Good « 360Photography

RSS

Posts Tagged ‘Good’

HDR is enabled by default on the iPhone 8 Plus, and that’s a really good thing

15 Oct

Capturing HDR (high dynamic range) photos using an iPhone or iPad camera isn’t a new feature, but using it in the iPhone 8 Plus is the first time I’ve been wowed by it.

HDR images are balanced and realistic, to the point where you may not even think about whether a photo is HDR or not. In fact, in the iPhone 8 and iPhone 8 Plus, Apple is so confident in the results that HDR is an automatic setting. When I mentioned to a friend that I was testing the HDR feature, he visibly winced, but there’s no need: Apple’s implementation shows that the term “HDR” doesn’t have to be associated with the garish, hyperreal look of a lot of HDR imagery. They’re often just darn good photos.

HDR Auto by default

On iPhone 7, iPhone 7 Plus, and earlier models, even under iOS 11, the HDR mode can be manually turned on, off, or set to Auto in the capture interface. On those devices, Auto means the camera decides whether HDR should kick in to improve a photo when capturing scenes under low light or with a lot of tonal contrast (such as a bright sky and dark foreground). A small yellow “HDR” icon appears at the top of the screen when it’s active.

Capturing the HDR photo saves two images: the original metered image and a single HDR version that is a blend of three exposures (regular, light, and dark, which are recorded and combined in-camera, not saved as individual images). You can opt to hold onto that original by going to Settings > Camera > HDR (High Dynamic Range) and choosing Keep Normal Photo.

For the iPhone 8 and iPhone 8 Plus (and the forthcoming iPhone X), however, auto HDR is enabled by default. And it’s not exactly the same HDR effect used by previous devices. The 8 and 8 Plus include an image sensor with larger pixels and improved silicon – a new ISP (image signal processor) and more powerful A11 Bionic main processor. Together they add more processing oomph, resulting in more dramatic HDR effects – without taking it too far.

I tested using an iPhone 8 Plus, but the feature applies to the iPhone 8 and iPhone X, as well.

HDR in the Real World

Taking the iPhone 8 Plus outside on a sunny day provided dramatic results. In fact, it may subtly alter the way you take photos with the iPhone. Bright areas, such as clouds in the sky, appeared blown out while framing the shot. Typically, the way to compensate for that would be to reduce the exposure before you take the photo (tap the screen to set the focus and exposure, and then drag the brightness indicator down to darken the scene). However, in the captured photo, the HDR feature restored detail in the clouds and often presented blue skies where they weren’t visible in the preview.

Preview image

Final image

If you’re shooting with Live Photos turned on (which records a few seconds of video around the still image), when you review your images in the Photos app, the “before” image briefly appears before cross-dissolving into the final HDR image.

Comparing iPhone 8 Plus and iPhone 7 Plus

Capturing the same scene with an iPhone 8 Plus and an iPhone 7 Plus reveals general improvement in the new model. Although both cameras’ HDR did a good job dealing with overexposed clouds, the iPhone 8 Plus tended to offer more graduated tones. Overall, it also did a better job of filling in shadows; the iPhone 7 Plus pulled more toward reducing exposure throughout to compensate for the brightness.

HDR photo with iPhone 7 Plus

HDR photo with iPhone 8 Plus

That adjustment is welcome when photographing people. Often you don’t want to turn on HDR for portraits, because the effect exaggerates the contrast in facial features. But if Auto HDR is always available, you won’t have that control (unless you turn off Auto HDR in the Camera settings). Since the iPhone 8 Plus is also lifting the shadows, the effect isn’t as pronounced.


iPhone 7 Plus	iPhone 8 Plus

Sometimes, Auto HDR didn’t engage under conditions when I expected it would, and still produced good results. When photographing in low-light, the iPhone 8 Plus turns first to increasing ISO and other software processing to create a usable image.

iPhone 8 Plus telephoto lens, no HDR

iPhone 8 Plus wide angle lens, no HDR

Conclusion

Making HDR a transparently automatic feature on the iPhone 8, iPhone 8 Plus, and iPhone X is a smart move on Apple’s part. Intelligent HDR application was one of the things that made the Google Pixel’s camera so good, so it seems wise for Apple to follow suit. Although Auto HDR can be turned off in the Camera settings, letting you choose when to activate HDR mode, in my testing I found little reason to do so.

Articles: Digital Photography Review (dpreview.com)

Comments Off

Posted in Uncategorized

Not quite as good? Nikon D850 versus Nikon D5 subject tracking

01 Oct

Video: D850 versus D5 subject tracking

Photographer Matt Granger’s YouTube channel is chock-full of videos that run the gamut from fairly technical testing to fun challenges and prize giveaways. But we took particular notice when, last weekend, he pitted his new Nikon D850 against his Nikon D5 in terms of autofocus tracking. (What can we say; we’re nerds.)

But why even bother? After all, the D850 and D5 purportedly have the exact same autofocus hardware—performance should be virtually identical. In fact, in our conversations with Nikon, we were told that the D850 includes an additional processor to handle autofocus calculations, just like the D5; they also claimed this processor was omitted from the D500.

More importantly, we were told flat out to expect ‘D5 levels of performance’ from the D850.

So why is it that, during an early shoot with the D850, Granger said, “I felt like I was getting more [images] well-tracked with the D5 than I did with the D850.” Cue the tests in the video below:

Granger performed both low-light and daylight tests. In the former, his subject moved primarily in the X axis (read: across the frame); in the latter, his subject moved in all three dimensions. Both cameras were set to shoot at 7fps (the D850’s max), and shared all other settings as well.

In both instances, Granger concludes that the D850 is simply not as good at tracking moving subjects as the D5.

In the first low-light test, he notes some hesitation: the AF point occasionally lagged behind the subject before catching up (though at 3:00, where he says the D5 does not exhibit this behavior, it looks like the D5 also hesitates a bit, but perhaps not as severely).

We’ve been told to expect ‘D5 levels of performance’ from the D850’s autofocus system.

In the second test, the D850 really struggled to track the subject as she moved between shade and direct sun, seemingly performing better if the subject was initially acquired in bright light.

Of course, Granger concludes that this disparity isn’t really a reason to ignore the D850 or cancel that pre-order. In fact, there have been similar claims across the interwebz of autofocus performance disparities between previous Nikon cameras that are supposed to share the same AF system (the D810 and D4S for example—although we haven’t dug into those). But it’s definitely something worth testing further.

So, given our recent coverage and in-progress full-review, what does the DPReview staff make of all this?

Our experience so far

For white water kayaking, we found the D850’s 3D Tracking to perform very well indeed.

We’ve been shooting a lot with the Nikon D850 over the past couple of weeks, and as with just about any recent high-end Nikon camera, we find subject tracking to work very well. Even though the D850 comes with that excellent AF selection joystick, sometimes we find it preferable to let the camera do some of the work for us.

Confused about subject tracking?
Find out more

In particular, when shooting white water kayaking in Oregon, 3D Tracking performed admirably. That shouldn’t be too much of a surprise, though, considering these are fairly distinct subjects, particularly in terms of color, when compared with their surroundings.

As with Matt Granger, though, we’ve been surprised by some of our own experiences while shooting with the D850. With both the D5 and even the D500, we’ve become accustomed to being able to initiate 3D Tracking on a subject’s eye for a tight headshot, and have the camera track it remarkably well as either the camera or subject moves.

This sort of candid kid shot is a situation in which accurate 3D Tracking or Sony’s Eye AF both come in very handy.

With the D850 though, we’ve noticed it is more apt to be ‘jumpy,’ in that it will jump from our subject’s eye to another portion of their face. Further complicating our assessment of this sort of behavior is that it seems to be inconsistent—sometimes the D850 will track perfectly, other times it gets distracted by something else in the scene.

We also noticed some inconsistency in a situation where we’ve historically been able to rely solely on 3D Tracking, namely: motocross. With the D850, we were able to get a ton of keepers using 3D Tracking, but sometimes, when we looked through our bursts and found that one perfect moment, it would be slightly out of focus because the AF point had jumped from one part of the rider or motorcycle to another.

When we switched to a type of zone focusing called D25, we came away with a better hit rate, so long as we kept the zone over our subject (Note: you would expect this result from just about any camera with advanced autofocus).

3D Tracking on the left nailed focus in this instance, but D25 on the right nailed focus more reliably, more often.

So what’s next?

More photos. Lots more photos.

We’ll be doing our standard autofocus treatment on the D850, including our bicycle tests and our close-range, low-light autofocus evaluation. We’ll also be seeking out sporting events in the Seattle area to see if we can draw some parallels between our usual evaluations and real-world shooting situation performance.

We should also note that, in both Granger’s testing and our own experience, we haven’t yet been able to use Nikon’s new battery grip for the D850. For it to be as even a comparison as possible, we’ll be looking to add the grip and the much more powerful EN-EL18a battery if at all possible.

Only more time and more testing will tell if the D850 can truly stand up to the D5’s autofocus performance, though we should reinforce that D5-level subject tracking is an awfully lofty benchmark to reach for. In our experience, it’s a benchmark that has remained out of reach of any camera to date, and whether or not the D850 measures up will be revealed in our full review.

Articles: Digital Photography Review (dpreview.com)

Comments Off

Posted in Uncategorized

Good, Better, and Best Noise Reduction Techniques

07 Aug

When it comes to noise reduction, you always have two goals. First, obviously, you want to get rid of any digital noise in your picture. But secondly, you want to preserve detail. These often work against each other because increasing noise reduction often leads to a loss of image detail, but if you focus on preserving the detail then you may end up with a noisy picture.

Good, Better, and Best Noise Reduction Techniques

So what can you do about it? Different people have different methods, but for me, there is a good, better, and best way to go about noise reduction. As you might imagine, my good way is simple, the better way involves a little more effort, and my best way requires a lot more effort (and can be rather complicated). In this article, I will walk through my favorite options so that you can decide if one of them is appropriate for your own noise reduction workflow.

“Good” Noise Reduction

Lightroom has very good noise reduction tools. They are powerful and really easy to use. They reduce noise and do a decent job of preserving detail. Further, the noise reduction in Lightroom seems to get a little better with each new iteration. If you want a good noise reduction tool that will take up almost none of your time, simply use Lightroom.

Good, Better, and Best Noise Reduction Techniques

Lightroom noise reduction sliders.

The primary slider is the top one labeled Luminance. I think of that as the amount of noise reduction being adding to your photo. From there, you can fine-tune your noise reduction using the additional sliders below it. Frankly, however, if I am using Lightroom for noise reduction, it is because I want it to be quick and easy, so I usually just use the Luminance slider.

Suggested starting points

You may be wondering about a starting point for the amount of noise reduction to apply. Of course, that is hard to do, and it depends on a lot of things. First of all, it depends on the ISO value you used. It also depends on the low-light performance of your camera. However, I hate the “it depends” answer, so to give you an idea of a starting point taking into account those variables, here is a chart with some suggested values for the Luminance slider.

Suggested starting points for noise reduction settings in Lightroom.

Of course, there are other factors involved as well, which this chart does not take into consideration. For example, dark tones will show noise much more than lighter tones, so you may need to increase the amount where you have darker tones. Just use this chart as a starting point, and don’t take it as a definitive range that you must stay within. Always do whatever the picture requires, even if it is drastically different than what is set forth here.

Read more on noise reduction in Lightroom here: How to do Noise Reduction in Lightroom

Selective Adjustments in Lightroom

The noise reduction settings within Lightroom will apply to your entire picture. We are going to get into selective noise reduction later, but I should mention here that you can also use the Adjustment Brush in Lightroom to selectively add noise reduction.

Select the Adjustment Brush and find the slider labeled Noise. That’s right – you only have one slider for this, so think of it as the equivalent of the Luminance slider you used above. From there, just set your brush size (you can use your left and right bracket keys for this) and paint in the effect where you want it. You’ll see better ways to selectively apply noise reduction in a minute, but if you aren’t too picky about the selection then the Adjustment Brush might be the tool for you.

Noise reduction slider inside Lightroom’s Adjustment Brush.

“Better” Noise Reduction

Normally, when I want to bring out the heavy artillery in any aspect of post processing, I find that I need to head into Photoshop. That is sort of true here, in that we will be heading to Photoshop, but then again not true in that we won’t be using Photoshop’s noise reduction. I find that Photoshop’s noise reduction tools aren’t that great, and Lightroom actually works better (there are plenty of people that disagree with me though, so make up your own mind about that as you use them both).

Instead, I merely use Photoshop to take advantage of third party noise reduction software that works within Photoshop. Yes, you could also use them from Lightroom, but using them within Photoshop will allow you to take advantage of Photoshop’s powerful masking techniques (which you will see in a minute).

Noise reduction plugins

What are these noise reduction applications that are available? Let’s take a look.

Noiseware: First, we have Noiseware by Imaginomic. I mention this first because it is the application I have used for my own noise reduction for the past several years. It works really well, does a great job eliminating noise, is simple to use, and it preserves a lot of detail. There are several presets to choose from and then a few sliders to make adjustments from there.

Nik Define: A free option is Nik Define. It is part of the Google Nik Collection, which is now free. It does a nice job of reducing noise, and if you are looking for a free option this is a good one. The downside is that it appears this software is no longer being updated and its days are numbered.

Noise Ninja: This is part of the Photo Ninja Suite by Picture Code. The entire suite costs $ 129. I personally have not used it, but the reports I have heard from others and the reviews have always been positive. Read: How to Reduce Noise with Photo Ninja for more info.

Topaz Denoise: Topaz makes a series of plug-ins that do a variety of functions really well. Their noise reduction software is called Denoise and it costs $ 79 (or you can get the whole suite of apps for $ 500). I haven’t used this one either, but the reviews have been good and my experience with other Topaz apps has been very good.
Macphun’s Noiseless: Inside Macphun’s Creative Kit you will find the Noiseless plugin (you can also buy it alone). Read this for more info on this option: Macphun Noiseless Pro Software Review

Any of these will do a nice job.

Screenshot of Noiseware interface.

“Best” Noise Reduction

The best way I have found to apply noise reduction is exactly the same as the way you just saw, except that you apply it selectively. The reason is that noise reduction reduces detail in your image. It is often hard for noise reduction software to tell the difference between noise and important detail. That is particularly true in night sky photos, where the many stars can resemble the random flecks that constitute noise.

Basic Masking

To avoid having your noise reduction software reduce detail, you can use Photoshop to mask off the more important areas of the sky. To accomplish that, you just create a layer mask so that the noise reduction only applies to certain parts – which will be white in the mask – of your image.

A simple, but admittedly imprecise, way to do this is with a brush. If you start with a “reveal all” (white) layer mask, you will then use the brush (color set to black), which will keep the noise reduction from reducing detail in the areas you choose. On the other hand, if you start with a “hide all” (black) layer mask, you will paint the entire mask with white except the part where you want to preserve detail. You can get as course or fine as you want (or time allows).

An example of masking off noise reduction in an area where you want to preserve detail in the picture. This applies to the cliffs picture at the top of this article.

How to do you do it? First create a new layer copy (Ctrl/Cmd+J if your picture only has one layer, or Ctrl/Cmd+Shift+Alt+E if you have multiple layers already), then apply your noise reduction as you normally would. After that, just click on the Add Layer Mask icon at the bottom, which will create a white (reveal all) layer mask (or press Alt while doing so to create a black layer mask to hide all). Then just use your Brush (B) to paint with the opposite color as your mask.

You can get as involved as you want with masking. You likely have your own favorite ways already, so go ahead and use them. There is no right or wrong way to mask.

Applying Noise Reduction

So those are my three ways to apply noise reduction. You can add some quick noise reduction in Lightroom, which takes only a second. For slightly more involved but also more powerful noise reduction, add the addition application of your choice. For your most important pictures – or the ones with the biggest problems – add noise reduction and then use masking to limit the effect to the specific areas you want.

These are just my ways though. Do you have your own special methods that are different? If so, let us know about it in the comments below.

If you found this article helpful it is just one of 31 tips you will get if you grab Jim’s new dPS course: 31 Days to Becoming a Better Photographer. Enrollment for this course is only opened for a limited time and closes August 11th (5 more days) so get it now.

The post Good, Better, and Best Noise Reduction Techniques by Jim Hamel appeared first on Digital Photography School.

Digital Photography School

Comments Off

Posted in Photography

The One Good Reason to Choose Greyscale

03 Aug

You have probably heard various reasons for converting a photograph to greyscale. I think that there is just one good reason.

converted to sRGB profile and NO edits were done on the image – this caption is just for Richard’s information

Small Point

First though, a small point – the terms black and white versus greyscale.

Is it black and white?

It is a personal bugbear. We all do it. I do it. But we really should not say “black and white”. Maybe it is easy to say, and B&W does have a much wider catchment of understanding, however, it is a long way from the truth, and “greyscale” is much more accurate.

Singular Reason for Choosing Greyscale

The reason for choosing greyscale seems very clear to me. I could write one sentence, take a bow, then exit stage left. However, I think you, readers of dPS, deserve a little more explanation than that. Also, I admit, I have experienced that it is not necessarily an idea which others always greet with immediate enthusiasm. So I am very interested to see what you think.

The pipe walk?

You have probably heard some of the standard reasons given for choosing greyscale. For many people, at the top of the list is that it reveals form, shape, and line. Closely related to this is the capacity to emphasize texture. Also, the use of greyscale can help to set a mood, enhance an atmosphere. The luminance, the relative brightness of objects within the frame, often takes on more importance. All these are good reasons for choosing greyscale.

First Example

A good guy …

Months after I had taken it, I came back to the image above and converted it to greyscale. I liked this guy when I met him. Rather, I liked his face, but I did not think the portrait offered much. Then:

… shines out from the picture.

In the context of writing for dPS, I find it difficult to comment on my own photographs, but surely the greyscale version is a great deal better, do you not agree?

The reasons include many of the standard ones given above. For me, and we all see things differently, the prime thing is that the mood is much more dramatic. Surely the greyscale version emphasizes the shape of his face much more. The processing choices are quite extreme and show the texture and details of his face. Luminance is now also a much bigger factor. For me (please refer to my dPS articles on Photographer’s Metadata) it shows the man’s vibrant character more strongly. That is curious, isn’t it? When the color is removed the character is more evident.

Zen

For me, the preliminary point to grasp is that if something is not contributing to a picture in a positive way, it probably has a negative impact on the final result. If an element in the image is not contributing in a good way, it is very likely a distraction. All a bit Zen, aiming for clarity of vision, with all the unnecessary removed.

A little Zen?

Removing the Distractions

Looking at the photograph of the watermelon store below, what do you think is the point, what is the subject, what is the story? I think it adds to the photograph that there is retail transaction taking place, and this tells part of the story. However, at least for me, I do not think that is the main subject of the photograph.

The biggest feature is obviously the melons, and I do not think it is their color, I think it is their shape, and the repetition of that shape which is emphasized by the rim light. I am certain that the van at the back is not helpful, adds nothing to the story at all, and it is quite a big distraction.

What is the subject here?

The Zen of removing non-contributing factors, unnecessary distractions should be the reason why you choose to convert a picture to greyscale. The item at the top of that list of distractions is the most obvious thing. The biggest distraction is color itself. A tip that I heard a few years ago, which I have found very helpful, is that the reason for converting an image to greyscale is that it REMOVES THE DISTRACTION OF COLOR.

Sorry, did I raise my voice for a moment there? I hope I did not offend you. But, at least for me, it is about as solid and certain as anything is in the compromise-filled world of photography. If color is not contributing to the photograph, it is a distraction.

Whether you agree or not, as I’ve said, for me the photograph of the melon stall is about the repetitive shape of the melons. All of the items mentioned a couple of paragraphs above, the standard reasons, are improved by converting to greyscale, by removing the distraction of color.

Shapes and light.

More Examples

Another street shot.

Filipino street boys.

In the greyscale version below, the luminance of the objects is improved. Just look at the plastic begging cup in the boy’s hand, it is much more of a feature. The texture is shown a great deal more clearly in the grime on the boys’ faces, shirts, and very much in the matted nature of their hair. The mood grimmer. All of these, probably more, are part of the standard list of reasons for choosing greyscale. However, all of them are subservient to the main overall reason. All the improvements are achieved because a conversion to greyscale has removed the distraction of color.

With every detail clear to see.

The next photograph is a typical Filipino sari sari store.

Minding the store.

Again, I acknowledge that we all see things differently. I can only say how I see it, but I would think that for most viewers, the removal of the distraction of color, has made the store owner much more prominent. Also, the clutter of all the sachets seems greater, their pattern, you might call it texture, seems more evident. It seems color was a distraction.

It is clear to see.

Greyscale for portraits

I am very fond of using greyscale for portraits.

This does not work.

It would have been better to use a different chair, as that yellow is a huge draw away from the subject of the photograph, but I was chasing the light. The use of greyscale soon removes the distraction.

This does work.

As with the man at the top of this article, portraits can sometimes be greatly improved by using greyscale. The face, which is, after all, the subject of the photograph, is what your eye is drawn to.

Incomparable.

As I have said, the use of greyscale can help to show shapes and lines, make more of a feature of luminance. All of that is gained because – you may well have gotten the mantra by now – it removes the distraction of color.

To my eyes, photographs of babies seem to work particularly well in greyscale.

There are too many distractions here.

Returning to the original Zen question, does the color add anything to the photograph above? Being a little absolutist about it, no it does not. It is, therefore, detracting from the end result.

Fewer distractions.

Removing the distraction of color, allows the texture to be emphasized. The skin of babies, and their young mother’s too, usually has a lack of texture, it is the beautiful smoothness which is emphasized.

Sometimes it can be a matter of personal taste.

Sweet dreams.

But I much prefer the emphasis of lines and the calm mood of the greyscale version.

Sweeter dreams.

Finally, on the theme of portraits, and children in particular.

The One Good Reason to Choose Greyscale

Greyscale for other subjects

If you even half accept what I am saying, mostly from the examples of portraits, what do you think about applying the same idea to other subjects?

Below is a unique form of transport in the Philippines, a jeepney. What do you think the color adds to the version on the left?

Converting to greyscale emphasizes the shiny parts, and the shapes and lines as well. Aren’t your eyes less drawn to the blue roof, and blue spare wheel cover?

Though it is almost monochrome, does the color add anything to this image of buildings?

The One Good Reason to Choose Greyscale

A bit of a crop, a change to greyscale, and the subject, the bicycle, becomes much clearer.

The One Good Reason to Choose Greyscale

Then, with the photograph below, what do you think the subject is? Yes, of course, it is sand dunes. More specifically, isn’t it the lines of the sand dunes? It seems that this is a good time to ask the Zen question again. Is the color adding anything to that? The sand is not a color which appeals to me in this example, and the sky is a very insipid. To my eyes, the color adds nothing.

The desert.

The lines, light and shadow, the texture … the subjects of the photograph can sing their song when it is in greyscale.

The shapes, lines, textures of the desert.

The Counter Example

Sometimes a point is made clearer with a counter-example. You might think the point of this photograph is the radiating lines.

The One Good Reason to Choose Greyscale

I think the color is at least an equal part of the subject of this photograph, not a distraction at all. The color version is much better to my eye.

The One Good Reason to Choose Greyscale

Then, I wonder what you think of this photograph.

That girl!

You may have different tastes than I do, and you are welcome to disagree. I would recommend that you question each individual shot, keep thinking, do not follow any formula. It may seem contrary to many of the decisions and comments I have made above, but I much prefer this shot in color.

Closer, warmer.

I’ve had to think about why I prefer the color version of this image. I think the really shallow depth of field is a factor, meaning that, with much of the image out of focus, the color is less present, distracts less from the subject of the photograph.

Also, because the main subject is a fairly large portion of the photograph, it is quite an intimate photograph. The color is not only NOT a distraction, but enhances that intimacy, with a warm tone, and even the detail of the small pink tongue. The luminance is a factor in both versions, but the face seems to still shine through in the color version. Neither is the photograph as much about line, shape, or texture. Simply, it is a much better, more fully cohesive story when told in color.

Processing

One extra bonus to converting a photograph to greyscale is that it can allow quite a lot more flexibility in post-processing. My assertion is that this is also a result of removing the distraction of having to deal with color. If you do not have to worry about color when processing, you can certainly kick around all those greyscale pixels a lot harder. The distraction of color might be, as in the case of this photograph shot into the light, that the color was not very good in the original shot.

I would never even start to think of publishing this.

Or?

This? Yes!

This is not a great landscape photograph to start. I think it is very clear that the light, and the subsequently flat colour, does not help. It is too dull and flat.

Remove the color, and the greyscale version is nowhere near to being a competition winner but, at least to my mind, it is better. It has a bit more depth, a bit more spark.

As stated repeatedly, with color out of the equation, no longer needing to be considered, you do have a lot of choices.

Soft, warm Arabian colors.

Hard, lots of contrast, the structure of the pot and its holder are shown clearly.

Texture, details, more balanced.

The feel and the look that I had in my mind’s eye.

For those who might remember the early Elton John album, Tumbleweed Connection, the album cover was my inspiration. I felt I got close. The point being that without color in the way, you can bend those pixels into all sorts of different moods.

Simple Conclusion

The first thing is an acceptance that if something in the frame is not adding to the photograph, it is detracting from it. Then, choosing greyscale removes the distraction of color! Simple!

P.S. Yes, of course, I also call them black and white photos all the time too!

The post The One Good Reason to Choose Greyscale by Richard Messsenger appeared first on Digital Photography School.

Digital Photography School

Comments Off

Posted in Photography

Three Good Reasons To Learn More About Photography

28 Jul

Photography has become so popular, mainly because of the inclusion of cameras on mobile phones, so it’s more difficult for your photos to be noticed. But, if you learn a little more about photography your photos will be more likely to stand out from the crowd.

Your life is full of gadgets and equipment that can be challenging to learn to use really well. Learning to use your camera will make your photography so much more enjoyable. Photography is therapy. Picking up your camera, making time to take photos, can be a wonderful break from the busy pace of your daily life.

Three Good Reasons To Learn More About Photography - Thai ladies

Committing even a small amount of time regularly to learn more about photography will help you enjoy the creative process of image making. It will help overcome frustrations you may have because you don’t understand your camera well enough. As you study you will find that your creative ideas and expression will come more naturally. And, as you know and understand more and begin to relax when you have your camera in your hands, you will find a personal groove and means of expression that will be unique to you.

So here are three really good reasons for you to learn more about photography.

#1. Create outstanding photos

Most of us love to share our photos and see the response or family and friends have to them. Even more exciting is when strangers begin to show appreciation for our photographs. The desire to have your photos seen and enjoyed by others can be a real motivation for you to enjoy photography. But getting your photographs noticed is not so easy.

Three Good Reasons To Learn More About Photography - girl with elephant

This has become more of a challenge in recent years because pretty much everybody has a some form of a camera these days. Social media has made it extremely easy to share photos and have them seen by a potentially global audience. But how do you get your photos noticed when everyone else is sharing their photos in the same way?

Take some time to learn more. Learning about light, exposure, color, tone, composition and timing will help you produce more creative, more interesting, more noticeable photographs. And, if you think about it, you probably something about these things already, because you see them all the time, but are not necessarily thinking about them.

You can’t see anything if there’s no light. Light is the essence of photography. With no light, you can have no photo. Learning to appreciate different types of light and when some light is better for making photos than others, will help you create more outstanding photographs. You see light all the time and if you can begin to understand it and appreciate how to expose your photographs well, you will create more compelling images. Knowing something of the limitations of your camera and how it captures tone and color will also help greatly in the creative process.

Three Good Reasons To Learn More About Photography - flower

Compose and time your photos better

Learning composition rules and developing a real feel for them will also help your photographs be more impactful. Like with any creative expression, learning the rules will allow you to eventually implement them without really thinking about them. This is when I believe you will become most creative.

Certainly timing your photographs well takes research and practice. Learning to anticipate action and choose precisely the best time to make a photograph, the decisive moment, is a skill that will certainly enhance your photography and make it stand out.

2. Become intimate with your equipment

Learning how to use your camera well and becoming confident will result in a more enjoyable and more creative photography experience. I have met (and taught) many people who own very nice cameras but are not confident in using them. If you don’t have a good understanding of your camera you will most likely become somewhat frustrated when you pick it up to use it, or later when you are looking at disappointing photos.

Three Good Reasons To Learn More About Photography

Becoming familiar with your camera and how to use it well takes time and commitment to study. Because each camera model is different, with the controls in different places, it means you need to do some research and hands on practice to know how to use your cameras with confidence.

Essentially all cameras are the same. They function the same way, with light hitting the sensor (or film) to create photographs. Whether you use a camera in any of the automatic modes, or prefer to use it in Manual Mode, the process of creating photos is the same, but the amount of creative control differs greatly.

Setting your exposure manually gives you far more control over the end result. Learning to do this takes a bit more dedication but will ultimately result in you making more unique, creative photographs. If your camera is always set to one of the automatic modes then the camera is making some (or all) of the most creative choices. Cameras are smart, but they are not creative – you are.

Three Good Reasons To Learn More About Photography

Learning to take control of the camera will help you enjoy the creative process of photography far more than if you have to stop and think about the basics of what to do each time you pick up your camera.

3. Photography can be therapeutic

Having creative drive, wanting to make good photos and have others enjoy them, will hopefully lead you to want to learn more about using your camera well. Doing that will free you up to enjoy your whole photography experience and you can then experience photography as a therapy.

Three Good Reasons To Learn More About Photography

Expressing your creativity with a camera you understand and love is very therapeutic. Taking time out from your busy day, even just for 10 or 15 minutes, to take a few photographs can be enjoyable and relaxing. Indulging in longer photography sessions on weekends or during vacations can be terrifically therapeutic.

I find when I pick my camera up to shoot for pleasure, (it’s different shooting for work if I have a client to please,) I can easily become absorbed only in making photographs, and nothing else matters! Being able to really zone in on what I am doing helps me forget all the worries and stresses I may be experiencing in life and just enjoy the process of being creative.

Narrowing the attention of your thoughts to the creative processes of photography, meditating on photography, brings a whole other dimension to the experience. Being aware of and intentionally seeking opportunities where you can use your camera creatively can help you relax differently than other activities you may enjoy. Watching the news on TV, checking social media, or going to a movie are all things that add a change of pace to your daily life. But a lot of what you do to relax does not involve being creative. Being creative with your camera adds a whole new dimension to life and can be most therapeutic.

Three Good Reasons To Learn More About Photography

Conclusion

Having the desire and drive to want your photos to be noticed when you share them is a good reason to learn more about photography. Overcoming the frustration you may feel because you haven’t taken the time to learn how to use your camera is another good solid reason to invest some time, and maybe even some money, in learning how your camera functions and how you can control it better (preferably in manual mode.)

Once you are on the path to learn more about your camera and about photography, knowing that it can be wonderfully therapeutic, should be most encouraging for you to follow some course of study to make the most of your camera – even your phone camera! Here’s a video for you to watch more on this topic as well.

What other good reasons do you have for learning more about photography? Please share in the comments below.

The post Three Good Reasons To Learn More About Photography by Kevin Landwer-Johan appeared first on Digital Photography School.

Digital Photography School

Comments Off

Posted in Photography

Ten ways to shake ‘photographers block’ for good

16 Jul

Get your groove back

Have you ever found yourself in a photographic rut, feeling uninspired to go out and shoot? Most of us have – it’s a frustratingly easy place to end up. So what’s the best way to reclaim your inspiration when ‘photography block’ strikes? Through self discipline, which can be a breath of fresh air at a time when memory cards are large enough to feel limitless and social feeds provide an endless stream to flip through.

What follows are 10 tips to help you not only feel refreshed in your photography, but to stay inspired to go out and shoot. Think of these tips as a workout routine to lead you toward a healthier creative state. They are meant to supplement your photographic goals, not replace them, and they’re geared towards nurturing the skill sets that will help make you a stronger photographer. Get ready to get disciplined!

All photos by Dan Bracaglia unless otherwise credited

Switch up your medium from time to time

If you primarily shoot digital, try your hands at film. Or if you only shoot film, try digital. Why? Because the inherent nature of both mediums offer separate benefits that will help you to improve your photography. Digital gives instant feedback, which is useful for honing technical skills as well as better understanding the behavior of your gear, while film teaches us to take our time and be decisive.

These are two very different skill sets that when practiced together, create a well-balanced photographer.

Try shooting in green square mode

Take your beloved digital camera and throw it in ‘green square’ mode or whatever other fully automatic mode is offered. This will force you to work around the camera’s chosen parameters which in turn will force you to think outside the box and get creative.

It will also teach you a little bit more about how your camera behaves when it’s left to make its own decisions. Understanding the default behavior of your camera is important, even if you mostly shoot full manual.

Limit your memory card size

Want to simulate the limitations of the film era without the actual hassle of shooting film? Grab some 1GB memory cards. Depending on how you shoot (and what you’re shooting with) you’ll get a pretty limited amount of shots per card (a 1GB card in my personal camera is about 30 images). This will help you to be more decisive and intentional with your shots.

For an even more difficult challenge, disallow yourself from viewing images in playback, or deleting files. Just shoot, and swap your card for a fresh one when it’s full.

Shoot with a prime

We’ve all heard the phrase ‘zoom with your feet,’ and as hackneyed as it sounds, this is still some of the best photography advice there is. Shooting a single focal length forces you to move around more, which in turn opens up new compositional paths. But that isn’t the only benefit. You also generally have the advantage of shooting with a lighter, less obtrusive lens, compared to a zoom (there are of course large, heavy primes).

Fixed lens compacts, like the Fujifilm X100 series, Ricoh GR series and Sony RX1 series are great carry-everywhere cameras that will also force you to zoom with your feet.

Consider a disposable

Hey, did you know disposable cameras still exist? They’ve survived the dawn and maturing of the digital area and can still be found at many local corner stores (in the US, at least). So why on Earth would you shoot one? Because they are the perfect tool for living in the moment, while still being a photographer. With a disposable, neither framing nor exposure are precise arts, so there’s no need to put a lot of effort into either. The only thing you, the shooter can truly control is moment the shutter is snapped, the general direction of the camera and whether the flash fires.

Disposables also do a surprisingly good job at close distances, balancing flash with ambient light. And they’re the perfect companion for a rowdy night with friends (a time when some of the best/worst images get taken), while your expensive gear stays home, safe and sound.

Keep a camera on you, always

You’re a photographer – act like one. Whenever you got out, whether its to the store, the doctor or the circus, bring a camera, any camera! Because inspiration plays by its own rules, but you can beat it at its own game by always having a camera on you.

Point and shoots, whether film or digital, are perfect for this (I personally like the Olympus Stylus Epic and Ricoh GR II). And while a smartphone can offer image quality comparable to many compacts, the act of carrying and using an actual camera is arguably more beneficial to your photographic improvement.

Compose pictures even when there’s no camera

OK, this contradicts the previous slide, but allow me to explain: Once in a while, make the choice to not bring a camera along to something you’d ordinary shoot. And while you’re there, challenge yourself to compose mental photographs. The more you get in the habit of doing this, the more you’ll recognize compositions you like when you do have a camera on you.

Photo: Wenmei Hill

Draw, doodle, sketch

This one plays off of the previous slides’ advice in terms of preparing yourself for desirable compositions before they present themselves. Even if you are a terrible with a pen or pencil, spend some time pre-visualizing and drawing out scenes you like, whether abstract or realistic. This exercise can also be surprisingly helpful at helping you to better understand the concept of 3D space on a 2-dimensional plane.

Look at more pictures

Get in the habit of consuming quality photography every day. Social media is both a savior and a curse when it comes to daily consumption of imagery. The relentless nature of ‘the feed’ can lead to binge consumption – try to slow down and take the time to look into images, not at them. Apps like Instagram allow you to easily curate and view only the work of those photographers that inspire.

Better yet, view photography outside the context of a screen: go to a museum or gallery show. Photo books are another great way to quickly inspire. Keep one or two favorites easily accessible, so when you’re feeling creatively drained, you need only pop them open to recharge.

Post your images, watch your progress

Maybe you aren’t ready to share your work with the world just yet, no problem! Start a photoblog anyway. Even if you don’t share the link with anyone, by maintaining a place you update often, you’re making a record of your photographic progress. So when you’re feeling uninspired or low about your work, simply look back on how much you’ve improved to lift your spirits.

Because hopefully, you will have.

Share your tips

Have any other tips? Share them in the comments below.

Articles: Digital Photography Review (dpreview.com)

Comments Off

Posted in Uncategorized

What is Good Light and How to Use it to Create Beautiful Portraits

12 Jul

Two of the most commonly used and misunderstood phrases thrown around by photographers today are, “It’s all about the light” and “Look at that beautiful light”. But what does that actually mean? How can you use it to make beautiful portraits?

good light portraits

In my early years, I kept hearing photographers online and in person preach about the importance of light yet never clearly explain what good light is and how to actually use it to flatter or minimize a subject’s flaws. Here are a few tips to keep in mind on your next shoot to help understand light and how to use it to make better portraits.

Direction of Light

Before you pick up your camera, stop and look around the scene to see what direction the light is actually coming from which will help you decide what to do with your subject. This might seem really obvious, but once you understand the importance of the direction of light half the battle has been won.

direction of light portraits

For example, when you first walk into a room for an indoor portrait or bridal session the most obvious light source is likely from a window. With window light there are three common lighting scenarios you can create by simply changing your camera and subject position to the light.

Flat Lighting

In this scenario, the window is behind you (you have your back to the window) thus soft light is falling onto your subject. There is no light coming into the lens compared to if you were shooting into the window. Usually the lighting is even and flat with no shadows, provided, of course, that there is no direct sunlight coming through the window.

Here the light was behind the camera providing a nice even light across the groom’s face.

Back Lighting

A backlighting situation is created when you’re shooting into the light (the camera is facing the window). Shooting into the light will cause a lack or loss of contrast in your image, and the background will most likely blow out and be over exposed. You may also choose to shoot this way to purposely eliminate distracting details that maybe outside like a building or car that detracts from the scene.

This is okay if that’s the look you’re going for or you’re shooting a silhouette, but for a portrait it’s usually not the most flattering light.

back lighting silhouette - good light portraits

Here I chose to purposely backlight the bridal party. So the light wasn’t coming directly into the lens and to try and retain some contrast, I simply turned the blinds slightly so the light wasn’t coming directly through the window as much.

Split or Side Lighting

Having your subject next to the window and shooting parallel to it can be a good way to create some shape, tone, and texture by defining highlight and shadow detail in the face and body. It’s also a great way of hiding or highlighting certain features that might be prominent. For example, if your model has blemishes on one side of her face, to hide or minimize this simply place that side of the face in shadow and or crop it out entirely if possible.

Here the light was coming from camera left, which also makes her the brightest part of the image compared to the darker back ground. The bride and I were standing parallel to the window.

Light with Intention

To highlight your subject’s face, rather than the torso or arms which are bigger in proportion to the face, simply turn their body away from the light source and turn their face back toward the camera.

Also if you can find a location where the background tone is darker than the subject it will help make the model stand out as the center of interest in your image. This could mean choosing a location in the house which has a darker midrange tone not a white or cream. It’s also most likely going to be out of focus anyway.

Here the light was coming from the window to the right of the bride (from camera view). I asked the bride to turn her body away from the light (to my left, her right) and then bring her face back towards the window. This is how I achieved the shadow detail on her left side of her face and body. I was also shooting from the shadow side or her face.

Quality of Light

Sun light, window light, reflected light, diffused light and back light all have a different quality of light. Direct light sources tend to be harsher and will show skin imperfections easier. Direct midday sunlight can create hard shadows in the eye sockets which can look like dark bags.

If you have to shoot during midday, remember that the light is coming from directly above. So wherever possible find poses to get the models to tilt their heads up towards the sunlight so their entire face is lit to avoid having horrible bags under their eyes.

Look at the quality of light and if it is too harsh like direct sunlight it may be a good idea to introduce some sort of diffuser like a scrim, or get into the shade.

Here I was shooting indoors, but the light coming through the window was too harsh. So I asked my assistant to hold a scrim in the window which created a beautiful even soft quality of light.

Sometimes natural reflectors can be found at the locations where you’re shooting. So if you see a white wall or big white truck and the sun is hitting it, that is now a diffused light source and will be much softer than a direct light source like the sun.

This image was taken outdoors before sunset using a translucent reflector as a diffuser. I asked my assistant to hold the reflector in-between the subjects and myself. This created beautiful, soft, non-direction diffused light on their faces filling in all shadows. The natural sunlight behind them added a nice soft highlight to her hair. You can even see the reflection of the reflector (catch lights) in their eyes.

Conclusion

With all these tips in mind, the most important thing to remember is that all light is not created equally. The best thing I can suggest is to go out and just practice for an hour or so at different times of day with varying light sources to see what works and what doesn’t. This way you’ll have confidence on your next the wedding day or portrait photography shoot.

The post What is Good Light and How to Use it to Create Beautiful Portraits by Andrew Szopory appeared first on Digital Photography School.

Digital Photography School

Comments Off

Posted in Photography

12 Tips for Practicing Good Camera Etiquette When Photographing Events

07 Jul

It’s easy to get excited about having a good camera you can take with you to various events and activities. Being able to record the event in images to print or share is exciting and sometimes a nice thing to do for the people holding the event. But do you follow good camera etiquette? And what does that even entail? Let’s have a look.

Low light situation with bright coloured stage lights made this shot difficult. I wanted to capture the colours of the lights, so I chose not to use my flash.

People attending the event may appreciate being on the other side of your lens. Some people are uncomfortable when faced with big professional looking cameras. Other people just want you to sit down and stop blocking the view for everyone behind you.

It can be a challenge to balance your desire to capture those special moments against a level of intrusiveness into the occasion. What are your options? What should you consider in advance?

#1 – Is it appropriate?

Some religious ceremonies may not be the place to take a camera along. Photographing other people’s children is now something to be done with caution for a variety of security reasons. Are you blocking the view of other participants? Are you being a distraction? Have you just blinded everyone with your flash?

Were you asked to bring your camera along to the event and shoot? Have you got permission or approval to be shooting? These days it can be assumed that images will be shared online, not everyone may want to have their images shared, or to be tagged or identified in some way.

You can share relevant images of an event without showing the faces of attendees

#2 – Use discretion in your approach

So you rock up with a big DSLR body, big long lens, and your camera is clicking away audibly over the hushed sounds in a church. People are looking at you over their shoulder, others are grumbling about you being in their way. Maybe your flash just scared the birthday boy and he is now crying and scared? Sound familiar?

Being there with your camera doesn’t give you the right to impose or interfere with the event. Even a professional wedding photographer is there to be discrete, to capture the images without being the focus of the event. So standing up in the audience, blocking the view behind you isn’t okay. Distracting the performers or people involved with the loud shutter sound is not okay. Getting in the way of people to get the perfect shot is not the point of the event from everyone else’s point of view. They probably paid to be there too.

If you can’t get into the front row easily, if you feel you have to use your flash in a dark venue, if you are getting in the way of attendees or other people, then learn to identify a better time and place to be shooting. Enjoy the event instead and put the camera away.

Flash was used in this instance with the permission of the dancer, who was performing for our camera club. I specifically wanted to throw the background into darkness so the bright colours of her outfit glowed.

#3 – Get permission

Have you checked that cameras and photography will even be allowed at the event? Plenty of concerts, plays and similar events specifically ban photography. Sometimes they will announce it on stage before the curtain rises. Some venues specifically ban professional looking equipment, so are you prepared to have yours confiscated at the gate?

Depending on the country you live in, people have rights over how images of them are used. So they have the right to deny you the ability to take shots of them, especially at a private or family event. Not only should you ask for permission to shoot in advance, you should also clarify about what will happen to the images. Will you be sharing them online? Are people okay with that? Do you have model releases for images you might want to use commercially or in competitions?

This steampunk lady and her partner not only agreed to pose, they also signed model releases for me.

Are you shooting architecture? Have you checked what approvals may be required? Many buildings that you may assume have public access are actually privately owned. Some do have limitations on photography, especially if it’s a busy space and you want to set up a tripod in the middle of it. It is easy to think you have the right to shoot anywhere you want, but to avoid an uncomfortable situation with a security guard or police, do your homework in advance.

A day out shooting airsoft was lots of fun – I was taken along by one of the organizers who made sure I followed all the safety protocols.

#4 – Flash is rarely a good idea

Many events are held in quite dark spaces like; concerts, plays, musical events, sports, dancing, etc. Everyone in the audience is sitting in the dark, watching the action happen under the stage lights. Imagine how annoying it must be for someone to stand near the edge of the stage and light up the place with a camera flash repeatedly. Imagine how annoying and distracting (and potentially dangerous) it must be for the performers to have the flash bombarding them.

If you are in a low light situation where you cannot obtain good images with the gear you have, then put it away. If you need to do a lot of low light work, you may want to consider investing in a body with good ISO performance and a fast prime lens. But otherwise, don’t be the jerk with the camera spoiling it for everyone else by having your own fireworks show while you are trying to shoot.

Shooting an indoor swing dance event using a 50mm f/1.4 prime lens to maximize the use of available light and reduce the need to use flash allowed for more intimate images, as the dancers didn’t notice I was there most of the time.

#5 – Avoid conflict

Are you at a wedding or other event where a professional shooter has been engaged? Did you go up to them, introduce yourself, mention you had a camera and ask if it was alright with them if you grabbed a few frames for your own personal records? Did you gracefully put your camera away when they said no, that they didn’t appreciate an amateur getting in the way? Do you respect the wishes of the people organizing the event and allow the professional to do their job?

Did you avoid conflict with someone being paid to do their job, or did you cause a scene or aggravate them with your attitude? Were you professional?

If someone asked you not to take photos of them, did you agree? If someone asked you not to post images of them online, did you shrug and do it anyway? Did you consider your right to shoot and post more important than that of the people whose images you are using to promote yourself?

Are you covered legally if something bad happens as a result of your photography interference?

This lady walked into my shot and is saying oops!

#6 – Participate and be present

How many times do you get asked along to a family event or social occasion? A few? People are generally pleased to see you and chat and catch up about things. What happens when you bring your camera out? Are people then avoiding you? Do the invites stop coming?

Ask yourself an important question at any event you are tempted to take your camera along to – especially if it involves family or friends. What is more important – the people you are with and the event you are celebrating or is it your camera and photography?

Sometimes it is more appropriate for you to leave the camera behind, to actually be present and participate in the moment. To talk to and connect with people without the barrier of a camera lens between you.

Pick your occasions, your sister may be delighted by your offer to shoot your niece’s first school play outing (but the school or the other parents may not be). Or you could sit in the audience and enjoy the special moment for what it is.

Don’t forget to enjoy the barbecue!

#7 – Personal security

Walking the streets, or being in a big crowd with expensive camera gear hanging off your shoulder can be a dangerous exercise. Camera gear is obvious, people see you using it, and the big flashy stuff is usually worth a reasonable amount. Are you paying attention to your personal security and that of your gear? Do you want to be out alone at night in the city getting the gritty street shots?

Traveling to other countries is exciting, but they have different laws and situations. Have you studied in advance to make sure you are not causing any offences? Do you walk around with big branded straps on your camera and on your bags? Are you a walking advertisement for expensive camera gear just waiting to be grabbed when you leave it on a chair in a restaurant? Dress to blend in when you can.

camera etiquette

#8 – Don’t waste people’s time

Is your camera all set up and good to go for the lighting conditions you might encounter? Or are you standing there fiddling with the buttons while your subjects stand there awkwardly, wondering what’s going on?

Be ready to capture the best and most genuine smiles.

#9 – Engage your subject

This may well depend on the circumstances, but an image of someone looking at the camera and sharing some emotion makes for a far more powerful image, than a furtive capture from the sidelines. Take the time to say hello, introduce yourself, and explain why you are taking pictures.

Ask their name, if they are okay with you photographing them. Talk a bit about the event, get them interacting with you. Be sincere, everyone has an interesting story to tell, if only you take the time to listen. A few minutes is all it takes but the difference in the quality of the images will be huge. Plus it’s polite to treat people like people, and not just objects for your photography amusement.

I spent an afternoon with these lovely ladies at a Zombie Run and we had lots of time to get to know each other. So they were happy to spend some time lurching towards my camera when I proposed the idea.

#10 – Don’t compete for attention

If there are several photographers at an event clamouring for attention, you will get different people looking in different directions within the same image. The end result is not as nice as it can be, and can matter for things like group wedding shots. So wait your turn to get in front of the subject, don’t try to shoot at the same time as someone else (especially a hired pro doing their job!), and potentially ruin both your images.

I have the attention of two of the three guys, the one on the right is looking at another shooter next to me.

#11 – Take no for an answer

Some people hate having their photo taken, regardless of the situation or approach. There are many reasons for people not to want to be in front of your camera, so be respectful of their wishes. If they ask you to delete any images they are in from your memory card, then do it. If asked not to post images of people online, don’t. Your rights as a photographer are not more important than those of the your subjects.

good camera etiquette

#12 – Act professional even if you aren’t a pro

Lots of photographers hope to make money out of their hobby and interacting with customers is a key part of the business. Even if you are new and learning, be professional and courteous. Eventually when you are taking paying customers, you will have developed good habits and hopefully a good reputation as well. It will pay off. Have a business card with some contact information to assure people you aren’t a creep with a camera, but a genuine photographer. Who knows, it might also generate some new business for you.

This troupe performed at an event I was at and while I was taking some portraits in the lobby they saw me and asked me to photograph them. As I was happy to do that, then they asked if I could get a shot of this guy doing a high kick. The lighting was terrible and my camera wasn’t really up to it, but I agreed, took a few shots, and emailed the best ones to them the next day.

Conclusion

Remember that when you turn up at an event with your camera, it isn’t about you and your photography. It’s about recording the event in a way that doesn’t interfere with it, or disturb the other people or patrons attending. Respect people’s wishes and privacy, ask permission, follow good camera etiquette and everyone will be a lot happier about the situation. Don’t be a jerk, no one appreciates that.

The post 12 Tips for Practicing Good Camera Etiquette When Photographing Events by Stacey Hill appeared first on Digital Photography School.

Digital Photography School

Comments Off

Posted in Photography

CIPA figures for May show more good news for camera makers

07 Jul

The number of cameras made and shipped by manufacturers continues to grow, spelling some positive news for the photo industry. Although the total number of digital still cameras produced in May by members of the Camera and Imaging Products Association was only up by 4.1% in April, the difference over May 2016 was an impressive 42.2%—and by value 38.9%.

Compact camera and interchangeable lens camera shipments grew by much the same amount, but within the interchangeable lens sector almost two and a half times more mirrorless cameras were produced than last May, while DSLRs grew by only 12.1%.

By value, production of DSLRs was flat on last year and mirrorless up by 160%, but the number of DSLRs produced is still well ahead of compact system cameras—628,336 units as compared to just 387,287.

May 2017 figures still fell short of 2015 (the dotted purple line), but far outpaced May of 2016 (the solid black line).

The association’s figures show that the value of cameras shipped in May was up by 54.5% on the same month last year, with the compact system sector growing by over 200%. While the number of units shipped has also grown, these figures demonstrate a (predictable) movement towards higher priced cameras across the whole industry, and particularly in the mirrorless category.

The mirrorless bug seems to be quickly catching on in the USA, with the region showing value growth of 390%, but the actual number of models shipped still lags behind Europe and Asia. America seems to have a taste for the more expensive mirrorless models though, with a mean pre-tax price of around $ 720 per camera compared to $ 480 in Europe, $ 500 in Japan and $ 470 in Asia.

For more information see the CIPA website and our report on April 2017 figures.

Articles: Digital Photography Review (dpreview.com)

Comments Off

Posted in Uncategorized

10 Reasons Why it’s a Good Idea to Start Producing Video Content

22 Jun

If you spend any amount of time online you’ll be well aware of the rapid expansion of access to video content that has happened over recent years. Being largely user driven, this content varies from professionally produced through to home videos of cats, puppies and everything in between.

With the increase in internet speeds and processing power of viewing devices, we have the ability to watch countless hours of video content where and when we like. This provides some interesting opportunities for you as a photographer to consider, either through creating video content, or using video as a platform to show your work in a different way.

Ultimately it allows you to connect with people differently, using elements of storytelling and emotional connection that can only exist through the use of motion and sound. Here are some reasons why I have embraced video as a way of communicating.

Reasons to produce Video 01

1. Video allows you to tell stories in a more immersive way

Anyone who has been to see a film or documentary and become heavily invested in the story and its characters will be able to relate to this. While still images can communicate much of a subject, the depth of which you can tell stories through motion is effective in a different way.

Hearing the person’s voice rather than reading a quote, listening to them describe a situation or speak to another person and feeling the emotion in what they are saying and how they are presenting it. There is the element of moving images that cannot be replicated through stills. It is not to say that motion is a better way, just a different way to tell stories.

It also allows the viewer to have a different experience in seeing environments through motion. Seeing the elements that exist move and interact is again difficult to replicate through stills. Wildlife photos versus wildlife footage is an excellent example of how your understanding of an environment can shift based on the way you are viewing it.

Case study: Karma Coffee

2. Music can introduce a different kind of emotional pull

Music plays a significant role in every piece of film or TV content, from the news to drama to documentary. It has incredibly strong pulling power with our emotions and this is something anyone can take advantage of. The immediate tone that is set with music helps to identify what we can expect to feel, the anticipation of a lion hunting its prey, the feeling of accomplishment for a climber reaching a summit, or a family coming together after a long time apart. The ability to pull your audience further into a story with the emotive power of music is something we should look at seriously if producing video content.

While we may not have the budget for commercial music or large-scale productions, there are a lot of options available through stock music sites that will give you the style of music you are after. By using music that is available for licensing, you are free to have your video projects available for public viewing with no concern of copyright infringement as long as the music is licensed for the correct use.

Case study: Mates in Construction – Kokoda

3. Creating slide shows of your images adds a more dynamic element to your portfolio

This is a great way to bring a collection of images together and show them in a more dynamic way. The collection of images may simply be your portfolio, or it could be from a wedding you have shot, an overseas trip, or a family event. There are many benefits to presenting still images in this way as it allows you to include music and some animation or movement of your images within the frame as opposed to just a static position.

It also means your photographic portfolio can now be viewed on platforms that would otherwise be unavailable for still images, such as YouTube.

Case study: Damian Caniglia Photography Slideshow

4. You can bring together a collection of images and video that are connected

Producing video content doesn’t have to include exclusively just video. Incorporating stills and animation can help tell stories in a more complete way, as well as utilizing content that may already exist.

An example of this may be a short story telling project about a person’s life growing up. Using old photos as part of the visual elements means you are able to give greater context to that person’s life, their story, and what they were like at this time. It also brings a greater level of authenticity to the person’s story as the viewer is able to see a visual representation of what they are talking about.

Another example of this is you may be telling the story of an artist. Using images of their art as they describe their motivation, process, and aims allows to help show their work as they are discussing it. Again, giving better context to who they are as well as a visual representation of their work within the video piece.

5. You can develop character-driven stories and documentaries

Many documentaries have a narrator or voice-over directing the flow and narrative of the story. Character driven stories only allow the voice and vision of the person the story is about, to appear.

While often there is an interviewer involved, the voice of the person asking the questions is removed from the final edit leaving only the people appearing in the video as the ones directing the story.

This has some considerations when asking questions during an interview, and more specifically, the way in which the person being interviewed responds.

Case study: Kokoda 2013

6. Most social media channels favor video content

A quick look across the most popular social media platforms will show how much video content is being favored. In fact, doing a few tests will show you that the current algorithms being used by these platforms favor video content above almost all others.

While YouTube is still the king of video, other platforms such as Facebook and Instagram are definitely showing great reach and interaction with its users and video content. This can be a big advantage for those producing video as you have the potential to reach a bigger audience based on this shift.

Case study: Preserving the Ancient

7. You can offer more options to existing clients including time-lapse videos

It used to be the case that if a client wanted photographic work done, they hired a photographer and if they wanted video content produced, they hired a video producer or production company. But, there has been a shift in recent years with clients having the option of choosing one person who is capable of producing both. This has a number of benefits for the client as well as the supplier.

For the client, they only have to deal with one person or company. This is especially important if the styled approach needs to match across different content (photo still and video, for example. For the producer of content, it means you are able to offer more solutions for your clients, giving them a turnkey solution for production and more reasons to use you instead of anyone else.

Case study: PODS time-lapse

8. You can produce video for stock licensing

There has never been a greater demand for video content. That demand is only set to rise as video content is embraced across all sectors of our society and more online platforms.

Here lies the opportunity for content creators. While there is nothing better than custom footage made specifically for a story, film, or documentary project, there is not always the budget or easy access to what is needed. Stock content is an excellent way for producers to obtain content for their respective projects. This is not a new concept as stock content has been around for a long time.

By looking through the libraries of some of the larger stock libraries, you can quickly determine the style of content that is accepted by stock libraries, and what is the most popular for purchase and download. There are many options for your approach to creating stock video content. However, maximizing your existing connection or access to local areas or industries means you can take a more strategic approach to what you produce based on your knowledge of said industries or areas.

Case study: Sample Footage, Tasmania, Australia

9. You can start doing a regular vlog (video log) to showcase your work

This is almost like a behind the scenes process of telling your story. It is a great way for your audience to get a better idea of who you are as an artist and producer. It will allow your followers to become better invested in your work and your story so they become better connected to you.

By understanding your process in a transparent way, your followers can not only understand the amount of effort and resources that go in to producing your work, they will also develop a better understanding of what it takes to be a successful artist.

10. Producing video is a good skill to have

Even if you are not using video production within your business or work, it is a good skill to develop for the future. As mentioned earlier, there is no doubt we are consuming more video content than ever before.

Organizations that traditionally would not consider producing video content in-house are starting to do so. Developing the skill and understanding for what is needed to produce this content will give you a better understanding of the strategy needed, whether you are producing it personally, or engaging the services of an external producer.

This will often lead to better planning and execution of a project, which results in better quality outcomes.

Conclusion

If producing video content is of interest then get out there and start experimenting with this medium. As most, if not all cameras for photography also shoot video now, it means there is little or no investment in equipment to get started. Be sure to check out some articles on how to get started shooting video and hit the record button and start experimenting.

The post 10 Reasons Why it’s a Good Idea to Start Producing Video Content by Damian Caniglia appeared first on Digital Photography School.

Digital Photography School

Comments Off

Posted in Photography