’re the kind of person who learns best visually, you can get to grips with a technique much more effectively as you watch a photographer demonstrate it. Different approaches to learning photography will suit different people – everyone learns in different ways.
Some websites offer whole libraries of classes to watch, with some of the courses lasting several days! You can generally either buy the class to keep forever or take out annual or monthly subscriptions that allow you to view all the classes on the site for as long as you keep subscribing.
Many people find watching video tutorials a great way to learn. I’ve got several friends who have taught themselves photography almost entirely from YouTube. If you love watching videos, then you’re spoilt for choice. There is a video tutorial on just about every aspect of photography that you can imagine (and a few you’ve never thought of).
If there’s one good thing that will come out of our global extended time at home, it’s that there are now many more workshops happening online. Participating in a photography workshop can now be as simple as firing up some video conferencing software and tuning in to listen to an instructor talk!
The advantage of live workshops over pre-recorded videos is that you can usually ask the instructor questions during the workshop. Many online video conferencing platforms have the ability for you to type our a question or virtually raise your hand. Do take advantage of this feature and ask all the questions you can think of.
Of course, workshops that happen in person are great too because you can often get hands-on with equipment that you might not have at home. Lighting workshops should give you the time to try out the gear that you’re being taught to use, and ideally, there’s scope to play around a be a bit creative while you have a go.
One type of workshop that it’s particularly helpful to keep an eye out for is when camera manufacturers release new equipment. Often they hold cheap (or even free) seminars that allow you to get hands-on with new lenses and cameras. Even if you don’t intend to buy a new camera or lens, this can be a great way to have access to a professional photography teacher who you can ask questions!
Perhaps the ultimate long-term commitment to learning about photography is going to university and doing a degree. It’s not an option for everybody, of course. But for those that can afford both the time and the money, it’s incredible to be able to immerse yourself in a single subject for three years and one of the most intense approaches to learning photography.
If this is an option that you’re considering, then do think outside of the standard photography degree. Some universities let you combine photography with subjects like marketing. This combination would be an incredible option for those wanting to go into advertising photography.
If you wanted to go into photojournalism, then you might choose to find a way to combine photography with international politics.
And don’t forget fine art as a subject either! There’s often lots of scope for photography practice on a fine art degree.
I chose to go to university to study art history as a mature student. It is genuinely the best decision that I ever made as a photographer. It has matured my work, given me a greater understanding of issues when it comes to artistic practice, and it has opened my eyes to a whole incredible history of creativity and art. I liked it so much that I’m now doing a PhD. You never know where studying photography might lead you!
The advice that I always give when photographers ask about how best they should learn is that they should pick the route that makes the most sense for them and their photographic aspirations.
There are so many different approaches to learning photography that everyone should be able to find an option that suits their life, budget, and their dreams. And remember that if you’re not enjoying what you’re doing, then try something new! You can always ask photographers that you know and see what worked for them.
Do you have anything you’d add to this? Feel free to share any other tips, or your experiences of learning photography with us in the comments section.
The post 5 Different Approaches to Learning Photography appeared first on Digital Photography School. It was authored by Charlie Moss.
The post Photography Gear You Will Need for Different Types of Photo Shoots appeared first on Digital Photography School. It was authored by Lily Sawyer.
Have you ever wondered if there is specific photography gear that you will need for different types of photoshoots?
It has now been over a decade since I started shooting professionally. Over the course of that time, I have often been asked for advice on what camera to buy to take professional images. Now, if you’re into photography, I think you’d agree with me that this is the wrong question to ask. There are far more important factors to consider when taking an amazing image rather than the latest shiny camera.
My answer to the above question is always the same: it’s not the camera (given that camera manufacturers churn out new models year in year out). But instead, it’s two other things – the lens and the photographer.
A camera is no good if the photographer doesn’t know how to use it properly to achieve the image they have in mind. Equally, what good is a new latest-tech camera if the lens used for the purpose is not the correct lens? An example being, using an ultra-wide lens to capture a portrait.
Therefore, the better question to ask is, “which is the appropriate lens to use for a particular photoshoot?”
In other words, it is crucial that you, as the photographer, match your gear to the needs of the photoshoot. This will enable you to achieve the image you have in mind.
This article discusses the photography gear you will need for different types of photoshoots.
However, I know that we each have our own ways of doing things and our own preferences, so bearing this in mind, what I have written below are suggestions and based on what I do as a photographer.
What’s in my gear bag depends on what I’m shooting. I have a variety of photography bags for this reason. As a side note, it is worth investing in proper photography bags to protect your gear.
But first, the staples. If you are (or want to be) a professional photographer, this is my recommended minimum photography gear you will need.
For photoshoots, always carry at least 2 camera bodies, ensuring you have one for back-up in case something happens to the other one.
Make sure you sync the times for both cameras, and that the settings are the same.
Also, fully-charge your batteries in both cameras. My cameras are all full-frame. If you have a camera with a crop sensor, this changes the way you capture your images. Here is a helpful article on the difference between full-frame and crop-sensor cameras.
On top of the camera and lenses, I always bring at least 2 flashguns with me and make sure I have spare batteries (or fully charged if they are rechargeables). I use a diffuser cap with my flashguns and generally use these to bounce light both indoors and outdoors rather than directly at the subjects unless I’m shooting backlit.
In general terms, the ideal set of lenses for a family photoshoot includes a wide, medium, and a long range of lenses.
My preference is for prime lenses, as they are usually small and handy, and give me sharper and cleaner images.
Good prime lenses can be heavy and also a little expensive. I carry the 35mm f/1.4G, 85mm f/1.8G (also available in 1.4G) and the 105mm f/2.8G. Because these are used on a full-frame camera, the lenses capture their expected focal range accordingly, that is, that a 35mm lens has a 35mm effective field of view. If your camera has a crop sensor with a crop factor of 1.3x for example, then the 35mm will have an effective field of view of a 46mm, the 50mm will have the 65mm and the 105mm will be 135mm. Therefore, you would then need to consider more wiggle room when shooting.
These are important to bear in mind, especially when shooting in small spaces indoors.
The 105mm gives not only a long-range but also macro capability. I like having a macro lens with me, which works wonderfully to capture details.
You can also have zoom lenses in your bag instead of primes. Zoom lenses can be very versatile. For example, the 24-70mm lens will allow you to capture wide and medium-range images with just one lens.
However, they are a little bulky in comparison to primes, especially if the lens is professional and has a fixed aperture. That would also mean better optics, and it would be heavier too.
If you just want to use one lens that covers this range, then there is the 24-105mm Canon lens option.
For events such as birthday parties, product launches, conferences, and suchlike, my preference is to go for zoom lenses rather than primes. Events are usually fast-moving, and I don’t have the time to keep changing lenses.
Often I will have both cameras on me with a double rapid strap. One camera will have the 24-70mm, and the other has the 70-200mm. These are usually sufficient.
I always carry a macro with me, though, just in case. However, with both bulky zooms that cover wide to long-range, I use my nifty 60mm micro lens for extreme close-up and macro shots.
In addition to the above, I also carry with me wireless transceivers that enable me to shoot with off-camera flashes. Transceivers are wireless transmitters and receivers that enable you to control your flash remotely. This also means you need stands for the flashes. So, carrying a monopod and a gorilla pod, or a tripod if you need more stands.
If I’m shooting a wedding alone, I pack all the above minus the 35mm and the 50mm as the zooms already cover these focal ranges.
Needless to say, I pack my entire arsenal and the kitchen sink when shooting weddings with a second photographer, as with two of us, more gear and back-ups are needed. That means at least four camera bodies, at least six lenses, a minimum of four flashes (sometimes six), and all the transceivers and stands required.
I have written an article on wedding photography gear you will need when starting out on here.
Portrait photography is a specialty that requires a different set of lenses.
For flattering images of a person, I would always use the 85mm for headshots, the 50mm for medium shots, and the 35mm for full-body shots.
You may not need to use all three, so plan ahead of what you might be shooting, so you don’t bring unnecessary gear.
Again if you want the zooms as opposed to the primes, you could always use the 24-70, 24-105, and the 70-200. Just make sure that you shoot within the range mentioned above as a guide.
Longer focal ranges compress the background resulting in a more flattering look compared to using a wide lens. For example, if you use the 24mm, you are shooting so close to the person, you will end up with image distortions.
Depending on the portrait session, I may or may not use off-camera flashes which would require the transceivers. A small reflector is also really handy for portraits, especially when controlling shadows. I have written an article on gear essentials for portrait photography when starting out here.
Landscape photography is the opposite of portrait photography, and the lenses and accessories required are different.
You would need wide lenses, such as a 16-35mm or a 24mm to capture wide, expansive shots. You may also want to invest in a telephoto to capture long landscapes with great background compression if you are shooting mountains, for example.
If you plan on doing long exposure photography to achieve soft, blurred waterfalls and waves, you will also want to invest in a tripod and some filters, such as ND and graduated filters. This will enable you to reduced the amount of daylight coming into your lens so that you can slow your shutter speed down without completely over-exposing your image. You would also need a cable or remote shutter release so that you don’t introduce camera shake by pressing the shutter button.
To find out more about landscape photography, read these helpful articles here.
When speaking of travel, my only experience in this type of photography is family holidays. For professional travel photography, read these articles.
If you are just after good holiday photos that capture memories of your family, then I can help with that. I have tried various holidays with only one lens. One time I just took the 85mm. Another time, I took just the 35mm, the 50mm on another holiday, and, more recently, the 60mm. Following on from these experiences, my personal travel lens is now the 60mm.
The 50mm is also a favorite.
Occasionally, I do some product photography. My go-to lenses for these are the 24-70 and the 60mm micro.
I use off-camera flashes and transceivers and some flags. When shooting small items in a white seamless background, using a white lightbox will help you achieve this easily.
For more tips on product photography, read this article.
For interior photography, my go-to lenses are the 24-70mm and the 50mm. You can read more in-depth as to why I use the 50mm here and how I use the 24-70mm especially for shots of an entire room scene.
I hope this article and the further links provided have helped you think through what photography gear you will need for different types of photoshoots. If you have any suggestions to add, write them on the comments below.
The post Photography Gear You Will Need for Different Types of Photo Shoots appeared first on Digital Photography School. It was authored by Lily Sawyer.
Similar to how no two fingerprints are identical, no two camera shutter sounds are exactly the same. As a fun little project, photographer and YouTuber Scott Graham has captured the shutter sound of 37 different camera models to show off the diversity of shutter sounds and to memorialize a number of cameras he’s selling.
In the video, which comes in just shy of four minutes, Graham succinctly captures the unique shutter sounds of all 37 cameras, ranging from analog SLR cameras to digital Fujifilm cameras. Each shutter sound was captured as close to 1/60th of a second as possible for consistency’s sake.
Graham didn’t elaborate on whether or not he will continue to do this with future cameras he acquires, but we think it’d be incredible to build an archive of shutter sounds from various cameras. What camera has the most pleasing sound to your ears, both from Graham’s collection and your own?
Articles: Digital Photography Review (dpreview.com)
The post What You Can Learn From Entirely Different Photography Genres appeared first on Digital Photography School. It was authored by Mat Coker.
If you spend any length of time within one photography genre, you come to the point when you wonder, what would take me to the next level?
Deepening your creativity often means making connections between unlikely things.
If you want to deepen your photography, one option is to take what you learn from one genre and apply it to another. Could you find something used in portrait photography and apply it to landscapes? How about taking an approach from birth photography and applying it to real estate photography?
Let’s explore the idea of combining approaches from different photography genres.
I had been out taking some landscape photos when I saw these canoes. A photo of the canoes on their own wasn’t working out for me. But when I saw this child come walking by it gave me an idea. I thought of all the street photos I had seen of people walking past interesting objects or backgrounds. For the fun of it, I adopted that concept here. I love the way the boots echo the yellow canoe.
I’m a portrait photographer. What I love about portraiture is exploring the way people express their hidden selves through their body. You can see expression and gesture in feet, hands, and faces.
If you love to photograph nature and landscapes, you can take this concept of gesture (something we normally look for in people or animals) and apply it to your nature photography.
The more I focus on gesture in people, the more I see it in nature as well. Consider what Jay Maisel has to say in his book, Light, Gesture, and Color:
“Gesture is the expression that is at the very heart of everything we shoot. It’s not just the determined look on a face; it’s not just the grace of a dancer or athlete. It is not only the brutalized visage of the bloodied boxer. Neither is it only limited to age, or youth, or people, or animals. It exists in a leaf, a tree, and a forest. It reveals the complicated veins of the leaf, the delta-like branches of the tree, and when seen from the air, the beautiful texture of the forest.”
I believe something like gesture is what we’re after when playing with lines in a photo or even slow shutter speeds. Look at nature through the lens of gesture, and you’ll be more creative in your nature photography.
When I looked up at this tree, it was the gesture of the branches that drew me in. It takes decades for those branches to get there. Though they’re holding perfectly still, there is the feeling of gesture because of their shape.
I love to play with light. While photographing these flowers, a little lens flare struck my view. It’s very subtle, but on the right side of the photo, you can see a faint burst of warm light. It’s as if the flowers are reaching for the light.
I’m not a food photographer, but if I photograph a wedding or event, I try to include a photograph of the dinner. Couples pay a lot for their meal, so why not add a photo? The problem is a stark white dinner plate full of food looks lifeless and uninspiring among all the other wedding moments. There was a disconnect between my candid event photography and my attempt at food photography.
Weddings are about writing a new story; joining families and sharing life. But I discovered that there is just as much of a story in the food as there is in the rest of the wedding. When I was able to chat with a chef as she prepared food for the guests, I came to learn how much she loves her craft. There is as much heart in the preparation as there is in the sharing of the meal.
So I began to photograph the meal just like I did the rest of the wedding. I took the heart of what I had been pursuing in all those candid wedding photos and applied it to photographing the food.
I can’t imagine two genres more opposed than birth photography and real estate photography.
If I tell a friend that I photographed a house for a real estate agent, they don’t care. They assume it’s just something boring I do for money. But when my wife tells people she photographs births, their jaws hit the floor and a passionate discussion ensues.
For most people, maybe photographers too, real estate photography is a boring necessity while birth photography is an exciting adventure. After all, one of those life experiences is about drama, emotion, and new beginnings, while the other is a series of appointments and paperwork until the ordeal is over.
Yes, but which experience is which?
Have you ever bought or sold a house? Then you know there is plenty of drama and emotion involved. Have you ever had a baby? Then you know there are plenty of appointments and paperwork. Both experiences – home-buying and having babies – are filled with the potential for adventure and emotion.
Try taking the obvious emotional excitement of birth photography and applying it to real estate photography. When you force yourself to flip everything on its head, you might see something quite different.
Many families have a negative birth experience. They’re treated like a commodity by their doctors and the hospital staff. A birth photographer knows that even if a laboring woman is given a bad experience by hospital staff, the photos still have to portray the unique beauty of the experience.
Even though real estate photography may often feel like a commodity, it can be a beautiful part of the story. First-time homebuyers are on an amazing life journey. Perhaps there can be more spontaneity and emotion in real estate photography than we first think – even if it’s hard to represent in typical real estate photos.
My wife, Naomi, made these birth photos. I love to see the range of emotion and depth of personality in her photos. But they certainly make my real estate photos look dull.
I know that my real estate photos are part of a larger story and every once in a while I have the chance to photograph that story. Sometimes that comes by being able to photograph the move-in day.
If you’re tired of posing newborn photos, street photographers can be your guide. They are masters of spontaneity – taking whatever moments the situation gives to them. Street photographers are explorers of society. As a newborn photographer, you can be an explorer of human nature in newborns.
Wait and see what that baby will do. Take what the newborn gives you rather than forcing your vision and poses on them. There is nothing wrong with posing, but it can be exciting to explore other moments that happen naturally.
Do you know all those adorable photos of newborns wrapped in beautiful fabrics and placed in baskets? Well, this is the reality; a screaming newborn and bewildered older brother. Take the moments that come to you.
When you want to deepen your creativity as a photographer, begin with the principles of the genre of photography you’re working within. When you’re ready to go even deeper, go beyond the principles of your genre and consider what different photography genres might teach you.
The post What You Can Learn From Entirely Different Photography Genres appeared first on Digital Photography School. It was authored by Mat Coker.
The post 5 Different Approaches to Photographing Wildlife appeared first on Digital Photography School. It was authored by Jeremy Flint.
Brown bear, Yellowstone National Park, USA © Jeremy Flint
Wildlife photography is a popular genre of photography that documents various forms of wildlife in their natural habitat. Seeing and photographing animals in the wild has to be one of the most awe-inspiring experiences imaginable. Nothing compares to sighting a lion running across the Serengeti plains of Africa or a bison family roaming the lands of Yellowstone in the USA. Photographing your pets or animals in zoos can also be just as rewarding. Whether you are new to this genre of photography or have had some practice, here are 5 different approaches to photographing wildlife:
Tourist taking pictures, Yellowstone national park, USA © Jeremy Flint
When viewing and photographing animals in the wild you will want to keep a safe distance. They are wild for a reason and should not be approached. The best way to photograph them is generally from the comfort of your own vehicle.
Encountering animals can be a wonderful thrill, and although there may be an urge to get out of your vehicle for a better look, it is better not to take the risk. You can’t predict the behavior of animals very easily, so it is always safer just to stay in your vehicle and avoid any potential conflict.
Whether you have your own transport or are in a vehicle on a guided tour, they make great places to take pictures from. You can potentially position yourself nearer to the animals than if you were on foot and you can take pictures from a closer range compared with standing out in the open far away from the animal.
Photographing animals from a closer vantage point, and from the safety of your own vehicle, enables the use of a wide-angle lens. This can help to give your images more variety and a different angle to those images generally shot with a telephoto lens.
Bald eagle in flight, Yellowstone national park, USA © Jeremy Flint
Another way to photograph wildlife is to keep an eye out for animals above you. Look upwards and aim for the skies. Photographing majestic birds in flight or circling above you are wonderful subjects to capture.
The beauty of birds in motion can be mesmerizing, especially when the light catches their body and lights up their feathers and wings. With so many different species of birds around the world, photographing birds can be inspiring. Birds move swiftly so be sure to select a fast shutter speed to capture the action.
Elk, Yellowstone National Park, USA © Jeremy Flint
One of the best options for photographing wildlife is to get on their level. To add interesting shots of animals, crouch down and get yourself on the same elevation as the animal. Whilst taking pictures from the same height as the animal may be more demanding in the wild, it can result in cute pictures of pets, especially if they are looking right back at you.
Beaver, Yellowstone National Park, USA © Jeremy Flint
Wildlife can be notoriously challenging to photograph, and some wild animals, such as leopards, are renowned for being particularly elusive. Taking shots from an elevated view such as from a tower, the air or from a building can help to improve the sightings of these animals that may be hiding in the long grass.
Also, if you are on higher ground, you are more likely to be at the same height as birds flying past you. Taking photos of birds is surprisingly addictive, and capturing them flying by can produce great results.
Coyote, Yellowstone national park, USA © Jeremy Flint
When photographing animals in captivity, you will likely have restrictions in terms of where you can take photographs from. For example, visiting zoos, an enclosure, viewing area, or platform are great places to shoot from to capture the animals inside. By practicing shooting animals in your neighborhood or at your local zoo, it will help you to improve your wildlife photography and become more comfortable when shooting in the wild.
Photographing wildlife in their natural habitat can be a great photographic adventure for any aspiring photographer. Different ways to photograph wildlife include shooting from a vehicle, from the same height as the animal, from an elevated view, and an enclosure. Pointing your camera upwards is another great way to give a different perspective to taking pictures from inside your vehicle.
On your next adventure outdoors, whether that is a walk in the countryside, a visit to your local zoo or a trip of a lifetime to see majestic wildlife, don’t forget to take your camera.
Share your pictures with us below!
The post 5 Different Approaches to Photographing Wildlife appeared first on Digital Photography School. It was authored by Jeremy Flint.
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