Becoming a pro at choosing the correct lenses for different situations takes time and practice but is important for getting the best shots. However, it becomes second nature after a while. In this article I will try to help you cut that time based on my own experience and decide what camera lens to use. I will also talk about Continue Reading
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Posts Tagged ‘Guide’
A Guide to Choosing Camera Lenses – Where? When? Why?
04
Aug
How to Blur the Background in Photoshop: Step-By-Step Guide
29
Jul
The post How to Blur the Background in Photoshop: Step-By-Step Guide appeared first on Digital Photography School. It was authored by Megan Kennedy.
Do you want to know how to blur the background in Photoshop? While it’s generally best to create a shallow depth of field effect in camera, there are ways to create a realistic blur in Photoshop.
In this article, I’ll share two easy methods to produce a Photoshop blur effect, and I’ll also discuss when and why you should think about blurring the background in the first place.
Let’s get started.
How to blur the background in Photoshop: Field Blur
Photoshop’s Field Blur filter allows you to place pins on an image, which will introduce a blurred background effect.
To begin, open an image in Photoshop. For this example, I’m using a starter image with a relatively even degree of sharpness. The image also has room for significant foreground and background blur, so with the right tools, the effect should look very realistic.
Step 1: Convert the layer to a Smart Object
First things first:
Before you create any blur, convert the Background layer to a Smart Object. In a moment, you’ll be applying a Field Blur filter – and if your layer begins as a Smart Object, you’ll be able to adjust your blur filter at any time (long after it’s been added to the image).
So right-click on the Background layer (in the Layers panel) and select Convert to Smart Object:
The layer name will change from Background to Layer 0. The Smart Object icon will also appear in the bottom right corner of the layer’s thumbnail preview:
Step 2: Add the Field Blur filter
With Layer 0 selected, click the Filter menu, select Blur Gallery, and then Field Blur.
The Field Blur window will open, and you’ll see an initial pin positioned in the center of your image, creating a uniform blurred effect.
To start customizing the blur, reposition the initial pin by dragging it around the image. Also, by dragging the outer ring clockwise and counterclockwise, you can increase or decrease the intensity of the effect.
To build up the Field Blur effect in the background of a photograph, you’ll likely need more than one pin. In the Field Blur window, position your cursor over an area in the image and click once; this will add a new pin.
Then move the pin and/or adjust the intensity of the blur accordingly. To maintain sharpness in the foreground, place a pin over a foreground subject or zone and set the blur to 0.
(Note: You can delete pins by selecting them with the mouse and hitting the Delete key.)
As you work with the Field Blur filter, Photoshop will automatically assess the space between each pin to create an even result. In the example below, the difference in blur between the foreground pin (with the blur set to 0) and the background pin (with the blur set to 25) is blended to create a smooth effect that transitions across the entirety of the image.
However, some images will require more pins than others (depending on your desired outcome), so don’t be afraid to experiment a little.
Also, the Filter Gallery screen does contain a few extra adjustment panels, including Bokeh sliders and a Blur slider. The Bokeh effect is a little hit and miss, but it can be used to enhance the appearance of points of light, while the Blur slider works the same as adjusting Blur on a pin. And noise can be adjusted through the use of sliders on the Noise tab.
Once you are happy with the Field Blur effect, click OK. To make additional adjustments to the filter at a later time, simply double-click on the Blur Gallery effect in the Layers panel. The Field Blur window will open again, and you’ll be able to add further refinement.
Here’s my result:
How to blur the background in Photoshop: Iris Blur
The Iris Blur filter is another tool included in Photoshop’s Blur Gallery. It enables the selective blurring of an image, and it offers a more customizable range of depth of field controls compared to Field Blur.
Step 1: Convert the layer to a Smart Object
As with the Field Blur effect discussed above, start by opening your image in Photoshop and converting it to a Smart Object.
First, right-click on the image layer and select Convert to Smart Object. The name of the layer will change from Background to Layer 0, and a Smart Object icon will appear in the bottom right corner of the layer’s thumbnail preview.
Here’s the image I plan to blur; it has a bit of background blur already, but we can make it more impactful with the Iris Blur filter:
Step 2: Apply the Iris Blur filter
With Layer 0 selected, click on Filter>Blur Gallery>Iris Blur.
The Iris Blur window will open, and the first Iris Blur pin will be positioned in the center of your image.
You’re free to reposition the Iris Blur by dragging the pin. You also have a number of options for customizing the effect; by carefully manipulating the various handles surrounding the central pin, you can introduce a realistic background blur. I’ve labeled the handles below:
And here are the corresponding effects:
- A = Roundness Adjustment. Dragging makes the blur shape either circular or square.
- B = Blur Ring. Controls the degree of blur applied to the image.
- C = Feather Points. Dragging adjusts where the blur effect begins.
- D = Ellipse Handle. Dragging makes the ellipse rounder or more oval in shape.
As with Field Blur, multiple Iris Blur pins can be placed on the image to exaggerate or limit the spread of the blur effects. However, unlike Field Blur, the amendments made to each Iris Blur pin are global, so every pin’s blur level is adjusted to match the active pin.
To customize the blur of an individual pin, adjust the Focus dropdown slider located at the top left of the Blur Gallery window:
When you are finished, click OK. If you want to go back and edit any Iris Blur effects later, double click on the Blur Gallery filter layer (beneath the main image layer) in the Layer Panel. The Iris Blur window will open, allowing you to rework your edits.
Here’s a slightly exaggerated example of the results obtained with Iris Blur:
When is blurring the background a good idea?
The Field and Iris Blur filters are simple and impactful Photoshop tools. But when should you use them to blur the background in Photoshop, and when should you leave the background as-is?
You might want to use Iris or Field Blur if…
- you want to draw attention to a subject;
- you want to delineate between a foreground and background;
- you want to convey depth;
- you want to create an abstract effect.
Of course, there are plenty of other times when a Photoshop blur effect will do the trick. In general, look for images that feature a strong subject and/or exhibit a degree of open space or perspective that helps differentiate between foreground and background. You might even select an image already exhibiting a moderate amount of blur and enhance the effect in Photoshop.
How to blur the background in Photoshop: conclusion
Now that you’ve finished this article, you should be able to produce a realistic background blur using Photoshop.
Of course, it’s generally best to create blur using in-camera effects (e.g., a wide aperture for a shallow depth of field). But the Iris Blur and Field Blur filters offer a simple and effective way to create beautiful effects in post-processing.
So experiment with the Blur filters. Test out different effects. And your photos are bound to turn out great!
Now over to you:
Do you have any tips for blurring the background in Photoshop? Do you have a favorite background blur method? Share your thoughts in the comments below!
The post How to Blur the Background in Photoshop: Step-By-Step Guide appeared first on Digital Photography School. It was authored by Megan Kennedy.
Positive Space in Photography: A Guide
22
Jul
The post Positive Space in Photography: A Guide appeared first on Digital Photography School. It was authored by Megan Kennedy.
As a photographer, you may have heard of negative space, which refers to the more subtle areas surrounding the main subject in a photograph. However, positive space, the populated or focal point of an image, is a term that tends to fly under the radar.
In this article, we’ll take a look at positive space in composition and how you can use it to improve your photos.
What is positive space in photography?
Positive space refers to the subject matter or areas of peak interest in a photograph. It’s the key component of almost every great photo.
That said, like all compositional elements in photography, positive space is influenced by other aspects of a photo. Perhaps one of the most significant of these aspects is negative space – positive space is often sculpted by negative space and vice versa. You see, when photographing a clear subject, there is usually “occupied” or positive subject matter contrasted with negative elements that are not key focal points. Therefore, when discussing positive space, it’s hard not to mention the role of negative space, too.
While positive space may constitute the main show, negative space serves as the stage. And although the word negative seems to imply a lack of content, the term doesn’t just refer to areas completely devoid of subject matter. In fact, negative space only has to be visually quieter, less populated, more subtle, or restful compared to the main subject.
A brief history of positive space
Positive space – and the interaction of positive and negative space – has been used in art throughout history. Painters, sculptors, architects, potters; all have balanced positive and negative dynamics to allow for tactical areas of visual rest, rhythm, focus, activity, atmosphere, etc.
For example, negative space in traditional Japanese art styles is often embraced to accentuate or balance the weight of the expressive and spontaneous brushstrokes that constitute positive subject matter.
Another example is Edgar Degas’s careful use of negative space in his scenes depicting ballet dancers. The negative space imbues the photos with a greater sense of movement, context, and contrast, creating interesting juxtapositions and framing detail.
With the invention of photography, the artistic possibilities of positive and negative space expanded to the photographic image. From Anna Atkins, Henri Cartier-Bresson, Dorothea Lange, and Robert Frank to Diane Arbus, Hiroshi Sugimoto, Steve McCurry, and Didier Massard, photographers have used negative space to support key (positive) focal points.
Why is positive space important?
Positive space matters because it can steer the narrative of an image or draw a viewer’s eye. Without positive space, negative space often looks directionless. In turn, a photograph lacking negative space may seem crowded or overwhelming.
Positive space creates momentum, narrative, and visual climax. Negative space can provide context, emphasis, isolation, and breathing room, funneling the viewer’s eye toward positive space and allowing the focal point to flourish.
Canon 5D Mark IV | Canon EF 50mm f/1.8 II with extension tubes | f/2.8 | 1/250s | ISO 100
Working with positive space: the basics
There are many ways to approach photographing positive space. Here’s what I recommend to get started:
- First, identify the positive areas of the scene – the elements of the composition that immediately stand out.
- Next, evaluate the negative space (you can use the viewfinder or your LCD for this). What does the negative space do? Does it uphold the positive space? Does it add context? Depth? Atmosphere? Narrative? Beauty?
- Finally, consider the technical aspects of your photo, and how they might affect positive and negative space. For example, adjusting the aperture will create a shallow or deep depth of field, where a shallower depth of field will often create more negative space.
These basic considerations will help you improve your use of positive space.
Advanced tips and techniques for working with positive space
If you want to take your compositions to the next level, here are a few tips and tricks to help capitalize on positive space:
Tip 1: Apply compositional techniques
Positive space is a fundamental part of photographic composition, but it doesn’t exist in isolation. It can work alongside other compositional techniques, such as leading lines, depth of field, framing, symmetry, and perspective, to create beautiful photos.
So the next time you’re out with your camera, think about positive space. And also think about how you can use positive space in conjunction with composition principles to get the most impactful results.
Tip 2: Be mindful of both negative and positive space
The key to striking a successful positive/negative balance (or intentional imbalance) often lies in awareness. When composing a photograph, make sure you carefully check the negative space that surrounds a positive space, and ask yourself whether it works as it is – or whether it needs to be modified.
(A quick visual scan through the viewfinder or on the digital screen is a small action that can save time and many wasted shots!)
Furthermore, when framing a subject, running through a quick checklist can be helpful. Ask yourself: What is the negative space contributing? What is the positive space contributing? Does the positive space benefit from the negative regions that surround it?
Briefly pausing to consider the positive/negative dynamics in a photograph can increase the chances of capturing a successful image.
Tip 3: Use your camera settings
Positive space can hinge on negative space that occurs naturally (i.e., the sky, shadows, etc.), or on negative space that is deliberately created through camera settings.
For example, in a busy urban environment, a slow shutter speed can blur the flow of traffic to create negative space (and this will, in turn, emphasize static subjects like buildings and sculptures that constitute positive areas of interest).
ICM (intentional camera movement) can sometimes create blurry and abstract negative areas that highlight positive focal points. Selective focus can emphasize or deemphasize visually positive areas, and by adjusting the aperture settings, you can blur the background and/or foreground surrounding a positive subject. Zooming in or out in-camera or cropping with post-production can also manipulate the dynamics of positive and negative space.
In other words:
If you want more negative space, you can create it yourself! Just tweak your camera settings to achieve the effect you’re after.
Tip 4: Know your narrative
Like all compositional tools, positive space can evoke emotions and tell stories. By determining your narrative in advance, you can use positive and negative space to create an impactful, coherent image.
For example, a smaller positive subject set within a large amount of negative space can evoke a sense of scale, isolation, simplicity, grandiosity, and distance. Negative space in the form of a bold, dark vignette can frame a positive subject for added impact. An image with predominantly positive space can generate immediacy and energy. Evenly distributed positive and negative space can lend to the impression of harmony and balance.
(The list goes on!)
Tip 5: Experiment!
Any positive (and negative) space bends to an endless amount of compositional variables. Experimenting with creative techniques, subjects, and conditions broadens the creative potential of any positive subject.
And although the term “negative” suggests “nothingness,” negative space, as we have seen, is just as versatile and important as its positive counterpart.
So while experimenting with positive space through the mindful manipulation of negative space can be a balancing act, gaining a good grasp on both forms of space will result in the best photos overall.
A guide to positive space: conclusion
Positive space is a critical part of photographic composition. While the discussion of negative space is more common, positive space is the driving force behind countless photographic images.
Consciously working with positive space encourages a greater connection with the subject matter, and it’ll also help you create better compositions.
Now over to you:
Do you have any favorite ways to work with positive space? How do you balance positive and negative space? Share your thoughts (and images!) in the comments below!
The post Positive Space in Photography: A Guide appeared first on Digital Photography School. It was authored by Megan Kennedy.
Reverse Lens Macro Photography: A Beginner’s Guide
20
Jul
The post Reverse Lens Macro Photography: A Beginner’s Guide appeared first on Digital Photography School. It was authored by Andrew S. Gibson.
If you want to capture beautiful close-up images but don’t want to spend hundreds (or thousands) on a macro lens, then you’ve come to the right place.
Because in this article, I’m going to explain everything you need to know about reverse lens macro photography. It’s a simple technique that lets you turn a standard lens into a macro lens so you can capture photos like this:
In fact, if you already own a 50mm prime lens or a standard kit lens (in the 18-55mm focal length range), then the reverse lens macro technique is the least expensive way to capture magnified images.
So let’s dive right in, starting with the absolute basics:
What is reverse lens macro photography?
Reverse lens macro photography is a method of capturing highly magnified images using an interchangeable lens camera, a lens, and a cheap adapter. You turn your lens around so the rear element points outward, then use an adapter to attach the reversed lens to your camera body (or to another lens).
In other words: You take your lens. You flip it around. And you’ll be able to shoot at macro magnifications.
If you’ve never seen the reverse lens macro technique, it may seem a bit strange – after all, why does reversing a standard lens let you shoot at high magnifications?
But it really does work, and the diagram below shows why. In normal use, a 50mm lens focuses light from far away to create a much smaller image, one that fits onto film or a digital sensor (which is often around 35mm wide). Reverse the lens and the opposite occurs: the 50mm lens magnifies what it sees, giving near life-size reproduction:
How to do reverse lens photography
There are two ways you can use the reverse lens macro technique:
1. Single lens reverse macro
This method involves reverse-mounting one lens to the front of your camera. First, purchase a reversing ring (also known as a reverse ring) like this one:
You can buy these adapters for cheap on Amazon. One side screws onto the end of your lens like a filter, while the other attaches to your lens mount. Here’s a reversing ring in action:
Note that the reverse macro technique works best if you use a lens with a manual aperture ring. That way, you can stop down to increase the zone of sharpness (which is very helpful because depth of field decreases as you get closer to your subject).
Unfortunately, if your reversed lens doesn’t have a manual aperture ring, you won’t be able to make any f-stop adjustments and you’ll be forced to work at your lens’s maximum aperture. But while this can be inconvenient, don’t let it stop you – you can use a reversed lens at its widest aperture to take some beautiful photos. You just have to get creative!
2. Twin lens reverse macro
This reverse lens macro technique is less popular but will get the job done. Instead of reverse-mounting one lens to your camera, you mount one lens normally, then reverse mount a second lens on the front of the first, like this:
The actual mechanics are nearly identical to the single lens technique discussed above; simply purchase a coupler ring (shown below). Then use it to mount the second lens to the first.
Now, when using the twin lens reverse macro technique, the reversed lens acts like a powerful close-up filter, except that it’s much stronger than any filter I’ve encountered. In fact, the twin lens technique offers two major benefits over the single lens technique:
- It offers insanely close magnifications. Depending on the focal lengths you use, you can achieve up to 3x life-size reproduction. (That’s three times as close as most professional macro lenses!)
- It increases your depth of field flexibility. You can leave the reversed lens open at its widest aperture, while stopping down the primary lens to increase depth of field (even if you don’t have a manual aperture ring).
Note that you can do this technique with essentially any lenses, though the longer the focal length, the more magnification you’ll achieve. What’s most important is that the filter thread sizes on the two lenses match – that way, you can buy a coupler ring that will easily join them together.
(If your lenses have different filter threads, you do have the option of purchasing a step-up ring in addition to your coupler ring, but this can be inconvenient.)
Caring for the reversed lens
The reverse macro technique does leave the rear element of your reversed lens open to the elements, regardless of which method you use. So you should always work carefully to avoid scratching the exposed element.
If you have an extension tube, you can attach it to the back (now front) of the reversed lens, as I did in the photo above. This helps protect the rear element and also acts as a lens hood.
Also, because of the risks to the lens, I’d recommend using relatively cheap glass, like a 50mm f/1.8.
Image sharpness
The reversed lens technique gets you so close to your subject that it’s virtually impossible to handhold the camera. For the sharpest results, use a tripod to keep the camera steady and use a cable release to fire the shutter.
I find it best to use a reverse lens macro setup indoors, especially for delicate subjects like flowers. If you try it outside, the slightest breeze can move the flower and spoil the photo.
Of course, you can always embrace a blurry result and create some interesting abstract shots – but if your goal is to create magnified-yet-sharp photos, you’ll need to follow this advice closely.
If possible, stop down your primary lens to at least f/4. That way, you’ll get increased depth of field, and if you’re using the twin lens technique, it’ll help you avoid the softening that may happen when the first lens is at its widest aperture setting.
How to light reverse lens photography
As long as you don’t mind using a tripod and long shutter speeds to obtain the required exposure, natural light will work just fine.
However, flash is also an option. And you don’t need a specialized macro flash – I use a Canon Speedlite with a small softbox (though you’ll probably want to make sure you’re using an off-camera flash to avoid shadows cast by the lens).
A flash and a softbox were all I needed to take the photo featured above. Here’s a diagram of the setup:
In general, I’d recommend you start with natural light, unless you’re relatively familiar with artificial lighting. That way, you can experiment with different lighting qualities and directions and you don’t have to worry about complex lighting techniques.
What lens should you use for reverse macro shooting?
I’ve used a 50mm prime lens for the photos featured throughout this article. And a nifty fifty is a great way to get started with reverse lens macro photography.
But don’t forget that you can try this out with just about any lens (though I do recommend using a cheaper option, just in case your lens gets damaged). Kit lenses like the Canon EF-S 18-55mm f/3.5-5.6 IS II (pictured above) work great.
Reverse lens macro photography: conclusion
Now that you’ve finished this article, you should be able to confidently create a macro photography setup (without spending lots of money on a dedicated macro lens).
Reverse lens macro photography is a lot of fun, so order your reverse ring and get shooting!
Now over to you:
Do you prefer the single lens reverse macro technique or the twin lens reverse macro technique? Do you have any tips for improved macro photography? Share your thoughts in the comments below!
The post Reverse Lens Macro Photography: A Beginner’s Guide appeared first on Digital Photography School. It was authored by Andrew S. Gibson.
A Beginner’s Guide to Long Exposure Street Photography
15
Jul
The post A Beginner’s Guide to Long Exposure Street Photography appeared first on Digital Photography School. It was authored by Rick Ohnsman.
You may have done some long exposure photos and perhaps a bit of street photography. But have you combined these two genres for long exposure street photography?
Consider this: Photographs are frozen slices of time, and your camera is a time machine capable of freezing or stretching a moment. A short shutter speed can freeze things that happen far too fast to see. With a long shutter duration, motion is blurred, stretching time. When photographing in busy urban environments where people, vehicles, and other things are on the move, long exposures can create a sense of motion in a static photograph.
I’d never before considered this quote from the movie Ferris Bueller’s Day Off to have photography implications, but considering what we’ll explore here, I like what it says:
“Life moves pretty fast. If you don’t stop and look around once in a while, you could miss it.”
Ferris Bueller
Taking photos is one way we “stop and look around.” It’s also a way we share what we see with others. But a limitation of still photographs is they are a 2D, static representation of a 3D, moving world. So how can we better communicate motion in a still photo? A long exposure that leaves the shutter open for an extended period will cause moving images to be rendered as blurs. That look communicates motion to the viewer.
So let’s talk about the mechanics of how to do long exposure street photography.
Where to go for the best long exposure street photography
If you’re going to depict motion, you want to go somewhere where things are moving. Busy locations where people, vehicles, and other things are on the move will work well. A busy city street or intersection might be a perfect spot. You could also try a sporting event where the participants are in motion.
For long exposure night photography (which we’ll discuss in greater depth), locations with moving lights and illuminated vehicles work well. Also, consider the interesting looks that can be created when your photograph combines static and dynamic elements. One person standing still in a crowd of moving people can make for an impactful image using the long exposure technique.
A still camera in a moving world
You likely want the motion in your photos to be created by the movement of your subjects, not by the movement of your camera. Handholding your camera and keeping it still during a multi-second exposure will be very difficult, so a tripod is a good idea.
(Though consider if you will be able to use a tripod on a busy city sidewalk or other crowded environments. Creating a hazard where someone could trip over a tripod leg is not something you want to do.)
There is also the “attraction of attention factor.” I will confess: I have not done a lot of street photography because of my personal trepidation about having to engage with strangers who want to know why I’m taking their photo on a street corner. Should I decide street photography is something I want to pursue further, that’s something I’ll need to get past.
That said, I guarantee that you will attract even more attention and possible questions if you set up a tripod and a professional-looking camera on a busy street corner and start taking photos of passersby. Perhaps you could find other ways to brace your camera aside from a tripod. Maybe even figure out how to do long exposures with your cell phone to reduce the attention factor.
(If this isn’t a concern for you, more power to you; you’ve already dealt with a major barrier to being a great street photographer.)
What is a long exposure?
Your objective here is to make “long exposures” so that your subjects move during the shot. So how do we define long exposure photography?
An object will render as blurred in a photograph if it changes position from the time the shutter opens until the time it closes. Two factors will determine the amount of blur:
- The speed of the moving object relative to the duration the shutter is open
- The relative distance the subject moves during the exposure.
Let’s use a moving car as an example. Say you have a shutter speed of 1/30s. You are taking a photo of a car moving at 40 mph. If the car is relatively close to the camera, it could move completely across the frame and thus be rendered as a complete blur. But if the same car, still traveling at 40 mph, was in the distance and relatively small in the frame, it would only move a relatively short distance across the frame in that same 1/30s – and thus wouldn’t show as much blur.
So to simplify, the distance an object moves across the frame during the exposure is what will determine its blurriness. Even relatively slow-moving objects can be blurred if the exposure time is long enough. Take a close-up of a snail with a 5-minute exposure, and you could quite possibly have it appear motion blurred, too!
It’s that exposure triangle thing again
I hope you know what I mean when I speak of the “exposure triangle” – the relationship between ISO, shutter speed, and aperture when making a properly exposed photograph. If you’re not completely familiar, I’d recommend you stop what you’re doing and read all about it here.
Now, if you’re going to make long exposures that are well exposed, you’ll need full control over your shutter speed. There are two basic modes you can use to achieve this: Shutter Priority mode (Tv on Canon cameras, S on Nikons and some other cameras), or full Manual (M) mode.
In either case, you will be able to pick a shutter speed and lock it in. (We’ll talk about choosing a shutter speed in a minute.)
Let’s assume you decide to make a 2-second exposure. Let’s also assume you are in Shutter Priority mode.
When you meter the scene, your shutter speed will be 2 seconds. Your aperture and ISO (if you are using Auto ISO), will “float,” automatically switching to a setting for a proper exposure. Depending on the ambient light, you might get something like 2 seconds at f/11 and ISO 1000. Locking the shutter speed and letting the camera determine aperture and ISO will allow you to get a proper exposure at the shutter duration you choose.
Using Manual mode can give you even greater creative control. Say you set your shutter speed for the same 2 seconds but stop down to f/16 for some additional depth of field. Your ISO can be adjusted to maintain the right exposure, and you’ll get the same 2-second exposure but at f/16 and ISO 2000.
If you are in Manual mode, you get to do all the adjustments yourself. Assuming you want the same 2-second shutter speed, you dial that in. Then you can adjust either the aperture, ISO, or both to center the exposure bar indicator and get a proper exposure. Should you decide to capture multiple shots from the same spot and the light remains constant, you shouldn’t need to make any additional adjustments.
Two important factors
How you choose your long exposure street photography settings will depend on two important factors:
- Your desired shutter speed
- Ambient light in your scene
So ask yourself:
- What shutter speed do I want? Like so much of photography, the answer here is probably “it depends.” How much are the subjects in your shot moving? How fast? How close are they to the camera? What is your desired look? On a crowded street with lots of pedestrians scurrying about, you might be able to make everyone completely disappear in your photo if you use a several-minute exposure. Is that the look you want? Experimentation is the best way to learn the perfect shutter speed for this kind of photography. Try different things, “chimp” your shots, adjust and try again. You will get a feel for what you like and what works best in different situations.
- What are the ambient light conditions? You might decide you’d like a 30-second exposure but are out shooting in the middle of the day in bright sunshine. Even stopping down to f/22 and ISO 50, a 30-second exposure might not be possible without drastically overexposing the image. Long exposure night images, taken when you don’t have much ambient light to deal with, are much easier. At night, instead of lowering the ISO, you might need to raise it. The same 30-second night image might be something like 30 seconds at f/4 and ISO 1600.
The amount of light you have to work with will impact what you can do. Long exposures in low light are usually easier, as you can always open up your aperture to its widest setting and crank up the ISO (noise is still a consideration but less so thanks to improved sensor technology). But how do you make a long exposure when there’s too much light and the smallest aperture and lowest ISO won’t get you the shutter speed you want?
Reach for the “sunglasses”
On a bright, sunny day when the light becomes too intense for our eyes, we’ll often reach for a pair of sunglasses to reduce the brightness. We can do the same for our cameras with neutral density filters (ND filters), which offer different levels of darkness. We can use ND filters to reduce the light hitting the camera sensor, and thus get long shutter durations even in bright conditions.
Here’s an example: You meter the scene, and at your smallest aperture of f/22 and an ISO of 50, the slowest shutter speed you could use and still get a proper exposure is 0.8 seconds. So grab your 6-stop ND filter, add it to the front of your lens, and you’ll be able to use an 8-second exposure. (A 10-stop ND filter could take you all the way to a 2-minute exposure!)
Using ND filters and calculating exposures takes a little study and practice, but the advantage is being able to take long exposures in bright conditions where it would otherwise not be possible. (A nice app to have on your cellphone is an ND filter exposure calculator like this one from Lee, a filter manufacturer: for Android/for iOS).
Lights at night
We’re very accustomed to seeing nighttime long exposures, and light trails caused by moving vehicles are quite easy to photograph, so long as you have a tripod or way to stabilize your camera.
Decide how long you want your exposure to last. Then in Shutter Priority mode, pick an aperture. If you’re set to use Auto ISO, the camera should pick the ISO setting for you. Of course, if you’re in Manual mode, you get to pick all three settings.
Again, determine your desired shutter speed, pick an aperture, and then adjust the ISO to a setting where you get a proper exposure. It could take some trial and error, but once you get everything dialed in, you will be able to make repeated shots without too much need for further adjustment.
Beyond the mechanics
Working out the camera mechanics when making long exposures is a matter of determining how to get a long exposure in any given lighting conditions. The rest of making an interesting image is no different than with other kinds of photography. Determine if there’s a “story” you want to tell. Decide how to compose your shot. Use compositional guidelines, vary your perspective, and try different shutter speeds to create different looks.
For street photos of people, it can be interesting to go out with a model, someone who will work with you and pose as needed. Put them in a busy location, but instruct them to stay still while you make your shot. They will remain sharp in the shot while the moving passersby will blur. The contrast of static and dynamic between your frozen model and the people moving and blurring can create some dramatic looks.
Add a flash
Here’s something else you can try:
Put a speedlight on your camera and set it up for second-curtain sync. (If you’re unfamiliar with the technique, make sure to read up on it!)
What you’re after is a long exposure that will motion-blur moving people or objects – but then, just before the shutter closes, the flash will fire. Moving elements will have a blur of motion behind them but be frozen by the burst of flash, like this:
Just be aware that, if you thought shooting with a tripod on a busy city street might attract attention, firing a flash will make it clear you’re taking photos. What’s nice about having a model with you is that people will assume you’re making photos of the model and not be as concerned about you making photos of them. You’ll even get lots of apologies from people who say, “Sorry, I got in your shot,” not knowing that was your intent all along.
Go hit the streets
Learning the mechanics of long exposure street photography is the easy part. Getting out on the streets and making photos, particularly with people in them, is the bigger challenge, especially if you haven’t done much street photography before.
If you pride yourself on being a people person, that will come in handy in this genre of photography. The rest, as they say, is practice. Best wishes!
Now over to you:
Do you have any favorite tips or techniques for long exposure street photography? And do you have any long exposure images you’re proud of? Share them in the comments below!
The post A Beginner’s Guide to Long Exposure Street Photography appeared first on Digital Photography School. It was authored by Rick Ohnsman.
How to Whiten Teeth in Lightroom (Step-by-Step Guide)
15
Jul
The post How to Whiten Teeth in Lightroom (Step-by-Step Guide) appeared first on Digital Photography School. It was authored by Ana Mireles.
Are you wondering how to whiten teeth in Lightroom? Lightroom makes teeth whitening easy, thanks to a pre-installed preset that you can fine-tune to your liking.
Not every smile needs the same amount of whitening, though. That’s why, in this guide, I’ll show you how to use Lightroom’s preset, but also how to customize it and create different presets of your own.
Let’s get started!
How to whiten teeth in Lightroom: the basics
Here’s a quick step-by-step guide to teeth whitening (using Lightroom’s pre-installed preset):
Step 1: Import your image
Unless you’ve already imported your image into the Lightroom catalog, this should be your first step. Select File>Import Photos and Video, then look through your files and import the one you need.
Alternatively, you can drag and drop your image into the Library workspace.
Regardless, remember that Lightroom is non-destructive – so no matter how you import your file, you’ll be adjusting a copy, not the original.
Step 2: Move to the Develop module
Importing occurs in the Library module. So once your photo has been added to the Lightroom catalog, it’s time to switch workspaces and enter the Develop module.
Simply hit the Develop button at the top:
In the Develop module, you’ll find all of Lightroom’s photo-editing tools. If you want to add any general edits to your photos or you’re thinking of applying a preset, you’ll do it in the Develop module. It’s also where all the teeth-whitening magic will happen.
Step 3: Enable the Adjustment Brush
On the righthand side, you have your tools inside different editing panels. Toward the top, between the Histogram and the Basic panel, you’ll find the selective adjustment tools.
Click to enable the Adjustment Brush (or hit the K key):
Lightroom will open the Adjustment Brush panel, where you can create masks, adjust the Brush options, and edit the selected area.
Step 4: Select the teeth
You’ll start by preparing to select the teeth. First, scroll down until you find the Brush settings, then adjust the size and feathering (the best settings will depend on your particular image).
Note that you’ll probably need a smaller Brush when selecting near the edges of teeth. Fortunately, you can create two saved Brushes (with the A and B choices). Otherwise, you can use the bracket keys to enlarge or shrink the Brush size while working.
I recommend you enable Auto Mask. If you’re not familiar with it, it’s a tool that helps you select a specific area by recognizing edges.
You can also enable Show Selected Mask Overlay – you’ll find it under the image, and it will allow you to see where you’re actually painting the mask.
Finally, brush over the teeth. Zoom in if necessary and make sure you work very carefully.
Step 5: Apply the Teeth Whitening preset (optional)
Once you’ve brushed over the teeth, go ahead and disable the Selected Mask Overlay; now it’s time to apply adjustments to the selected area.
Because teeth whitening is such a common retouch, Lightroom already has a Teeth Whitening preset. If you want to use it, open the Effect drop-down menu and select Teeth Whitening. Your subject’s teeth should get whiter, and if you like the effect, great! It may be all you need, in which case you can hit Done.
Alternatively, you may want to use the preset as a starting point, then make further adjustments (as discussed in the next section).
Notice that once you apply the preset, sliders will change. The exposure will increase to 0.40 and saturation will be set at -60.
Step 6: Adjust the edits
If you don’t want to use the preset, or if you want to fine-tune the preset’s effect, you can manually move the sliders.
First, adjust the exposure and saturation to fit your image. You’ll also want to check the temperature – if the teeth are looking too yellow, slightly move the Temp slider to the left.
Keep zooming in and out to check the overall result because you don’t want the white to look fake. You can see a before and after version by selecting View>Before/After.
Remember that the Before view will show you the imported image. So if you make general adjustments to your image, whiten the teeth, and display the Before view, the preview will be stripped of all its edits, not just the teeth whitening.
Step 7: Save the preset (optional)
If you like your whitening effect, you can save it as a preset. Head to the Presets panel, then click the plus sign and select Create Preset.
A dialog window will pop up where you can check the elements that you want to include in your preset. Then all you have to do is name the preset, and it will be saved for you to use on other photos!
When should you whiten teeth?
Now that I’ve explained how to whiten teeth in Lightroom, let’s see when you should do it. Teeth aren’t naturally fully white, and each person has different tones of teeth. So you shouldn’t add teeth whitening as a default part of your workflow. Instead, use it in specific situations:
When your edits changed the original color of the teeth
If you apply a color filter, change the white balance, or move the color settings of your entire image, you might end up with unnatural-looking teeth, in which case whitening is a good idea.
That said, when you whiten the teeth, make sure they still match the overall mood and ambiance of the picture. For example, if you apply a vintage filter and then make the teeth super white, they will stand out…in a bad way.
When the teeth weren’t lit properly
Sometimes, an unflattering shadow makes the teeth look dark or stained. But you can easily fix this problem by adding more light with the Exposure slider.
Also, certain lighting might cause yellowish teeth. For example, using tungsten light or a golden reflector might give a pleasing warm tone to the skin while also causing the teeth to look yellowish. In this case, a white balance adjustment selectively applied to the teeth will go a long way.
Another common problem: teeth reflect colors from objects that are nearby. So if your model has a colorful prop or object close to their mouth, the teeth might show a hint of color.
When your model asks you
As I was mentioning before, teeth might be underexposed because of a light problem during the photoshoot or because of color editing during post-processing. If you’re whitening the teeth to correct any of these issues, then there’s not much conflict.
However, sometimes the person has natural discoloration – and if that is the case, don’t automatically add teeth whitening as part of your workflow. Wait for your model to ask (and if they don’t ask, then don’t make any changes!).
You should never alter how a person looks without their consent. If the client hasn’t asked you for any aesthetic changes, you shouldn’t assume they want them.
5 tips for whitening teeth in Lightroom
By following the step-by-step teeth whitening guide shared above, you’ll be able to retouch your images without any problems.
But these extra tips will help you get even better results, starting with:
1. Understand editing pins
When you’re using the Adjustment Brush, you’ll notice that a gray dot (i.e., an editing pin) appears when you click on the image.
Anytime you need to go back to edit that selection, just click on the pin to make the selection active once more. (If the pins are distracting, you can press the H key to make them invisible.)
2. Fix a selection
If you accidentally select the gums, lips, or anything that’s not supposed to be affected by the teeth whitening, don’t worry – you can always use the Erase tool!
Inside the Adjustment Brush panel, next to the Brush A B presets, you’ll see the word Erase. After clicking it, you’ll be able to erase your selection. (Alternatively, you can hold the Alt key, which will toggle the Eraser option.)
3. Keep in mind the person’s age
Remember that teeth discoloration is part of the natural process of aging. If you want to keep your photo retouching realistic, don’t overdo it. Consider that a younger model should probably have whiter teeth than an older one (this is one of the reasons you can’t use the same settings for every photo).
4. Take a break
This advice is useful for any type of retouching – whenever you’re done, take a break and come back later.
Sometimes you’re so focused on a specific part of the image that you lose track of the bigger picture. So close the computer for a while or go outside to get some natural light and rest your eyes. Then come back and see the photo again. If you’re satisfied, that’s great – but if you’re not, then just make some more adjustments!
5. Download presets
If you don’t love post-processing, or if you want to improve your post-processing without extra work, remember that you can always buy presets or download freebies from professional photo retouchers and fellow photographers!
How to whiten teeth in Lightroom: conclusion
Okay, now you know how to whiten teeth in Lightroom – and I hope you agree that it’s super easy!
So practice your teeth whitening. Improve your photos. And if you run into any problems while adjusting your pictures, don’t hesitate to ask questions in the comments section.
Now over to you:
Do you have any tips for teeth whitening? Have you tried to whiten teeth before? How did it turn out? Share your thoughts in the comments below!
The post How to Whiten Teeth in Lightroom (Step-by-Step Guide) appeared first on Digital Photography School. It was authored by Ana Mireles.
Aperture in Photography: A Beginner’s Guide (+ Examples)
06
Jul
The post Aperture in Photography: A Beginner’s Guide (+ Examples) appeared first on Digital Photography School. It was authored by Darren Rowse.
What is aperture in photography? How does it work? And how can you use it to capture photos like the pros?
Aperture is an essential camera setting; in my opinion, it’s where the magic happens in photography. So in this article, I’m going to take you through all the ins and outs of aperture, including:
- What aperture actually is (in simple, easy-to-understand terms)
- How you can use aperture to capture artistic images
- How to choose the perfect aperture for landscape photography, portrait photography, and more
- Plenty of other tips and tricks!
If you can master aperture, then you’ll gain a huge amount of creative control over your photography.
Ready to take your photos to the next level?
Let’s dive right in, starting with the most important question of all:
What is aperture?
Aperture is the opening in the camera lens. A larger hole allows more light to hit the sensor, lightening your photos. A smaller hole allows less light to hit the sensor, darkening your photos.
And by adjusting the aperture setting on your camera, you can adjust the size of the aperture (and, in turn, affect a photo’s brightness).
Aperture and f-stops
Aperture is measured in terms of f-stops, also known as f-numbers. Like this: f/2.8, f/4, f/5.6, f/8, f/22, etc.
As shown in the diagram below, the smaller the f-number, the larger the aperture hole:
Now, each full stop corresponds to a halving of aperture size. So when you go from f/2.8 to f/4, you cut the aperture in half. And when you go from f/4 to f/5.6, you cut the aperture in half again.
(Of course, to double the aperture size, you just go in the reverse direction: from f/5.6 to f/4, and from f/4 to f/2.8.)
So f/2.8 is a much larger aperture than f/22. And f/11 is a much smaller aperture than f/4.
Does that make sense? It can be confusing at first, especially because large aperture sizes correspond to smaller f-stop numbers and vice versa. But stick with it, and it’ll become second nature.
How does aperture affect your photos?
At this point in the article, you should know what aperture is: a hole in the lens that increases and decreases depending on your camera settings (i.e., your f-stop value).
But what does aperture actually do? How does it affect your photos?
In the next two sections, I’ll discuss the primary effects of aperture:
- Exposure
- Depth of field
Aperture and exposure
As you may already know, exposure refers to the brightness of a photo.
In general, the goal is to end up with a photo that’s not too dark and not too bright; instead, you want a shot that’s just right, one with lots of detail.
So where does aperture come into play?
Aperture is one of the three key variables that affect your exposure. (The other two variables are shutter speed and ISO.)
Remember what I said above? By widening the aperture, you let in more light, which brightens your image. And by narrowing the aperture, you let in less light, which darkens your image.
So if you’re photographing a beautiful sunset and your photos keep turning out too bright, you can always narrow the aperture to darken down the image. (In fact, using a narrow aperture is often a good idea when shooting sunsets!)
And if you’re photographing a forest and your photos keep turning out dark and shadowy, you can always widen the aperture to brighten up the image. (As you might expect, this is a standard low-light photography practice.)
Of course, aperture isn’t the only variable that affects exposure. If you want to brighten a photo, you can also lower the shutter speed or boost the ISO. And if you want to darken a photo, you can raise the shutter speed or drop the ISO.
In terms of exposure, widening your aperture by a full stop has the exact same effect as lowering your shutter speed by a full stop or boosting your ISO by a full stop. A key consequence of this: different exposure variables can cancel each other out. Increase your ISO by a stop while decreasing your aperture by a stop, and you’ll end up with an identical exposure.
The point here is that, while aperture does determine exposure, you can’t think about it in isolation. Aperture, shutter speed, and ISO work together to give you a well-exposed (or poorly exposed) image.
Aperture and depth of field
Aperture also affects the depth of field in your photos.
What exactly does that mean? Well, depth of field (DOF) is the amount of your shot that is in focus. So a photo with a large depth of field will have most of the image in focus, like this:
Do you see how sharpness stretches from the foreground to the background? That’s thanks to the large depth of field.
A photo with a small depth of field, on the other hand, will have only a sliver in focus, like this:
As you can see, the effect is pretty artistic; you get a sharp subject but a blurry background. Neat, right? Because a blurry background helps the subject to stand out, this is an effect you’ll often see in portrait photography.
As for aperture, the wider the aperture (and the smaller the f-number!), the shallower the depth of field.
So an image with an f/2.8 aperture will have very little in focus:
And an image with an f/16 aperture will have all of the scene in focus:
Got it? If you’re still struggling to understand – and if you are, don’t be embarrassed! – let me illustrate using two pictures I took in my garden:
The first picture was taken with an aperture of f/22, while the second picture was shot at f/2.8. The difference is obvious, right? The f/22 picture has both the flower and the bud in focus and you’re able to make out the fence and leaves in the background. Whereas the f/2.8 shot has the left flower in focus, but the right flower is less in focus and the background is completely blurry.
That’s all thanks to aperture, which controls the depth of field.
4 simple aperture examples
Here are a handful of additional aperture examples to help you wrap your head around its effects – in particular, how aperture affects the depth of field.
First, take a look at this landscape shot. It was captured with a narrow aperture, which resulted in a deep depth of field and sharpness throughout:
Now take a look at this street photo, which was taken with a wide aperture; it has a shallow depth of field:
And here’s a third example, which has a midrange depth of field. The entire photo isn’t sharp, but the main subject plus some of the surrounding area look crisp:
Finally, here’s one more example with an ultra-wide aperture for an ultra-shallow depth of field:
What’s important to know is that the aperture offers you creative control as a photographer. Want to create a blurry background? Pick a wide aperture. Want to keep your shot sharp throughout? Pick a narrow aperture.
Of course, you also have to remember the effect of aperture on exposure, which is what makes things a bit more complex (but a lot more fun!).
Adjusting the aperture on your camera
Now that you’ve made it this far, you might be wondering:
How can you actually change the aperture on your camera? What do you have to do?
Fortunately, adjusting the aperture is easy. You just set your camera’s shooting mode to Manual or Aperture Priority. Then rotate the relevant camera dial to change the f-number. (The specific dial will depend on your camera model; if you’re struggling, consult your manual.)
Which aperture is best?
When photographers first learn about aperture, this is a question that crops up constantly.
But as you’ve hopefully gleaned from the sections above, there is no single best aperture that you can use all the time. Sometimes you’ll want a deep depth of field or you’ll want to darken down a too-bright shot, in which case you’ll need to use a narrow aperture. Other times you’ll want a shallow depth of field or you’ll want to brighten up a too-dark shot, in which case you’ll need to use a wide aperture.
That said…
There are apertures that get used consistently in certain genres. I’ll cover them briefly below, starting with:
The best landscape photography aperture
Landscape photographers gravitate toward small aperture settings, such as f/8, f/11, and even f/16.
Why?
When you’re shooting a sweeping photo of the land, sea, or sky, you often want to keep the whole shot sharp. That way, the viewer can appreciate every little detail of your majestic scene.
Plus, a deep depth of field makes the shot feel more real, like the viewer could physically step into the scene.
The best portrait photography aperture
In portrait photography, it can be handy to have your subject perfectly in focus but the background nice and blurry. That way, your main subject stands out and the background doesn’t become a distraction.
In other words, use a large aperture to ensure a shallow depth of field.
It’s a trick used by family portrait photographers, headshot photographers, fashion photographers, and more.
The best macro photography aperture
Macro (i.e., close-up) photographers tend to disagree over aperture.
Some macro photographers use a very narrow aperture because depth of field gets shallower at high magnifications. And by using a narrow aperture, a macro photographer can ensure that their entire subject is in focus, even if the background is blurred.
Whereas other macro photographers embrace a shallow depth of field. They use a very wide aperture for a soft-focus effect.
Which is the way to go? That depends on your preferences! Both approaches work well, and there are plenty of professionals using each technique, so don’t stress about it too much.
Aperture in photography: final words
Hopefully, you now have a good understanding of aperture in photography and how you can use it to gain creative control over your photos.
But if you’re still a little confused, that’s okay. Grab your camera and do some experimenting. Find a subject – an apple works great! – and shoot it with different apertures. Watch as the depth of field changes.
Pretty soon, it’ll click. And your photos will (genuinely!) never be the same again.
The post Aperture in Photography: A Beginner’s Guide (+ Examples) appeared first on Digital Photography School. It was authored by Darren Rowse.
Black and White Photography: A Beginner’s Guide to Getting Started
22
Jun
The post Black and White Photography: A Beginner’s Guide to Getting Started appeared first on Digital Photography School. It was authored by Andrew S. Gibson.
If you’ve never tried black and white photography before, you may feel a bit intimidated. After all, how do you get started? Should you be shooting black and white on your camera, or should you be converting color images to black and white? And how can you create stunning black and white images, anyway?
In this article, I aim to answer all those questions. I’ll explain the value of black and white, how to do it, plus I’ll share some tips along the way!
Why is black and white photography important?
In the photographic world, black and white is an art form of its own. Some would even say the best photographers work in monochrome. It’s a medium with a rich history; look at the work of Ansel Adams, Edward Weston, or Henri Cartier-Bresson for some truly stunning examples.
Just as importantly, working in black and white can help you become a better photographer.
How?
It’s all about seeing.
Color is very powerful. It tends to dominate photos – to the point that beginners struggle to see other key elements like contrast, texture, shape, form, and quality of light.
Experienced photographers instinctively see these things, regardless of whether they work in color or black and white. But if you’re just starting out, you may need some assistance. Black and white strips away color, allowing you to focus on the other elements that matter.
Naturally, there are certain subjects that tend to work better than others in black and white. In particular, black and white lends itself to landscapes and portraits.
So if this is your first time shooting in black and white, then those are great starter subjects!
How to shoot in black and white
Before digital photography, the only way to work in black and white was to use black and white film.
But these days, you have two options:
- You can shoot in color and convert your photos to black and white in Lightroom, Photoshop, or some other post-processing program.
- You can switch your camera to its Monochrome mode.
I highly recommend you choose the second option, and here’s why:
By shooting in black and white from the beginning, you’ll get black and white previews on your camera’s LCD. You’ll also be able to see in black and white via your camera’s Live View mode. And if you use a mirrorless camera, you can look through a black and white viewfinder – so you know exactly how the different colors will convert before you press the shutter button.
(If you’re not sure how to switch your camera to black and white, check your camera’s manual. Don’t worry; it’s not difficult!)
One last piece of advice here:
Shoot in RAW, not JPEG (or shoot in RAW+JPEG, which will give you a file in each format every time you press the shutter button).
RAW essentially offers you insurance. If you decide you don’t like your shot in black and white, your RAW files can be reverted back to color with the click of a mouse. And if you decide to extensively edit your photos in post-processing, RAW gives you a lot of flexibility.
However, if you’re new to photography, I recognize that you may want to work exclusively in JPEG, and that’s okay. Just know that you’ll probably want to switch to RAW eventually (it’ll deliver better image quality in the long run).
Working in Monochrome mode
As explained above, I highly recommend you set your camera to Monochrome mode. And to get basic black and white shots, that’s all you need to do.
However, once you’re in Monochrome mode, you may have color filter options. And through careful application of these filters, you can capture even better black and white shots.
Color filters
The color filter settings come from the days of film photography. Photographers would use color filters to alter the tones in black and white photos. These days, digital photographers rarely work with physical color filters – instead, they use camera software or post-processing to mimic filter effects.
Your camera likely includes a few color filter options. For instance, you might use a yellow or orange filter to darken a blue sky or a red filter to turn it nearly black.
Here’s a shot before adding a color filter:
And here’s the shot after applying a red filter:
There is also a place for green filters, which can bring out more detail in green subjects like leafy forests.
Those four colored filters (red, orange, yellow, and green) have made their way onto most digital cameras as black and white settings.
Quick tip: Don’t forget about contrast!
If you take a photo in dull light – in shade, for instance, or under a cloudy sky – the photo may look flat (i.e., two-dimensional), especially in black and white.
So what do you do?
You compensate by increasing the contrast. A contrast boost will deepen the shadows, brighten the highlights, and make your main subject pop!
Here’s a portrait without a contrast adjustment:
And here’s the same portrait, but with a contrast boost:
To my eye, the final (adjusted) result is much more powerful.
You can increase the contrast after the photo has been taken (in Photoshop or Lightroom), or you can do it in-camera by adjusting the contrast setting (see your manual if you’re not sure how to do this!).
Composing in black and white
Remember how I said black and white forces you to think about other key elements, such as shape and form?
It’s true. And it’s the reason why composition becomes so important when shooting in black and white.
Unfortunately, there’s not really a quick solution to capturing good compositions; a lot of it just depends on your ability to see shapes, lines, and textures (which you can develop through practice or study or simply by looking at great photography).
However, there is one item that can improve your black and white compositions:
The aspect ratio.
You see, certain aspect ratios (such as the 1:1, or square format) make composition easier. Whereas other aspect ratios (such as most cameras’ native 3:2 ratio) make composition tricky.
So after you’ve set your camera to Monochrome mode, I recommend heading into the settings and changing the aspect ratio to Square. It’ll improve the way you frame scenes (and if your camera has an electronic viewfinder, it’ll let you see the new aspect ratio in real-time!).
Toning in black and white
Toning is the process of adding color to your images, but only after they’ve been converted to black and white.
This can give very cool effects – for instance, it can turn your shots yellow or purple or red.
Now, your camera may allow you to tone your photos when you take them. But the effect is usually very heavy-handed, which is why I recommend you avoid in-camera toning.
Instead, test out toning in post-processing. You can have lots of fun applying a single tone to your images (such as a nice sepia). And if you want to get really creative, you can add multiple tones, an effect called split toning.
Black and white photography: final words
Black and white is a beautiful medium to work in, one that you will appreciate even more as your skills grow.
In the meantime, have fun and enjoy yourself. You are following a path trodden by some of the most famous names in photography!
Now over to you:
Have you tried shooting in black and white before? How did it go? Do you have any favorite black and white subjects? Share your thoughts in the comments below!
The post Black and White Photography: A Beginner’s Guide to Getting Started appeared first on Digital Photography School. It was authored by Andrew S. Gibson.
Full frame mirrorless lens guide 2021
14
Jun
 |
| The move to mirrorless by some of the industry’s biggest players puts the focus on their new lens lineups. |
Updated June 11 2021 | Originally published April 2020
In this article, we’re going to have a look at Canon, Nikon, Sony and Panasonic/Leica/Sigma full-frame mirrorless systems to see what they offer and where they might yet go. After all, In our look at ~$ 2000 full frame mirrorless cameras, we said that choosing between them is as much about buying into a lens system as anything else.
This article isn’t a question of ‘which range is biggest,’ it’s to help show which lineups have the lenses you might need for your photography.
As well as the lenses currently available, we’ll consider the degree of support provided by third-party lens makers and briefly discuss some of the technologies involved.
The lens charts in this article were updated and now reflect the high-end, autofocus lens options for each system as of June 2021.
Sony E-mount
When it comes to full-frame lenses for mirrorless, Sony has the biggest head start. Sony introduced its full-frame ‘FE’ range alongside the original a7, back in late 2013, and already had several years experience of making APS-C E-mount lenses by that point.
Sony has also taken the unusual move of allowing third-party lens makers access to its lens mount specifications and communication protocol. This has allowed companies such as Sigma, Tamron, Tokina and Zeiss to expand the range of available lenses for Sony photographers. In the case of Sigma, these include existing DSLR optical designs as well as new, dedicated optical formulations for mirrorless, denoted ‘DG DN’.
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||
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Primes |
Zooms |
All |
Diagram covers autofocus primes and high-end zooms in the 14-200mm range. Lineups correct as of June 2021.
In addition to covering most of these bases, Sony has had time to add specialist lenses, such as 600mm F4, 400mm F2.8, 100-400mm and 200-600mm telephoto options, equivalents to which aren’t currently available for other systems.
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| Starting earlier has given Sony time to provide a wider range of lenses, including less obvious options such as the 135mm F1.8 GM |
Sony says that the years it’s spent making large lenses for mirrorless camera has allowed it to develop expertise in the types of motors best suited for full-frame mirrorless lenses (the need to drive lenses smoothly for video, as well as quickly means the requirements aren’t the same as for DSLRs). However, while it’s true that Sony’s adoption of technologies such as linear motors and piezoelectric drive provides its more recent lenses with impressively fast, smooth focusing, be aware that some of the company’s earlier lenses don’t always show this same performance.
Canon RF-mount
Canon’s RF lens lineup thus far has shown a distinct focus on the needs of professional users, with many of its first lenses belonging to the premium ‘L’ range.
Canon hasn’t opened up its lens mount to other makers, so there’s limited third-party support available at the moment. If the RF mount gains anything like the popularity that the EF mount did, it’s extremely likely that other companies will find a way to offer autofocus lenses, but widespread third-party support for RF may be some years away.
 |
||
|
Primes |
Zooms |
All |
Diagram covers autofocus primes and high-end zooms in the 14-200mm range. Lineups correct as of June 2021.
In addition to these lenses (and the variable aperture ‘kit’ and travel zooms you might expect), Canon has also introduced two interesting and comparatively affordable F11 telephoto prime lenses covering 600mm and 800mm. These use diffractive optics to keep the size and weight down.
Canon currently uses a variety of motors in its RF lenses: primarily using the company’s fast, smooth ‘Nano USM’ technology or the ring-type USM motors that underpin most of its high-end DSLR lenses. The ring-type motors appear to work pretty well with Canon’s dual pixel AF system but aren’t always the smoothest or fastest, especially given that they tend to be used in the lenses with large, heavy lens elements that need to be moved. We’ve been impressed by the Nano USM lenses, though.
The RF 35mm F1.8, meanwhile, uses a small stepper motor, which makes it noticeably slower and noisier to focus than the best of Canon’s other mirrorless lenses.
Nikon Z-mount
Like Canon, Nikon has not yet opened up the Z-mount to third-parties, which currently limits your autofocus choices to Nikon’s own lenses.
However, Nikon’s initial build-out strategy looks very different from Canon’s: Rather than starting with exotica, Nikon has provided a range of comparatively affordable/portable F1.8 primes, alongside a set of F2.8 and F4 zooms.
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Primes |
Zooms |
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Diagram covers autofocus primes and high-end zooms in the 14-200mm range. Lineups correct as of June 2021.
In terms of focus motors, Nikon seems to primarily be relying on the use of small stepper motors for its lenses so far, which offer decent performance but don’t appear to match linear motors or Canon’s Nano USM technologies for either speed or smoothness. Twin focus groups help to give accurate focus even close-up, in some of Nikon’s zoom lenses, which can also improve on the often modest speeds of single-motor designs.
L-mount: Panasonic, Leica and Sigma
Panasonic, along with Sigma, has aligned itself with Leica by adopting the ‘L’ mount for its full-frame mirrorless cameras. This instantly gives it access to an established lens range (though, like Sony’s, one that is built around a mount originally focused on APS-C). Sigma’s inclusion in the alliance should ensure a wide range of third-party L-mount lenses become available: it’s built L-mount versions of many of its designed-for-DSLR primes and is also introducing ‘DG DN’ lenses designed specifically for full-frame mirrorless cameras.
All Panasonic cameras so far have been based around the company’s Depth-from-Defocus (DFD) AF system and Leica uses a system whose description sounds remarkably similar. We’re told all the lenses in the L-mount are compatible with DFD but that they aren’t all necessarily optimized for it, in terms of AF drive or how quickly the lenses communicate with camera bodies. For now we wouldn’t expect the same consistency across native L-mount lenses that we’ve seen from the single-maker systems, but we’d expect the three partners to be working to maximize compatibility.
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Primes |
Zooms |
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Diagram covers autofocus primes and high-end zooms in the 14-200mm range. Lineups correct as of June 2021.
Panasonic’s lenses primarily make use of linear focus motors, but use a combination of linear and stepping motors for lenses such as the 50mm F1.4 and its 70-200s that require more glass to be moved around. Sigma’s lenses vary, and we’d expect better performance from its made-for-mirrorless DG DN lenses than from the older DSLR optics.
DSLR lens support
If you already own a selection of DSLR-mount lenses, then you’ll find that with the right accessories, you can mount them on any of these camera bodies. Since the mirrorless mounts are all shallower, this leaves plenty of room to put an adapter between the lens and body. The performance you get will vary, though.
Canon frequently bundles one of its EF-to-RF adaptors with its RF-mount cameras, and it makes three variants (a simple pass-through tube, another with a control ring around it and a third that lets you drop a choice of filter between the lens and the camera). The dual pixel AF system, combined with Canon’s knowledge of its communication protocol means EF lens users will get probably the best adapted lens experience when using Canon RF-mount bodies. In general we’ve had roughly DSLR-level performance from the EF lenses we’ve adapted but it’s not necessarily true for every lens.
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| Unsurprisingly, you tend to get the best adapted performance if you use DSLR lenses on the same brands’ mirrorless bodies. Don’t assume you’ll always get DSLR levels of performance, though. |
Various companies also make EF-to-E adaptors, allowing EF-mount lenses to be used on Sony bodies. And, while not quite as consistent as Canon-on-Canon pairings, we’ve had good experiences with this combination, though generally only with shorter focal lengths. Meanwhile, Sigma makes the MC-21 adapter for using EF lenses with L-mount bodies but, without phase detection AF in most of those cameras, continuous AF is not available.
Nikon also offers kits that include its ‘FTZ’ F-to-Z mount adaptor with some of its camera bodies. This provides a decent level of support for existing lenses but does not contain a focus drive motor, so can only autofocus lenses with their own motors (AF-S, AF-P and AF-I lenses and their third-party equivalents). F-to-E adapters are available, but performance can vary, lens-to-lens, making it more of a gamble.
Sony also makes several adapters for using A-mount lenses on E-mount cameras. The latest, LA-EA5 adapter includes a focus motor to focus older lenses designed to be driven from the camera body, but this function only works with select high-end Sony cameras.
As you’d probably expect, then, older lenses tend to work most reliably with the cameras made by the same brand. However, they can be used on other systems, so depending on how extensive your existing lens collection is, you may find you can make do with lowered performance, rather than having to sell-up and start again, if you don’t want to remain bound to the whims of the maker of your DSLR.
Summary
As you’d expect, Sony’s nearly five-year head start and openness towards third-party makers has let it build up a significant advantage over its rivals, but all four mounts are already starting to see key holes in their respective lineups being filled.
In the long run, it’s likely that all four systems will be extended to offer a range of mid-range, as well as high-end primes and zooms, but it’s pretty clear that initially, Nikon and Canon are focusing on different sets of users.
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| Third-party support provides more options in young lens systems. There’s even more to be gained when makers of cameras and lenses become partners in a system, as has happened with the L-mount. |
Nikon and Canon’s decisions to keep their mounts closed to competitors means they can control the consistency of experience for their users (with less risk of a third-party lens offering sub-standard AF speed or smoothness, for instance), but with the downside that you’re entirely dependent on that company’s development priorities and pricing, unless you’re happy to take your chances with simple manual focus or reverse-engineered options.
It’s the third-party makers and their ability and willingness to produce fully-compatible lenses that will be interesting to watch. The adoption rate of Sony E-mount cameras and the availability of the lens protocols is likely to mean most future third-party lenses will be designed around this mount. But with Sigma already joining the L-mount Alliance, other systems are starting to benefit from extra input.
Articles: Digital Photography Review (dpreview.com)
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