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50mm Street Photography: What Makes It Great (+ Tips)

17 Sep

The post 50mm Street Photography: What Makes It Great (+ Tips) appeared first on Digital Photography School. It was authored by Simon Ringsmuth.

50mm street photography: what makes it great

There’s a longstanding debate about whether 50mm street photography is the right way to go, or if wider lenses are a better choice. Most people who practice street photography prefer lenses with a broader field of view like 35m or 28mm, but that doesn’t mean 50mm is useless. Far from it, in fact.

There are many good reasons to choose this focal length when shooting photos out on the street. Shooting with a 50mm lens also unlocks lots of photographic possibilities – along with adding some creative constraints – and the results you get just might be among your all-time favorite pictures.

Reasons to use a 50mm lens for street photography

The first lens I ever purchased for my DSLR was a 50mm f/1.8, and I still use that same lens today. It’s kind of a jack of all trades option, and it lets me get great shots in a variety of situations, especially when shooting with a full-frame camera.

I have since picked up a variety of other lenses but find myself returning to the classic “nifty fifty” time and again, especially for street photography. It has a charm and sense of character to it that other lenses can’t match, and it’s a great option for beginner street photographers who want to step up from their kit zoom lenses.

In other words: There are plenty of reasons to use a 50mm lens for street photography. Not convinced yet? Here are some of my favorite reasons to stick with a 50mm lens when shooting on the street, starting with:

1. 50mm helps isolate your subject

Man Playing Guitar
Nikon D200 | 50mm f/1.8G | f/2.8 | 1/1250s | ISO 100

Streets are filled with activity: pedestrians, vehicles, tourists, animals, and much more. Shooting with a wide-angle lens makes it easy to capture an entire scene – but difficult to isolate a single subject.

On the other hand, when you use a 50mm lens, the field of view is constrained, so your subject is often isolated amidst the chaos, hustle, and bustle of daily life.

While you can get a similar effect with a wider lens simply by moving closer to your subject, you may feel like you are imposing on your subject’s personal space. Shooting with a 50mm lens is a great way to make your subject stand out while also maintaining a comfortable distance.

2. 50mm lenses have amazing depth of field

two students in conversation
Nikon D200 | 50mm f/1.8G | f/1.8 | 1/3200s | ISO 100

Every lens adjusts the depth of field, but it’s much easier to manipulate DoF on a 50mm lens compared to a wider lens. To get pleasing foreground or background blur on a 28mm or 35mm lens, you need to close the distance between you and your subject or shoot with a very wide aperture, which tends to get expensive.

Moving near to your subjects is fine if you are comfortable getting close to strangers, but lots of street photographers like to leave a bit of distance. Thankfully, the large f/1.8 or f/1.4 aperture on most 50mm lenses lets you get sharp subjects and beautiful background blur even while standing back a bit. This depth of field can be the difference between a decent photo and a great one, and it’s a great tool to have in your back pocket for when you really need it.

Of course, longer focal lengths like 85mm or 105mm give you even more control over depth of field, but these options can isolate your subject a little too much. Whereas 50mm hits the sweet spot; it lets you get enough in the frame while also offering fine control over depth of field.

3. 50mm helps you capture fast action

50mm Street Photography Skateboard

Some might cry foul on this one, since any lens can capture fast action as long as you can get a quick shutter speed – but once again we find that a 50mm lens hits the sweet spot. As long as you have plenty of light and good autofocus, you can freeze a moment in time with any lens, but if you want to do this in a street setting, 50mm is the way to go.

With a wide f/1.4 or f/1.8 aperture, you can easily get a shutter speed of 1/500s or 1/1000s in most lighting conditions, which is plenty for stopping movement and eliminating motion blur. And the midrange focal length is perfect for honing in on one subject while not interfering with the movement that you are trying to capture.

If you want a bit more reach, you can shoot with a 50mm lens on a crop-sensor camera, which will put you even closer to the action when photographing, say, musicians or street performers. The 50mm focal length is ideal for freezing motion on a single subject and focusing your viewers’ attention, which is tricky when shooting with wider focal lengths.

4. 50mm gets you close to your subject

50mm Street Photography Sorority Rush
Nikon D200 | 50mm f/1.8G | f/2.8 | 1/1250s | ISO 200

Here’s one of my favorite aspects of shooting with a 50mm lens:

It’s not really a wide-angle lens, but also not really a telephoto lens. It exists in the gray middle ground between those two extremes, and as such, lets you tap into the power of both. This means you can get up close and personal with subjects on the street without being too close, especially if you shoot with a crop-sensor camera. You can also stand back and give yourself some breathing room while getting near enough to make a personal image.

I’ve shot street photos with a variety of focal lengths and consistently found that 50mm strikes the best balance. Wider lenses capture entire scenes, while telephoto lenses are great for portraits. But 50mm lens lets you capture scenes that also feel personal by bringing you just close enough to your subject, and the results can be amazing.

5. 50mm gives you a unique perspective

Sidewalk Lamp
Nikon D200 | 50mm f/1.8 | f/4.8 | 1/640s | ISO 200

While some people think the 50mm focal length is boring, I have found the opposite to be true, especially for shooting street photos.

When capturing the image above, I was on top of a three-story parking garage and shooting straight down to get a shot of the pathway light. While I was framing the shot, a pedestrian happened to walk through the image, and I got a picture that wouldn’t work at all with a wider or longer lens.

I frequently come across situations like this with 50mm lenses, where a wider focal length would ruin the shot. It’s this unique perspective that makes 50mm so good for street photography. You get a perspective that takes ordinary scenes and turns them into interesting, creative photo opportunities that can ignite your curiosity and inspire your imagination.

50mm street photography tips

When venturing out with your 50mm lens, it’s important to keep a few tips in mind. While each individual photographer has to find their own style, methods, and approach to photography, here are some lessons I have learned that will help you get better photos, consistently:

1. Don’t always shoot wide open

50mm Street Photography Sunrise silhouette
Nikon D200 | 50mm f/1.8G | f/4 | 1/6000s | ISO 200

Wide-aperture lenses are outstanding photography tools, but when not used carefully, they can cause problems.

It’s tempting to shoot wide open at f/1.8, f/1.4, or even f/1.2 if your 50mm lens has that capability. But while the results can be sublime, there are a lot of reasons to stop down to f/2.8, f/4, or even smaller, especially when doing street photography.

For one, a smaller aperture gives you more wiggle room with depth of field, plus it results in better overall image sharpness. Street photographers often use zone focusing, which is extremely difficult when shooting at very wide apertures, especially on a 50mm lens.

Also, shooting wide open can occasionally give you too much background blur, to the point that it’s distracting or downright ugly. My rule of thumb is to use my 50mm lens one or two stops down from its widest aperture for most street shooting, then open it up all the way for those situations where you really need it.

2. Capture action through panning

bicycle panning
Nikon D200 | 50mm f/1.8G | f/13 | 1/15s | ISO 100

If you really want to take your street photography to the next level, try some panning shots. This is a great way to capture motion using long shutter speeds, especially with a 50mm lens.

Start with a small aperture – try f/8 – and a relatively slow shutter speed, such as 1/30s. Then put your camera in continuous high-speed shooting mode, set your autofocus to AF-C instead of AF-S, and fire away as a cyclist, pedestrian, or automobile zooms past.

It might take a few tries to get the shot you want, but with a little practice, you will soon create works of street art that you will be proud to print and hang on the wall or share on social media.

3. Look for light and shadow

50mm Street Photography Fountain
Nikon D200 | 50mm f/1.8G | f/4 | 1/800s | ISO 100

This tip isn’t specific to a 50mm lens, but in my experience, it’s easier with one. You see, the constrained field of view at 50mm makes situations of light and shadow easier to find, since it forces your eye to look at a smaller portion of the world compared to a wider lens.

When shooting on the street, look for unique photo opportunities that use light and shadow in creative ways. Try shooting silhouettes or using backlighting to create interesting photo opportunities. Pay attention to the time of day and adjust your shooting accordingly. I really like going out in the early morning or late evening when the sun casts long shadows over everything; you can create amazing photos that you just can’t get at other times.

4. Capture moments, not people

50mm Street Photography Free Hugs
Nikon D200 | 50mm f/1.8G | f/2.8 | 1/1250s | ISO 200

This is another tip that’s good for any street photography situation, but one that is often enhanced when shooting with a 50mm lens. Try to capture moments in time that display singular elements of humanity: purpose, decisiveness, intention, drive, and so on. Don’t just get shots of people standing around, wandering aimlessly, or sitting and staring at their phones. Look for emotions like love, caring, compassion, happiness, or fear.

Take pictures that tell a story, such as the one above, which I shot on a college campus on Valentine’s Day. A 50mm lens is ideal for these human moments – you can stand back a bit, get your subjects sharp and focused, and create a sense of three-dimensional space through careful use of aperture and depth of field. This elevates your street photos from flat, boring images of random passersby to slices of life that showcase the best of what humans have to offer in this world.

50mm street photography: conclusion

50mm Street Photography Bicycle
Nikon D200 | 50mm f/1.8G | f/16 | 1/20s | ISO 100

Street photography is all about personal choice and finding a style that works for you. While the 50mm street photography isn’t the first option for many people, it has some distinct advantages and unique qualities that can help you create impressive images and develop your own artistic vision.

If you have never tried shooting street photos with a 50mm lens, give it a try. I think you’ll like what you see!

Now over to you:

What do you think of 50mm street photography? Have you tried it? Do you have any images you’re proud of? Share your thoughts and photos in the comments below!

50mm Street Photography Conversation
Nikon D7100 | 50mm f/1.8G | f/2.8 | 1/8000s | ISO 1100

The post 50mm Street Photography: What Makes It Great (+ Tips) appeared first on Digital Photography School. It was authored by Simon Ringsmuth.


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5 Secrets for Finding Great Indoor Photoshoot Locations

26 Jun

The post 5 Secrets for Finding Great Indoor Photoshoot Locations appeared first on Digital Photography School. It was authored by Melinda Smith.

secrets for finding indoor photoshoot locations

Not all photographers have a dedicated indoor studio, yet sometimes you need to shoot a session indoors. Maybe it’s freezing outside, and you don’t want to be out in that weather. Maybe you just want something fresh and a little quirky. Maybe a building has a special meaning to you or the person you are photographing.

Whatever your reasons, if you want to take indoor portraits, you’ll need to find that perfect indoor photoshoot location. And that’s what I’m going to share in this article: all my secrets for finding stunning locations (plus how to get permission to use them).

With any luck, they’ll help you find the perfect spot for your next session!

bride on a couch

1. Always be on the lookout

Wherever you go, keep your “photography eyes” open. You may be surprised by how many places transform into a great location once you really start looking.

Some unique and exciting indoor photoshoot locations might include:

  • family photos in the library
  • model portfolio shots in a city building
  • engagement session in the laundromat
  • dance group session in a hotel lobby
  • mom and toddler portraits in a grocery store
  • bridal session in a grand old house, a museum, a quaint bed and breakfast, a roller-skating rink, a university building, a furniture store, a toy store, or a candy store (the list is endless!)

Look for great lighting, open spaces, interesting backgrounds, and fun things to interact with. Consider whether there are lots of people you might end up disturbing, or whether it’s a relatively calm place where you can photograph in peace.

Use your imagination and creativity to turn the ordinary into something extraordinary.

kissing couple in a library photoshoot location

2. Always ask permission

Once you’ve found a place you’d like to use for a photoshoot, make sure you ask permission before you bring a client there.

I find that asking in person is usually best; the staff/owner can see who they’re talking to, and they’ll be much less resistant if they can see your smiling, friendly face. If you do need to ask over the phone, be professional and friendly. Remember, they need to feel comfortable with you coming in, camera setup and model/client in tow.

If you like a location but aren’t sure who owns it, check city or county records, or ask a neighboring building if they know the owner. It might take time and effort, but you should always find out who owns the property before shooting. It gives all photographers a bad name if you trespass.

In fact, I’ve had many photoshoots where I call to ask permission, and the owner thanks me profusely for bothering to ask. They usually express their frustration with other photographers who just start shooting without asking. (They allow me to photograph on their property, so obviously they don’t mind people being there, but they always appreciate being asked first.)

Also, note that some locations, like museums or theme parks, are fine with you taking photographs inside, but you’ll have to pay the entrance fee.

woman posing on stairs

Other places charge a fee for photography and some don’t allow photographers at all. If you whip your camera out in either of those types of places without asking permission first, you could be fined huge amounts. It’s not worth it. Ask, and if you get declined, just move on and find another place.

Remember: It never hurts to ask. Most of the time you’ll be granted permission – and owners are often pleased that you think their building is worthy of being an indoor photoshoot location.

child with valentine's day gift

3. Find an owner who will also benefit

I needed a place to have adorable kids come for Valentine’s Day photos, but I didn’t know who would want multiple kids and families traipsing in and out of their establishment. Then I came across an adorable little candy shop; it was was decorated perfectly, plus it was full of delicious sweets and treats.

In the end, my photography clients came in and out all day for their sessions, and they ended up buying lots of candy in the process. Many who came had never noticed the little hometown shop with homemade caramel apples and every kind of candy you can think of. They were happy to have discovered it. I ended up with a great place for my Valentine’s Day photos, and the owner got a lot of new business.

child looking in candy baskets

Look for places that might benefit from your photoshoot, and chances are the owner will be more than happy to let you use their location (free of charge).

Also, many small, locally-owned places need a couple of photos of their establishment for websites and advertising purposes, or maybe even a quick headshot, and would be thrilled to let you photograph there in exchange for a photo or two.

family looking at a dinosaur

4. Explore your connections

Do you have a friend who owns a quaint little bed and breakfast? Do they work at a museum? If you get hired to photograph that friend, you may be able to get your foot in the door and photograph at that location.

Then, if the photoshoot goes well, your friend/client may be okay with you bringing other people back to the property!

You can also think about your broader friend network. You might not be planning to photograph your best friend, but they may still have a connection to a property that you could use for your shoots.

That said, be careful not to ask for too much, and be careful not to put anyone in an uncomfortable position. If you sense that a friend is hesitant about letting you use a location, don’t push it. A little respect goes a long way, and you don’t want to be the photographer who people avoid at all costs. Relationships are more important than having a cool place to photograph, so be extra sensitive when following this advice.

family posing near a dinosaur

5. Be the best guest

Once you’ve gotten permission to use a place, never, never, ever let anything get destroyed or damaged. The whole location should be left exactly how you found it.

If you need to move something out of the way, ask if it’s okay first. Then, when you’re done, put it back.

Be mindful of what is going on around you, especially if you are photographing kids. You are responsible for what happens during your session, and you never want to pay a big repair bill or lose a friendship because you were careless.

Remember: When you use public or private property for photos, you are not only representing yourself but also all photographers. If you make it a horrible experience for the owners, you’ll destroy the opportunity for future sessions for yourself and for all other photographers who might think to ask permission.

Please don’t be a careless photographer who ruins it for everyone. Instead, leave such a great impression that all photographers are welcomed with open arms.

family sitting together indoor photoshoot locations

Secrets for finding indoor photoshoot locations: final words

Well, there you have it:

Five ways to find the perfect indoor photoshoot location. If you follow the tips I’ve given above, you’re bound to discover some gorgeous locations – and you’ll be able to use them for years to come.

Now over to you:

Do you have any other tips for finding great indoor portrait locations? Have you found any gems? Please share your comments and images of your favorite spots below!

bride posing indoors

The post 5 Secrets for Finding Great Indoor Photoshoot Locations appeared first on Digital Photography School. It was authored by Melinda Smith.


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How to Take Great Group Photos: 12 Easy Tips

15 May

The post How to Take Great Group Photos: 12 Easy Tips appeared first on Digital Photography School. It was authored by Darren Rowse.

how to take group photos

If you’re looking to take beautiful group photos, you’ve come to the right place.

In this article, I’m going to share 12 simple tips for capturing stunning photos of groups. Specifically, I’ll discuss:

  • How to pose a group like a pro
  • A simple trick to capture everyone in the group looking their best
  • How to pick the perfect group photo location
  • Much, much more!

So if you’re ready to become a group photography expert, then let’s get started!

1. Prepare ahead of time

There is nothing that will make group photo subjects turn on you faster than you not being prepared. People don’t like to be kept waiting, so plan ahead.

Here’s what I recommend you do several hours (or days) before the photo:

  • Scope out the location of your shot beforehand
  • Think about how you will pose people and frame your shot

Then, a few minutes before the photo:

  • Make sure everyone you want in the shot knows that you want them in the shot
  • Make sure your camera is on and has charged batteries
how to take group photos three women

2. Carefully choose the location

The group photo location is important for a number of reasons.

First, it can give the photo context. For example, a shot of a sports team on their playing field says more than a shot of the team in front of a brick wall.

Second, the location can help emphasize your group – or it can draw the eye. To make the group stand out, you’ll need a location with no distractions.

So choose a place where your group will fit, where there is enough light for the shot, and where there are no distracting surroundings. Also, avoid setting up a group shot directly in front of a window where the light from your flash might reflect back in an unpleasant way.

group posing on a mountain

3. Take multiple shots

Sometimes, it’s tough to get everyone looking just right at the exact same time.

That’s why I highly recommend you take multiple photos quickly; I often switch my camera to continuous shooting mode and photograph in short bursts. The first shot is often no good – but the shot or two directly after gives a group that looks less posed and more relaxed.

On a related note, shoot some frames before everyone is ready. Sometimes, the organization of a group shot can be quite comical and image-worthy (as people tell each other where to go and jostle for position).

kids in a group waving

Also, mix up the framing of your shots a little. If you have a zoom lens, try capturing some shots at a wide focal length and some shots that are more tightly framed.

4. Get in close

Try to get as close as you can to the group you’re photographing (without cutting out group members, of course!). The closer you can get, the more detail you’ll capture in their faces – something that can really elevate a shot.

If your group is small, step in and take some head and shoulder shots. Another effective technique is to get everyone to lean in; that way, you can move even closer without cutting out subjects. You might also try moving everyone out of a one-line formation and placing some people in front and behind.

5. Pose the group

how to take group photos people in uniforms looking up

In most cases, your group will pose itself pretty naturally (after all, we’ve all been in a group shot at some point). Tall people will go to the back, short people to the front. But there are other things you can do to improve the photo’s composition:

  • If the event is centered around one or two people (like a wedding or a birthday), make the hosts the focal point by putting them right in the middle of the group (you can add variation by taking some shots of everyone looking at the camera and other shots of everyone looking at the person/couple).
  • For formal group photos, put taller members toward the back center of the shot, with shorter people along the edges.
  • Try not to make the group too deep (i.e., keep the distance between the front line of people and the back line of people as small as you can). This will help keep everyone in focus. If the composition does end up being deep, use a narrow aperture.
  • Tell everyone to raise their chins a little; they’ll thank you later when they see the shot without any double chins!

6. Time your group shot well

Carefully pick the moment for your photo. Try to choose a time that works with what is happening at the gathering. I find it best to do a group shot when people are already close together and when there is a lull in the proceedings.

The start of an event can be a good time to shoot; everyone is together, they all look their best, and if there is alcohol involved, it hasn’t significantly affected the group yet.

girls on a hill

7. Think about the light

In order to get enough detail in the final shot, you need to have sufficient light. The way you should do this varies from situation to situation – but consider using a flash if the group is small enough and you are close enough for it to take effect, especially if the main source of light is coming from behind the group.

If it’s a bright, sunny day and the sun is low in the sky, try not to face your subjects toward the light – otherwise, you’ll end up with a collection of squinting faces.

group in the ocean

8. Take control

I’ve been in a number of group photos where the photographer almost lost control of their subjects. It happened for two reasons:

  1. They weren’t quick enough.
  2. They didn’t communicate well with the group.

When shooting a group photo, it’s important to keep talking, let the group know what you want them to do, motivate them to smile, tell them that they look great, and make clear how long you’ll need them for.

It’s also important to give your subjects a reason to pose for the photograph (and to listen to you). At a wedding, you might motivate people by saying “The happy couple has asked me to get some group shots.” At a sporting event, you could say, “Let’s take a group photo to celebrate our win.” When you give people a reason to pose, you’ll find they are much more willing to stand for a few minutes while you snap photos.

Here’s another very useful line to use with a group: “If you can see the camera, then it can see you.” This one is key if you want to be able to see each person’s face in the final image.

If there are other photographers, just wait until they’ve all finished their shots, then get the attention of the full group. Otherwise, you’ll get everyone looking in different directions.

Of course, you don’t want to be a dictator when posing your group – otherwise, your group shots will include some very angry expressions. The best photographers know how to get people’s attention and communicate what they want, while also keeping people relaxed and having fun.

how to take group photos girls in a line

9. Get up high when photographing large groups

Large groups of people can be very difficult to photograph. Even with careful staggering and tiering, you’ll struggle to fit everyone into the shot.

One solution is to elevate yourself. If I’m photographing a wedding and the couple wants one big group shot, I’ll arrange for a ladder to be present, or I’ll find some other way to get up high (I’ve even climbed up onto church roofs!). A high vantage point lets you fit a lot of people into the frame while still remaining quite close to the group. It also gives an interesting perspective, especially if you’re using a nice, wide focal length.

10. Use a tripod

kids posing for a group photo

There are a number of reasons why tripods are great for group photography.

First, a tripod communicates your seriousness and can help get the group’s attention (it’s amazing what a professional-looking setup can do!).

Second, a tripod gives you more freedom to pose your subjects. Simply set your camera on a tripod, set the exposure, and set the focus. Then guide your subjects through different poses – and when everything looks just right, you can quickly press the shutter button!

11. Use an assistant

If you have a very large group, an assistant can be super helpful. For one, they can get the group organized – tell people when to come, where to stand, etc.

An assistant is also incredibly handy if you are taking multiple group shots (like at a wedding when you’re photographing different configurations of a family). In such a case, I often ask the couple to provide me with a family member or a friend who can ensure we have everyone we need in each shot.

Having a family member act as your assistant ensures you don’t miss anyone (assuming they’re related to members of the group). Plus, the group will be familiar with them and will therefore respond well when the “assistant” orders them around.

12. Smile

Yes, you should smile! During a group session, there’s nothing worse than a grumpy, stressed-out photographer. Have fun and enjoy the process of getting your shots, and you’ll find the group will, too.

In fact, after photographing a wedding, I usually come home with an incredibly sore face from all the smiling I’ve done! I find the best way to get the couple and their family to relax and smile is to smile at them. It really does work.

business group photo

Bonus tip: Let your imagination run wild!

One more quick tip. Get a little creative! You don’t always have to use standard compositions; instead, you can capture more imaginative, unusual photos.

women posing in a bathtub

How to take great group photos: conclusion

Group photos might seem difficult, but they’re really not!

Just follow the tips I’ve given you, and your group photos will turn out stunning.

Now over to you:

Have you had success taking group photos? Share your shots in the comments below! Also, if you enjoyed this article, subscribe to the dPS newsletter!

The post How to Take Great Group Photos: 12 Easy Tips appeared first on Digital Photography School. It was authored by Darren Rowse.


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Tamron 17-70mm f/2.8 for Sony Review: A Versatile Lens for a Great Price

13 Mar

The post Tamron 17-70mm f/2.8 for Sony Review: A Versatile Lens for a Great Price appeared first on Digital Photography School. It was authored by Suzi Pratt.

Tamron 17-70mm f/2.8 for Sony review

In December 2020, Tamron announced an exciting new lens: the 17-70mm f/2.8 for Sony.

The Tamron 17-70mm is small, lightweight, and designed for APS-C cameras – plus, it offers two excellent features often lacking on Tamron lenses.

But how does it function in the real world? And is it worth the $ 799 price tag?

Let’s find out in this hands-on Tamron 17-70mm for Sony review!

Tamron 17-70mm for Sony: overview

A 24-105mm lens offers one of the most popular focal length ranges available, thanks to its wide-to-telephoto reach. It’s a versatile pick used by casual and professional photographers alike.

And the 17-70mm is Tamron’s version of this lens because its focal length translates to 25.5-105mm on an APS-C body.

The Tamron 17-70mm is made for Sony APS-C (crop-sensor) cameras, so it’s ideal when combined with the popular Sony a6000 (or any of its recent variations). The lens can also be used on Sony full-frame cameras like the Sony a7S III – as long as the APS-C mode is selected.

Constant fast aperture

The 17-70mm f/2.8 for Sony is Tamron’s first fast-aperture zoom lens for APS-C cameras.

The lens maintains a constant f/2.8 aperture throughout the entire zoom range, while other APS-C Tamron zooms use variable apertures (i.e., apertures that shift as you zoom).

A constant aperture, especially a fast f/2.8 aperture, makes the 17-70mm great for shooting in low light. And at f/2.8, you can capture shots with creamy bokeh, like this one here:

Tamron 17-70mm f/2.8 for Sony sample photo
1/1000s | f/2.8 | ISO 640

Vibration compensation

The 17-70mm also comes with Tamron’s image stabilization (Tamron calls this VC, or Vibration Compensation) to reduce camera shake.

Note that VC is often missing on Tamron lenses, especially those with constant apertures, so it’s certainly a welcome bonus on the 17-70mm.

Lenses with VC make it easier to shoot handheld photos and videos, especially at slow shutter speeds. That’s how I was able to pull off this handheld long exposure:

waterfall Tamron 17-70mm f/2.8 for Sony sample photo
Handheld shooting at low shutter speeds is made possible by Vibration Compensation.
1/6s | f/13 | ISO 320

(Speaking of video: the 17-70 is a great video lens, thanks to the flexible zoom range, constant aperture, and inclusion of VC!)

Build and handling

If you’ve tried any recent Tamron lenses, the 17-70mm will look and feel very similar.

The lens is made mostly of plastic, which helps keep the weight down (it comes in at 1.2 lb/525 g), though you also get rubber zoom and focus rings.

The lens physically extends and retracts when the zoom ring is twisted. With dimensions of 2.9 x 4.7 in (74.6 x 119.3 mm), the lens can feel a bit large and off-balance when attached to a smaller camera like the Sony a6000. It definitely feels more balanced when used with a Sony full-frame camera.

The Tamron 17-70mm f/2.8 for Sony is moisture resistant and also has a front element with a fluorine coating to protect it from smudging.

And speaking of the front element, the lens has a filter size of 67 mm, common among Tamron’s recent lenses.

Tamron 17-70mm f/2.8 for Sony sample photo of woman with dough
1/250s | f/4 | ISO 640

Performance

I used the Tamron 17-70mm in outdoor hiking and indoor restaurant settings, and the autofocus worked well for photos and videos.

The lens has quiet focusing thanks to an RXD stepping motor. This works wonderfully with Sony mirrorless cameras, which still offer the best autofocus on the market.

It’s easy to switch to full manual focus simply by twisting the focus ring. Also, with a minimum focusing distance of 7.5 in (19 cm), the lens has decent macro capabilities (and close-up shots look great with that gorgeous f/2.8 bokeh).

Tamron 17-70mm f/2.8 for Sony sample image close-up
1/200s | f/4 | ISO 640

Image quality

Constant-aperture lenses tend to produce sharp, crisp images. You pay for it, though, because constant-aperture lenses – especially zoom lenses – don’t come cheap.

But while the Tamron 17-70mm is priced well under $ 1000, image quality is tack sharp across the entire focal length range, even at f/2.8. If Tamron can make more lenses like this at similar price points, they’ll win over many photographers and videographers.

At times, the 17-70mm does produce chromatic aberration and excessive vignetting, especially when shooting scenes with high contrast. Luckily, these are problems that can easily be solved in most photo editing programs, including Lightroom or Photoshop.

Tamron 17-70mm f/2.8 for Sony forest sample image
1/60s | f/2.8 | ISO 2000

Tamron 17-70mm alternatives

There are no true competitors to the Tamron 17-70mm f/2.8, at least not at its price point. When looking at similar lenses, the price goes up dramatically – or you sacrifice certain features.

Sony lens choices

The closest Sony competitor is the Sony E 16-55mm f/2.8 (24-82.5mm on APS-C cameras), which offers the constant f/2.8 aperture but is 15mm short on the telephoto side. The 16-55 also lacks image stabilization and will set you back $ 1,300.

The Sony E 18-105mm f/4 is a more affordable choice, coming in at around $ 600. This APS-C zoom lens offers a wider focal range than the Tamron plus image stabilization. However, the constant aperture is f/4, which is a lot slower than the Tamron’s f/2.8.

Tamron 17-70mm f/2.8 for Sony bridge to a forest
1/320s | f/10 | ISO 640

Who should buy the Tamron 17-70mm for Sony?

Considering the price and features of this lens, the Tamron 17-70mm is suitable for both professional photographers and videomakers alike, especially for those on a budget.

The lens’s features are typically found on glass that costs twice as much, including the constant f/2.8 aperture and the Vibration Compensation. It also offers remarkably sharp image quality considering its cost.

And given the relatively accessible price, the Tamron 17-70mm is also appropriate for beginner or amateur photographers and videomakers looking to increase their skills.

Using a constant f/2.8 aperture is a treat, and this lens will help budding photographers take better images in low light with nice, creamy bokeh.

So grab the Tamron 17-70mm f/2.8 for Sony right here!

Now over to you:

What do you think about the Tamron 17-70mm f/2.8? What do you like about it? What do you dislike? Will you consider buying it? Share your thoughts in the comments below!

Tamron 17-70mm f/2.8 sample images

  • Tamron 17-70mm f/2.8 for Sony_-9239
    1/60s | f/2.8 | ISO 800
  • Tamron 17-70mm f/2.8 for Sony_-9239
    1/100s | f/3.5 | ISO 640
  • Tamron 17-70mm f/2.8 for Sony_-9239
    1/320s | f/2.8 | ISO 300
  • Tamron 17-70mm f/2.8 for Sony_-9239
    1/1250s | f/2.8 | ISO 300
  • Tamron 17-70mm f/2.8 for Sony_-9239
    1/1000s | f/2.8 | ISO 300

The post Tamron 17-70mm f/2.8 for Sony Review: A Versatile Lens for a Great Price appeared first on Digital Photography School. It was authored by Suzi Pratt.


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DPReview TV: Fujifilm X-S10 vs Sony a6400 – two great cameras with different superpowers

06 Mar

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.

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

  • Introduction
  • Handling
  • Displays
  • Autofocus
  • Image quality
  • Video performance
  • Battery life
  • Lens lineup
  • The wrap

Articles: Digital Photography Review (dpreview.com)

 
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In Praise of Program Mode: Why Program Mode is Great for Beginners

14 Jan

The post In Praise of Program Mode: Why Program Mode is Great for Beginners appeared first on Digital Photography School. It was authored by Rick Ohnsman.

working with Program mode

Here’s a myth: Being able to shoot in Manual mode is the mark of a professional photographer.

I frequently see articles and beginner photography workshops with titles like Get Off of Automatic Mode. If these instructors don’t promote Manual mode shooting, they will at least tell you that “real” photographers favor Aperture Priority mode. Working with Program mode? They will roll their eyes and joke that maybe you thought the “P” on the mode dial meant “Professional.”

Working with Program mode - I used it then, and I still use it now.
The image of the Blue Angels (left) was taken with one of the first DSLRs Canon produced, the D30. I made the shot many years ago with the only mode I used at the time: Program mode. The Cooper’s Hawk shot (right) was made just a few weeks ago, also with Program mode.

Sure, as you grow as a photographer, you will ultimately want to understand which camera shooting mode might be the best for each situation. But knowing how to drive a manual transmission vehicle will not instantly make you a racecar driver, and knowing how to shoot in Manual mode is not a shortcut to being a great photographer.

car with motion blur
My first car was a 1964 Volkswagen Beetle, and it looked just like this model. Learning to drive a manual transmission as a new driver was a bit like immediately trying to use Manual mode as a new photographer – challenging!

I will date myself here, but when I learned to drive, a 1964 manual transmission Volkswagen Beetle was my first car. Learning to operate the gas, brake, clutch, and gearshift was an “interesting” introduction to driving.

My first camera was an East German Hanimex Practika Nova 1B. That was in the early ’70s. It had no mode dial, no autofocus, and since ISO was controlled by whatever film you used, the only exposure controls were a manual aperture ring on the lens and a shutter speed dial on the top of the camera. Even the exposure meter was not a TTL (through-the-lens) type, but a crude averaging meter that was just above the lens mount.

Hanimex Praktica Nova 1B - My first SLR camera.
My first SLR camera, used back in the early ’70s, was a Hanimex Praktica Nova 1B. It offered no autofocus, no TTL metering, a dial to set the shutter speed, and a ring on the lens to set the aperture. The film determined the ISO (then ASA).

With both the car and the camera, I had to handle all the controls myself. Did the VW make me a better driver? Did the Praktika make me a better photographer? No, and both caused far more frustration as a beginner than if I had started in a car with an automatic transmission and I had started photography with a fully automatic DSLR.

So that’s my point here:

Why you make a photo – choosing to communicate your vision with an image and then using the camera as a machine to capture it – is far more important than how you shoot a photo or what mode you use. If some help from modern automation makes it easier to get there, especially as a beginner, go for it.

Why get whiplash learning to feather the clutch (or as I once did, roll back into the car behind you when at a stop sign at the top of a San Francisco hill) when, as a new driver, you could have an automatic transmission?

Working with Program Mode when doing portraits.
I did a lot of portraits of friends, family, senior photos, and even weddings with some of my DSLRs. I would often use Program mode and a little fill light from the pop-up flash. This typically worked just fine, especially for a new photographer.

Program mode – yes, the “P” setting on your mode dial – is what I would term the “semi-automatic” mode on your camera. Unlike the green, fully-automatic mode where you simply “point-and-shoot” and the camera makes all the decisions, Program mode frees you to override the settings if you so choose.

Let’s use an example to explain how Program mode might work in a given situation.

Program mode: The “semi-automatic” setting

Back in the 35mm film days, you would often choose the film you used based on the shooting conditions you planned to work in.

ISO (or before that, ASA or DIN) was a function of the film. ASA speeds of common film types might be 25, 64, 125, 200, 400, and maybe up to 800. You could go a little higher with special processing. The rub was that, whatever film type you chose, you worked with the same ASA for the entire roll (be it 12, 24, or 36 exposures).

Many film rolls
With film, you had to stick with the same ISO (ASA) for the entire roll.

Working with Program mode can be a little like shooting film – in that the first thing you will do is pick your ISO setting.

This could be ISO 100 for good outdoor light, maybe ISO 200 or 400 for lower lighting conditions, ISO 800 or higher for dim conditions (or perhaps for when you will be shooting action and need to be able to use short exposure times).

Some have called Program mode “ISO Priority,” because once you choose the ISO, it will be the setting that will stay set, even as the shutter speed and aperture change. (Of course, the big difference from film is that you can change the ISO from shot to shot if you so choose).

So you start by setting your ISO.

Then, unless you have a special reason not to, I suggest you use the averaging metering modes: Evaluative on Canon, Matrix on Nikon. These will consider the entire image and calculate the exposure.

If your camera is set to Program mode, you will now see that it has selected both aperture and shutter speed settings. Depending on the available light, these will usually be toward the middle of the settings range – perhaps something like 1/125th of a second, f/5.6, and ISO 100. You may want to change these, and we’ll get into that in a minute, but if not, you’re good to go. Nail focus and take the shot.

You can shoot all day like this, the camera pretty much working as a point-and-shoot machine. As a beginner, rather than puzzle over what your settings should be for each shot, you can concentrate on more important things – chiefly composition – and let the camera figure out the exposure. Take away the clutch and the gearshift and driving is so much easier, right?

Creative control

The one thing you relinquish when you allow the camera to make exposure setting decisions is creative control. We may go a long way with artificial intelligence, but soulless computers or robots, while able to nail exposure, get perfect focus every time, and maybe even edit the shot afterward, will never be able to make true art.

Two concepts to understand as a beginning photographer are how aperture and shutter speed controls not only the exposure, but also the depth of field and the freezing/blurring of motion. If you have not fully grasped those creative concepts, I encourage you to spend time learning the relationship between aperture and depth of field, as well as the relationship between shutter speed and motion capture.

Working with Program mode will almost always get you a correct exposure, but you will also need to understand when you want to override the suggested settings to get the creative look you seek.

Some examples

Let’s break down how you might work in Program mode for different interpretations of the same subject.

  1. It’s an overcast day, so you set the ISO to 800.
  2. Your camera is in Program mode and it suggests an exposure.
  3. You decide you want a deeper depth of field, so you set the aperture to f/22. (Aperture can typically be changed with one dial and the shutter speed with another. Note that when you change one setting, the other setting automatically changes to maintain proper exposure.)
  4. Your settings are now ISO 800, 1/20s, and f/22. (Note that you’ll need to be on a tripod with a 1/20s shutter speed.)
  5. You focus, then take the shot.
smaller aperture setting

You take a look and decide it might be better to isolate the foreground leaves with a shallow depth of field. Still in Program mode, you roll one of your dials to put the aperture at f/4. Your camera automatically adjusts the shutter speed to 1/640th of a second to maintain proper exposure. You take another shot.

larger aperture setting

Easy, huh? The ISO stayed locked in at 800, and as you adjusted the aperture, the shutter speed adjusted itself.

Suppose now you want to see the effect of shutter speed on a moving object. Still in Program mode, you leave the ISO at 800. To freeze the droplets of a fountain, you roll the dial to get a 1/1600th of a second shutter speed. You take the shot.

aperture comparison
Note how the top shot, taken at 1/50s, has more blurred water drops and how the tree is sharper at f/22. The bottom image, taken at 1/1600s, better freezes the water – but at f/4, the depth of field is smaller.

Now, what if you want to get a little motion blur on those drops? Roll the dial to set a slower shutter speed of 1/50th of a second. The aperture automatically adjusts.

Exposure compensation is also possible should you need to make your images a little lighter or darker.

I mentioned earlier that you could lock in your ISO when working with Program mode. Depending on your camera, you might also let the ISO automatically adjust as light conditions change. Try Auto ISO in combination with Program mode and see how it works for you.

Then make the leap

Program mode can help you get good exposures. And if you pay attention to the settings it chooses, you’ll begin to understand the relationship between aperture, depth of field, shutter speed, and motion capture. Program mode can also give you a good jumping-off point to work with a mode such as Aperture Priority.

Say that after making a shot in Program mode, you see the camera chose f/11 as the aperture, and you like the amount of depth of field that resulted. You can then switch over to Aperture Priority mode (Av on Canon, A on Nikon), dial in an f/11 aperture, and start shooting. The camera will stay locked at f/11 while adjusting the shutter speed for various lighting conditions.

The same goes for shutter speed. If your Program mode shot shows a nice amount of motion blur at 1/5th of a second and you want to make subsequent images with that amount of blur, switch to Shutter Priority mode (Tv on Canon, S on Nikon), dial in 1/5th of a second, and shoot away.

The camera will stay locked on the shutter speed you chose and alter the aperture as needed.

aperture/depth of field comparison
In the left photo, the focus is on the tree trunk at the right edge. At f/22, there’s a good amount of depth of field. In Program mode, roll the dial to take the f-stop to f/4 for less depth of field. The camera automatically compensates, putting the shutter speed at 1/160s. The exposure stays identical.

Back to the safe spot

If you play around enough with settings, you may eventually mess things up to where you reach a bad exposure or become totally confused about why things are not working for you. That’s when Program mode comes to the rescue.

Working with Program Mode will very often get the job done and is a good option for the new photographer.
These were some of the first images I made when I got my Canon 10D years ago. Program mode was all I knew, but it got the job done. Don’t think you have to immediately learn to shoot in Manual mode to make nice shots.

Put the camera in Program mode, put the ISO back to a setting appropriate for your lighting situation (ISO 200 might be a good starting point), and it’ll be like hitting the reset button: you’ll be back to letting the camera choose exposure settings.

If you find Auto ISO works well, try that, too. The idea is to have a setup you can always turn to if you get confused (one that you can rely on to make good exposures consistently if needed).

exploring depth of field with leaves in grass
It’s easy to explore the relationship between aperture and depth of field while in Program mode. This series starts at f/4 on the left, before a roll of the dial took the aperture to f/8 (middle), and then to f/22 on the right. The camera did all the exposure calculations. As simple as one, two, three!

Regardless of what mode I choose to shoot in, even Manual, I always put the dial back to Program mode before turning off the camera and putting it back in my bag. Then, if that once-in-a-lifetime shot presents itself and I must grab the camera, quickly power up, and shoot, I can be assured I will get a reasonably well-exposed shot.

I hope you will not take this article to mean you shouldn’t learn to shoot in Aperture Priority mode or Manual mode, because it’s true that a great number of professionals use these settings. But if you are new to photography and are confronted with more information than you can immediately absorb, working in Program mode might just be the helping hand you need.

leaves and beach photos
Working in Program mode will free you to concentrate on composition while letting the camera figure out exposure.

Concentrate first on learning good composition. And make sure your images are well-focused, because blurry shots are impossible to fix in editing.

For now, let your camera help you with exposure until you begin to wrap your head around all there is to know. Even if you are a more experienced photographer, you might occasionally find that turning the mode dial and working in Program mode is the right choice for a given situation.

Mode doesn’t matter

monochrome images
Make a nice shot and no one is going to ask what camera mode you used.

People don’t usually ask what kind of paint, brushes, or canvas Leonardo da Vinci used when he painted the Mona Lisa. And when you make a great shot, no one should care what camera mode you used, what your settings were, or even what camera and lens you used.

Conversely, when your shot is poorly composed, doesn’t have an easily identifiable subject, or just doesn’t speak to the viewer, it doesn’t matter how masterful you might be in Manual mode or if you have the best camera money can buy.

Determine why you want to make a particular photo, find your vision, know what it is you want to communicate, and then use the machine that is your camera to produce that image. If working in Program mode gets you to that result, it’s a perfect choice.

Best wishes for great photos!

What do you think about Program mode? Have you ever used it? Why or why not? Share your thoughts in the comments!

The post In Praise of Program Mode: Why Program Mode is Great for Beginners appeared first on Digital Photography School. It was authored by Rick Ohnsman.


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10 Tips for Creating Great Family Portraits

19 Dec

The post 10 Tips for Creating Great Family Portraits appeared first on Digital Photography School. It was authored by Darlene Hildebrandt.

family portrait tips

Family portraits are a lot of fun – and they can be highly rewarding, too! However, it’s often tough to get started. After all, how do you pose an entire group of people? How do you interact with them? How do you get great photos?

Thanks to my background in classic-style studio portraiture, plus 25 years of experience photographing portraits and weddings, I have a few tips up my sleeve to share with you.

family portrait tips example

In fact, with a little planning, doing a family portrait will be fun for both you and the family you’re photographing. Here are 10 tips to help you have a successful and enjoyable photo session.

1. Use a tripod whenever possible

I already know what you’re thinking:

A tripod cramps your style. It’s too heavy and cumbersome, whereas your style is more free-flowing.

That all may be true, and in some cases (like when photographing kids running or doing more documentary-style photography), it may be better to shoot handheld. 

However, just consider another side of the coin.

Heise-0005fsm

Most people are nervous when being photographed. Yes, nervous! Some are downright scared, and some would even go so far as to say that they hate having their photo taken.

So it is part of your job to help your subjects feel more comfortable and relaxed. That can be hard to do when you’re also nervous, especially if you’re new to portraits. But there’s a big advantage of putting that camera on a tripod. Two, actually.

  1. A tripod automatically forces you to slow down. That’s a good thing! You can check your settings, review the composition, and preview the exposure to make sure you’ve got everything right. It’s easy to get carried away once you put the camera up to your eye, only to later realize you had the wrong white balance, your ISO was 6400, or you accidentally shot tiny JPEGs instead of standard RAW files. A tripod will help you slow down to avoid an “Oops!” moment.
  2. A tripod allows you to get your eye away from the camera so you can actually make eye contact with your subjects. Your subjects are very real people, and they feel even more uncomfortable staring straight into your lens than they do looking at you. You can gesture to get the kids’ attention and you can make faces. But you’ll get way better expressions by interacting with your subjects than you’ll get while looking through the viewfinder. Try it!

Hood07-034f

2. Shoot in Manual mode

Assuming that you’re setting up your family portrait photoshoot in advance, you have control over all the elements.

Meaning that, once you get set up, the exposure should not need to change.

Unfortunately, if you set your camera to Aperture or Shutter Priority mode, depending on the metering mode selected, the camera could choose a slightly different exposure for each frame. You do not want that! Consistency is very important.

Inconsistent exposures create more work in post-processing, as you have to even out all the photos. Plus, they can cause a slight color shift, increase noise (if some of the shots are underexposed), and result in other undesirable things.

To keep your exposures consistent throughout the whole shoot, use Manual mode. Just remember that each time you change the pose, location, etc., you need to check the exposure again. I just fire off a quick test shot, review the histogram, adjust if necessary, and continue.

3. Lock the focus

Just as you do not want the exposure to change from frame to frame, neither do you want the focus to be adjusted. Assuming you’re using a tripod, you will not be moving. And if you’ve posed your group in a relatively static position, they should not be moving, either. Not much, anyway. Here, we are only concerned with moving closer to the camera, or further away from the camera.

So set your camera up to do one of the following: use focus lock, use back button focus, or use manual focus. With any of those options, the focus will not change from shot to shot.

If you use the shutter button to focus and someone moves a little bit so that the focus dot hits the background, you’ll have another “Oops!” moment. If you aren’t sure how to focus using one of the methods I recommended above, consult your camera manual.

Bonus tip:

Here’s an easy way to focus manually with pinpoint accuracy:

Turn on Live View so you can see the image on your screen. Hit your Zoom button (it may have a magnifying glass or a “+” sign on it) once or twice. The image on the rear LCD will zoom in so you can see what is in focus, which allows for more precise manual focusing. Press the Zoom button again to return to normal view and turn off Live View.

Liebel-002-600px

4. Stagger the heads

What you want to avoid here is a boring straight line, straight row, or straight column of heads. Diagonal lines are more dynamic and add interest to an image, so try to do that with the people in your portrait group.

Imagine there is a line drawn from each face to the next. Try and position your subjects so that no head is directly on top of, or beside (on the same level), another. Make diagonal lines, not flagpoles.

Use props to seat some people or bring some small folding stools. Have some people sit down or stand up on something. Use objects in the environment to pose your subjects, or if you have nothing available, just arrange them so the heights are staggered.

family by a lake

5. If it bends, bend it

This is a general rule for photographing people, and it’s a good one. People tend to stand stiff and rigid when you position them, so you need to get them to bend a few body parts to look more natural. Nobody naturally stands stiff as a board.

Here are a few starter poses:

  • Get your subject to shift their weight to one foot and stick out one hip away from the camera.
  • Get your subject to put a hand in a pocket. I usually recommend they put their thumb out, otherwise they have a tendency to shove their hand to the bottom of the pocket, which looks unnatural.
  • Get your subject to hook a finger on their belt or through a belt loop.
  • If your subject is sitting, have them lean forward a bit and put weight on one hip.
  • If your subject is standing against something, have them cross one foot over the other, toe down.
  • Have sitting (males) put one knee up, foot flat on the ground (but make sure they rotate so you aren’t looking straight at their crotch).

You get the idea. The best way to get someone to do any of this is to do it yourself and have them mirror you. Face them, do the pose you want them to do, and have them mimic it exactly.

family by a building
An example of bending body parts. The girls did a much better job here than the guys, but even the arms bent at the elbow helps. Some people are stiff, and they may present a challenge. Just do your best.

6. Let kids be kids

I’ve found that often parents will tell their kids, “You need to be good and smile” before a photo session. For many kids, this puts too much pressure on them to perform. I usually prepare parents by getting them to tell their kids this instead:

We’re going to the park to take some photos. It will be a lot of fun.

That’s it! Set no expectations other than fun. Then you, as the photographer, should prepare yourself. Bring along props, and get Mom to bring one of the kids’ favorite toys or books. I usually have a hand puppet and bubbles in my camera bag along with my gear. If the kids don’t want to sit and smile, don’t force them. Let them run around and be kids for a while and shoot that. Play with them; make it fun. A few minutes later, they may cooperate and sit for a bit.

When I’m photographing kids, I make a total idiot of myself. I make funny noises, I sing songs (I’m really bad, but they don’t care), I make fish faces, and I play peek-a-boo behind the camera. I run back and forth to the camera with my hand puppet. I lie on the ground. I stick my butt out. Kids are the ones that have life the right way around; it’s us adults that ruin it. Let them be kids, and let them have fun. Then be ready to capture the fun when it happens!

Kids playing a game of peek-a-boo around the tree
This was a game of peek-a-boo around the tree. Look at those genuine smiles! You can’t force those.

7. Pose people to flatter them

Here’s the bottom line:

If Mom thinks she looks fat, then she isn’t going to like the photos, no matter how great the lighting and expressions (see the next tips). So you’ve got to get the posing right.

Be aware of people’s perceived “flaws” and work with them. Here are some quick tips:

  • If someone has a bigger bottom half, don’t pose them walking away from the camera using a wide-angle lens.
  • For double chins, take a slightly higher camera angle (above the subject’s eye level). Making them look up stretches their neck and minimizes the chin/neck area.
  • A bump on a nose will show up when they face one way and not the other (usually). So study their face to find out which way to shoot them.
  • When you have a couple with a huge height difference, get the taller partner to stand with their feet further apart. That will make them slightly shorter, closing the gap a bit.
  • For really heavy people (or those overly self-conscious of their weight), use the lying down in the grass pose and pile the kids on top (as shown in the image below). It works great every time, because it hides tummies, stretches out chins, and makes the kids closer in size (it just shows faces!).
family posing with kids
The lying in the grass, pile on top pose. It’s great for families with small children. This family didn’t need the pose to correct anything; it’s just fun having the kids jump on top and squish Mom and Dad.

8. Lighting is king; get some in their eyes

Light can make or break any photograph, and portraits are no different. The biggest thing you want to make sure you do for portraits is to get light into your subjects’ eyes. There are many ways to do that, and it’s a huge topic, but here are a few things you can do to start off with good light:

  • Choose the time of day to do the portraits very carefully. Generally, late evening – about an hour before dusk – is the best time for portraits. Why? Because the sun is lower in the sky, and you don’t get the harsh overhead light you do at midday. Light is more directional, and it’s usually a bit diffuse if there’s haze on the horizon.
  • If you can’t shoot at dusk, find some shade. Get the family out of the sun, but make sure you don’t get a lit-up background. Bright areas in the background will draw attention away from the subjects. Look for areas in the shade of large buildings or under large trees.
  • Avoid shooting on an overcast day simply because the lighting is even and less harsh than bright sunlight. While it is true the light is softer and less harsh, the direction isn’t great. Overcast days give you direct overhead lighting and dark eyes, especially for anyone with deep eye sockets.
  • Add some light using a reflector or a flash if need be. Again, this is a complex subject, but learn to tell when you need more light on your subjects’ faces. Here’s a quick tip: If you cannot see a catchlight (the light source reflected in your subject’s eyes), then there isn’t enough light on their face!

Just as important as getting some light in the eyes is having it come from a good direction. We’ve established that overhead isn’t good direction, and neither is light straight from the camera. So turning on your built-in pop-up flash isn’t going to give you good light. Neither is mounting an off-camera flash above your camera. Light direct from the camera flattens the subject, and that is not what you want.

Instead, you want the light to come slightly from the side; 30-45 degrees from camera is a good starting point. To learn more about this, read my article on the 6 Portrait Lighting Patterns Every Photographer Should Know.

family portrait just before sunset
This was done just before sunset. The sun is coming over the kids’ shoulders on the left (from behind). I used a flash bounced into an umbrella off to the left to add light to their faces. Without the flash, they’d be in shadow.

9. Expression is everything

Lighting is king, but getting the right expression is everything! You can totally screw up the lighting and the pose, but if you get your subjects laughing or making the perfect face, the photo will be a big hit!

So how do you do this?

Being a photographer means that you sometimes have to be a comedian or a clown. Knowing the right thing to say or do to make people smile is mostly experience.

Sometimes you’ll get tough adults, too. The dad in the photo above by the brick wall pretty much has the same expression all the time. I’ve known this family and photographed them for 13 years; they’re my friends. So I know I can bug the dad a little bit or get out the ducky to have some fun at his expense.

If there are small children or babies involved, make sure to get their attention. It even helps to have an assistant; tell them to bring Grandma along or a friend to help out.

What always happens is you get the kids all looking and smiling, but what are the parents doing? Looking at the kids! I always tell the parents, “No matter what, keep looking at me as I make a total fool of myself. Do not look at your child!”

family posing with a baby
The baby is laughing, while everyone else followed instructions and looked at me. Success!

10. Have a little fun with it

The last tip is to not take yourself so seriously. Create a few really whacky shots at the end of the session (or even in the middle of the session if the energy seems to be fading).

Tell your subjects to do a group squish and really get them to squish. Often, they will start laughing, and as they pull apart, you can grab the shot.

Do a pile-on down in the grass. Ask your subjects to jump in the air or make goofy faces (you make one, too!). It breaks the tension and lightens up the mood.

family with kids posing while making faces
I was making a similar face!
family jumping
My off-camera flash stopped working, so this shot used on-camera flash (not my first choice!). But we were all tired and I thought this would be fun, so we just went for it. Notice how Dad has a new expression!

Bonus tip

Get the family to think about what they are going to wear ahead of time.

Some people disagree with my point of view on this, which is totally fine. But if you want to read more about it, see my article called “Clothing for Portraits – How to Tell Your Subjects What to Wear.”

Tips for family portraits: conclusion

Capturing stunning family portraits isn’t hard – especially if you remember these ten tips.

Just don’t be afraid to make a fool of yourself, and everything will turn out great.

So get out there, photograph some families, and have fun!

The post 10 Tips for Creating Great Family Portraits appeared first on Digital Photography School. It was authored by Darlene Hildebrandt.


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10 Tips for Photographing Great Headshots

14 Nov

The post 10 Tips for Photographing Great Headshots appeared first on Digital Photography School. It was authored by Sean Gannon.

Creating beautiful headshots can seem like a daunting prospect. To have one person in front of your camera, looking to you for direction and positivity, can be tough. Plus, people are generally very critical of themselves when in front of the camera and can feel very nervous.

However, there are some simple things that you can do to make headshots a lot easier for everyone.

Headshot on Black Background

So here are 10 tips to help you photograph headshots:

1. Have a pre-session consultation

Before your session, make sure you know how the images will be used and what style your subject would like. You can have this “pre-session consultation” on the phone or face-to-face. Talking to your subject will help them relax so much more than an email, and a consultation will allow you to help them prepare for the session.

Make sure they know what to expect and are as relaxed as possible.

Headshot on White Background

Find out what profession your subject is involved in; a corporate lawyer may opt for a clean white background look (above), while a more relaxed style of business (e.g., a yoga instructor) may prefer a more colorful, environmental image (below). Find out in the consultation what they want so you are prepared on the day.

Indoor Headshot

2. Help your subject choose the right clothes

Generally speaking, solid, neutral colors work best for headshots, as you want to avoid anything that distracts from people’s faces.

If you’re looking to achieve a formal style, make sure that everyone gets the message and remembers to bring formal work clothes with them. Men often forget their jackets, so for a consistent look, try to have a spare one on hand, even if you need to clip it at the back.

If you know you’ll have lots of time with a person, get them to bring a few items of clothing. Remind them to iron their clothes, as well.

Here are some examples of good clothing choices:

What to wear for headshots
What to wear for headshots
What to wear for headshots

3. Create separation from the background

For great headshots, make sure your subject doesn’t stand too close to the background.

If you are using a studio background (or the wall in an office) and you position someone close to it, you may see shadows on the wall, which makes the images look less professional.

For environmental headshots outdoors, I still recommend separation from the background. The resulting bokeh will create a nice, nondescript background, especially when you shoot at a wide aperture. Typically, I aim for an aperture of f/4 for environmental and natural light sessions, and f/8 for studio-style sessions with lights.

4. Starting the session

Whether you are photographing headshots for a single person or a whole team, make sure you have a general chat with each person first to help them relax.

This can be just a 10-second, confident handshake and a “How are you?” People generally feel very nervous about having their photograph taken, and talking about something within their comfort zone (where they live, if they have children or pets, etc.) will really help them to become (and to appear!) more comfortable.

5. Silly faces!

A great way of helping people relax in front of the camera – especially if you don’t have much time with them – is to ask them to pull a funny face for the first frame.

Use this as a lighting test for a new person, as well. It’s a great way to break the ice, and very few people will refuse to do it. Once your subject has pulled a silly face, everything else is easy!

person making a funny face
Headshot Photography example

6. Lighting and positioning

For business and actors’ headshots, I tend to light quite evenly. There are a few circumstances where the images are low-key, but for the most part, they are evenly lit. A classic beauty lighting setup works well, with one light above and a second light, or a reflector, supplying fill light from below.

Ensure the subject is turned with their body 45 degrees away from the camera and toward the main light source (if your lighting allows for this). Their face should be pointed straight toward the camera. You may need to guide people to look straight down the lens. It’s surprising how many people look off-camera, at the flash, or somewhere random.

Headshot setup
Posing example

7. Sit people down

People may be more comfortable sitting down, and by asking them to rest their hands on the tops of their thighs, it gives them something to do with their hands. It also ensures that the subjects all know where they need to be, and that they don’t move around too much.

8. It’s all about the little adjustments

What separates a great headshot from an average one is generally very small changes. These little adjustments can make all the difference. The slight tilt to the head, leaning forward, a gentle but intriguing smile. Don’t be afraid to ask someone to make very specific changes to their expression and position until you get the image you’re looking for.

Headshot Photography

9. Keep talking and be positive

When you’re in the midst of taking photographs, make sure that you keep talking to your subject. Reassure them that they’re doing it right and you’re getting great images.

Even if you’re not satisfied with the images you get when your subject turns their head in a certain direction or when the light falls in a bad way, never express those feelings. Silence will kill the atmosphere, so no matter what is happening, just keep chatting and being positive.

10. Shoot tethered

If you have all the necessary equipment, shooting tethered is a fantastic way to get great headshots. When people see a couple of shots on the screen, they can very quickly get an idea of what needs to be changed. The immediate feedback from the screen will help everyone massively.

Photographing great headshots: conclusion

I hope you find these tips for better headshots helpful.

Do you have any other tips we missed? Please share them – and your favorite headshot photos – in the comments below!

On Pinterest? Here’s an image to pin.

10 Tips for Photographing Great Headshots

The post 10 Tips for Photographing Great Headshots appeared first on Digital Photography School. It was authored by Sean Gannon.


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It’s great, but the Max should be even better: iPhone 12 Pro camera review round-up

21 Oct

Today is the day a number of reviewers are allowed to share their first thoughts on Apple’s new iPhone 12 Pro, the smaller of the company’s two latest flagship mobile devices announced last week. While we haven’t had the chance to take one for a spin yet, we’ve rounded up a few reviews from across the web to see what others’ opinions on the photographic capabilities of the new iPhone devices are.

From more general tech-centric reviews, such as The Verge’s Nilay Patel’s, to photo-specific reviews such as Austin Mann’s in-depth dive, we’ve tried to gather a nice spread of opinions. Overall, the consensus seems to be that while the iPhone 12 Pro is at the top of its game in the photography department, the iPhone 12 Pro Max will likely pack even more punch with its better camera specifications—so long as you don’t mind the extra bulk.

Over the coming days, as more reviewers get units in their hands, we’ll add those to this round-up. If there’s a review (or two) you think we missed, leave it a link the comments below.

Austin Mann

You can’t talk about annual iPhone camera reviews without mentioning Mann’s thorough deep dives. He’s spent some time with Apple’s latest iOS devices while camping out of an Airstream in Glacier National Park, Montana and has wrapped up his thoughts on the photographic capabilities of the iPhone 12 Pro in a very comprehensive guide on his website.

He puts the new ultra-wide-angle lens to the test, pushes Night Mode to its limits and overall provides a comprehensive overview with plenty of sample images to look through. He concludesd by saying, under the headline ‘Buying advice for photographers:’

’The iPhone 12 Pro is a solid camera, and thanks to a bunch of new digital tech I found it to be slightly stronger than the already great iPhone 11 Pro — but if you are serious about photography with your iPhone, wait for the iPhone 12 Pro Max. It looks to be the most significant jump in iPhone camera hardware we’ve experienced in years, and it’s only three weeks away.’

Nilay Patel, ft Becca Farsace (The Verge)

Being a more general technology website, The Verge’s review doesn’t only focus on photography, but author Nilay Patel does have a thorough section dedicated to the imaging capabilities of the iPhone 12 Pro. He also gets the thoughts of The Verge video director Becca Farsace, whose work we’ve featured here on DPReview in the past.

There’s also a video review from The Verge:

Aundre Larrow (via PetaPixel)

Photographer and former Adobe Creative Resident Andre Larrow has teamed up with PetaPixel to share his thoughts on the new iPhone 12 Pro camera system. Taking a departure from the usual type of imagery you expect to see in reviews, Larrow opted to put it to the test by taking a series of intimate portraits with friends and acquaintances who have been quarantining together, as to minimize any health risks with the outdoor portrait sessions.

The series is somehow both serious and lighthearted with an editorial feel you don’t often associate with smartphone photography. It’s a welcomed change of pace and well worth the read.

Raymond Wong (Input)

Despite ‘taking [his] phone photography quite seriously,’ Raymond Wong of Input takes a more casual approach to reviewing the camera technology inside the iPhone 12 Pro. Despite the more casual approach, he does a great job comparing the new iPhone 12 Pro to the iPhone 12, iPhone 11 Pro and Pixel 5 in a number of areas, with sample images for comparison. Head on over to the review to see for yourself.

Articles: Digital Photography Review (dpreview.com)

 
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Joby Mobile Vlogging Kit Review: A Great Deal for Vloggers

16 Oct

The post Joby Mobile Vlogging Kit Review: A Great Deal for Vloggers appeared first on Digital Photography School. It was authored by Suzi Pratt.

As smartphones advance, mobile vlogging and filmmaking continue to rise in popularity. Thankfully, camera accessory brands have come up with whole systems to support phone vloggers. The Joby Mobile Vlogging Kit is the latest system to hit that market, and it is chock-full of accessories that you can use with your phone (or with other camera setups).

But what’s in the Joby Mobile Vlogging Kit? And how does it perform?

In this Joby Mobile Vlogging Kit review, you’ll discover the pros (and cons) of this product.

And you’ll leave knowing whether the Vlogging Kit is right for your needs.

Joby Mobile Vlogging Kit review

What’s in the Joby Mobile Vlogging Kit?

Here’s what’s included in the Vlogging Kit package:

Tripod

First off, Joby is the brand behind GorillaPods, the bendy-arm tripods that have been popular with vloggers and photographers for many years.

The base of this kit is the GorillaPod Mobile Rig: a small version of the GorillaPod that perfectly complements the size of modern smartphones. I used my copy with a Samsung Galaxy S10 and it fit perfectly.

The GorillaPod has a standard 1/4″ tripod screw, so you could also use it with another camera if you chose to.

Smartphone clamp

The Joby Mobile Vlogging Kit also comes with a smartphone clamp that has two extra bendy arms attached. The clamp is very sturdy and adjusts to fit just about any smartphone out there. The bendy arms are great for attaching accessories such as a light and/or an external microphone, but the arms can be removed.

One of the best features of the smartphone clamp is its ability to easily flip between portrait and landscape orientations. All you have to do is loosen the lock and the clamp swivels. This is especially helpful for those wanting to shoot vertical content for Instagram Stories or TikTok.

Joby Mobile Vlogging Kit review

Another great addition to the smartphone clamp is a cold shoe mount on top for mounting an accessory. Truth be told, I prefer using the Joby Mobile Vlogging Kit without the extra bendy arms; I simply attach my main accessory (usually the microphone) via the smartphone clamp cold shoe.

LED light and microphone

With this vlogging kit, Joby is branching out of the tripod market and debuting two other camera accessories: the Beamo Mini LED light and the Wavo Mobile microphone.

Both products are incredibly solid and perform very well. The Beamo light is reminiscent of other rugged light competitors such as the LitraTorch 2.0. It’s waterproof and rugged, has two cold shoe mounts to attach accessories, charges via USB-C, has multiple brightness settings, packs a magnetic attachment, and comes with a silicone diffuser to produce a flattering beam of light.

Joby Mobile Vlogging Kit review

The Wavo microphone looks like a clone of the Rode VideoMicro. But the nice part about the Wavo mic is that Joby includes two different cables: a TRRS cable so that the mic can be used with a smartphone, and a TRS cable for use with a regular camera.

Note that you have to use the correct microphone cable. Otherwise, sound will not be captured properly.

Using the Joby Mobile Vlogging Kit in practice

This vlogging kit comes with a lot of camera accessories.

But how do they perform?

The GorillaPod is as steady as ever, although parts of the legs can sometimes snap off if they are bent in one direction too forcefully. It’s easy to snap the legs back into place if that happens, but it’s just something to be aware of.

If you like to use multiple compact cameras, it’s very easy to take off the included smartphone clamp and stick another camera on the GorillaPod. I did this a lot with my GoPro when I wanted to change my filming style.

Joby Mobile Vlogging Kit review

Sound-wise, it’s tough to trust a microphone not made by a reputable sound company. Cheap mics often show their true colors via bad sound quality. However, the Wavo mic has very clear sound, and the windscreen does an excellent job of blocking out wind. The Rode VideoMicro has a slight edge in sound quality, but for the price and the fact that the Wavo mic is included as part of a kit, it’s a great deal. Plus, it can be used with a regular camera, which is even better.

After the sun went down, the Beamo light came out to play. After using similar light products made by Litra and Lume Cube, I have to declare the Beamo my favorite compact rugged light. It has a solid feel that is still lightweight, and the light quality is incredibly strong.

In fact, you must use the silicon diffuser if you plan to vlog with the Beamo light. Otherwise, the light is so powerful that it will wash out the video (and strain your eyes).

Joby Mobile Vlogging Kit review

Joby Mobile Vlogging Kit review: Conclusion

Now that you’ve finished our Joby Mobile Vlogging Kit review, you know all about the power of this handy little kit.

Overall, the Vlogging Kit is a great deal that gives you three high-quality products in a single package. You can use them together with a smartphone, or you can trade the phone for another compact point and shoot or action camera. You can even mix and match each accessory with different camera setups.

So whether you intend to vlog or simply want a good deal on three awesome camera accessories, you can’t go wrong with this kit.

To see the Joby Mobile Vlogging Kit in action, check out my video review:

The post Joby Mobile Vlogging Kit Review: A Great Deal for Vloggers appeared first on Digital Photography School. It was authored by Suzi Pratt.


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