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10 High School Football Photography Tips

11 Oct

The post 10 High School Football Photography Tips appeared first on Digital Photography School. It was authored by Jeff Guyer.

high school football photography tips and advice

Are you looking to capture top-notch, action-packed, jaw-dropping photos of high school football?

You’ve come to the right place.

I’ve been doing high school football photography for years, so I’ve picked up plenty of key tips, techniques, and secrets to capture amazing shots. And in this article, I aim to share it all with you, from essential equipment to camera settings to creative tricks and more.

So if you’re ready to elevate your football photography, then let’s dive right in, starting with equipment:

1. Use the right gear

I’m not going to spend a lot of time here discussing camera bodies. Some of the photos in this article were taken years ago using a Nikon D70, and they look great. As long as you’re photographing with a reliable DSLR or mirrorless camera, you’re going to be fine. A fast continuous shooting speed and a capable autofocus system is helpful, but if you can’t afford these features, then don’t worry too much.

For a football photographer, your big concern is lenses. Happily, it is possible to get really great shots with a few basic options. When I first started shooting sports, I used just one lens, a 70-200mm f/2.8. I was able to shoot and edit creatively enough to get a variety of images. If you can only afford one lens right now, definitely opt for a longer zoom.

Don’t just buy any long zoom, however. Make sure it’s plenty fast; in other words, it should ideally feature a maximum aperture of f/2.8. Fast lenses are going to be hugely important once the sun goes down because most high school sports have a prohibition against using flash. You’ll need that ultra-wide aperture to keep a sufficiently fast shutter speed (otherwise, your photos will all turn out blurry!).

By the way, I’d also recommend investing in a nice monopod to keep your camera steady. In good light, you can handhold, but as the day turns into night, you’ll want some form of support – and tripods tend to be annoyingly unwieldy.

As with any type of shoot, make sure you have all of the necessary backups: batteries, memory cards, etc. Also, make sure you also have a plan for when it starts raining. Note that rain will fall on occasion, so be prepared for it. The Think Tank Hydrophobia should do the trick.

high school football in the rain

Trust me. At some point it’s going to rain!

2. Consider how you’ll get in

If you’re serious about football photography, consider contacting the school/venue ahead of time and ask about media credentials. In exchange for your images, you might be able to get a free pass into the game.

Otherwise, you’ll probably have to pay to get in (just like anyone else!). The good news is that it’s usually less than $ 10. You might be able to talk your way in on the day of the game, but the money goes to a good cause, so if you’re forced to pay, it’s not that big of a deal.

3. Get to the game early

Teams take the field to warm up anywhere from one to one-and-a-half hours before game time. And warm-ups are going to give you one of the best opportunities for quality shots.

For starters, the light is better. The sun won’t have set, and you’re going to get strong, powerful natural light, particularly if you shoot with the sun at your back.

Plus, players also tend to move a little more slowly in warm-ups than in the actual game, so you’ll have an easier time capturing motion. You’ll also get more of an opportunity to isolate individual players.

In some cases, you may even be able to actually walk out onto the field to shoot. However, if you do, please be careful! There will be around 150 kids warming up, many of whom are big, fast, and not paying attention to you.

Always remember: the kids’ job is to play football, not give you a good photo op. So make sure you don’t get in the way!

high school football in good light

Get there early and take advantage of the sun while you can.

4. Know the sport

The key to getting quality photos in football?

Have a solid understanding of the game. Know how it is played.

After all, every game has an ebb and flow of its own. If you know how the game goes, then you’ll be ready when the game hits its highs (and you’ll know when you can relax and take your finger off the shutter).

Plus, knowledge of the game will allow you to anticipate moments before they happen. Will it be a running play or a passing play? What are the odds that they’re going to fake the punt on 4th down? Do you need to be on the sideline or the end-zone for the action? The home side of the field or the visitors’?

The more you understand the subtleties of the game, the better prepared you will be.

players snapping the ball

5. Focus like a pro

In football photography, you need to master two types of focusing:

  1. Mental focus
  2. Camera focus

First, mental focus: These kids are big and fast and strong, and are trained to run through anything in their way. So please, please, please pay attention to the game, anticipate change, and get out of the way if players are barrelling toward you.

I once saw a photographer stand his ground on the sidelines, despite the fact that a player was being pushed out of bounds right at him. I watched as his camera, lens, and monopod all went flying in three different directions (he flew in a fourth). He was ultimately wheeled off the field with cuts to his face and a leg that had been broken in two places. No photograph is worth that. So focus on where you are and what is going on around you.

player running with the football

As for the other kind of focus:

You’re photographing an action sport and you want action photos. So set your camera to its continuous autofocus setting (AF-C on some cameras, AI-Servo on others).

Now, the kids will be wearing helmets, so don’t worry if you can’t focus on the players’ eyes. Sure, if you can get the eyes, that’s great. If not, your best bet is to lock on the players’ numbers, or even the ball once players start moving. Here, your camera’s tracking mode will be a big help. Of course, feel free to experiment with other AF area modes, just in case one suits your style of shooting.

The goal is speed and accuracy. And at first, you may struggle. That’s normal. But keep practicing, keep working at it, and you’ll eventually improve.

football player with ball

6. Use the right camera settings

Football players move fast, and if you come home with 250 blurry photos, you aren’t going to be happy. So pay careful attention to your shutter speed, because the faster your shutter speed, the better your chances of freezing the action.

I generally like to start with a shutter speed of 1/500s and adjust my aperture and ISO accordingly until I get the look I want. Since football is an outdoor sport, the lighting is going to change over the course of the game. You may start out with great natural light, but you’ll often end in the dark with less-than-ideal stadium lighting. This, in turn, may mean slowing down your shutter speed to let in more light, as well as opening up your aperture to its maximum or raising your ISO.

Mastering these settings – and knowing what to adjust during a game – takes some practice. Be prepared for some trial and error. Here, Shutter Priority mode is often your friend, as you can input your desired shutter speed and ISO, then let your camera automatically adjust the aperture. You might also consider using Auto ISO with some sort of cap (but before you go this route, test different ISO values and determine your maximum “good” ISO).

intimate details and portraits

7. Carefully choose your vantage point

Beginning football photographers struggle to position themselves correctly. They often pick an empty bleacher seat near the field, set up their gear, and stay in place for the entire game.

But if you want truly excellent photos, you need to position yourself carefully – and if possible, you should move with the action.

How do you pick the best position? First and foremost, let the light guide you. It sounds dramatic, but really, you should just take advantage of the sun while you can. Especially when you’re starting out, put the sun at your back so that it’s falling onto the field and nicely illuminating the players. As you get more experienced, you can try switching things up and working with backlight (i.e., situations where the light comes from behind the players, as in the photo below) or even sidelight, but as a beginner, keep things as easy as possible.

football photography in beautiful light

Obviously, the closer you are to the action, the better your photos will be. So get as close to the field as possible. If you can, position yourself on the sidelines, below the bleachers. This will give you the best angles, plus it will give you room to move with the game.

Be aware that some stadiums will have restrictions on where you can and can’t stand, regardless of your press credentials. “The Box,” for example, is the area on the sideline between the 20-yard lines. This area, for a variety of reasons, is off-limits to anyone other than players, coaches, trainers, etc. A game official who is a stickler for the rules could penalize the team for your presence in the box. If that happens, start running and don’t look back!

There is a natural tendency to shoot a football game primarily from “your” team’s side of the field. If you’re a parent, this is where you know people and feel comfortable. But try going around to the other side of the field once in a while. That way, you can capture the action with your team’s colors and sidelines in the background.

8. Be creative and keep your eyes open

Sure, you’re photographing football, but that doesn’t mean you can’t be creative with your angles and compositions. If you are selling game photos on your website, getting creative will only help!

I tend to think in terms of portraits; how can I highlight a specific player in the best way possible? Changing angles resulted in getting this quarterback against a perfect background:

player preparing to throw the ball

Don’t fall into the trap, though, of assuming that everything worth photographing is right there on the field in front of you. Spend some time in the stands. Shoot the crowd reactions. Photograph the band and the cheerleaders. Capture the traditions. There is so much more going on in a stadium than just a football game. So turn your back on the action once in a while and take a look around you. There are stories everywhere.

Most importantly, learn to keep your head on a swivel!

coaches and cheerleaders

dog on the football field

Pay attention. You never know who might drop in.

9. Consider using your camera’s continuous shooting mode

Beginner sports photographers tend to set their camera to its fastest shooting mode, then follow the “spray and pray” strategy where you capture a series of shots over a split-second window.

But is this advisable? Or should you use your camera’s single-shot mode?

Honestly, it really depends on you and your style. Ask five photographers, and you’ll get five different answers. When I first started shooting high school sports, I was working with a slow camera that didn’t let me “spray and pray” consistently and hope for the best. It may have been frustrating back then, but it was probably a good thing. I learned to compose my shots and choose my moments a little more carefully. Over time, I developed a pretty fast shutter finger and a better eye for sports action. So even now, with a faster camera, I tend to leave my camera set for single clicks.

Ultimately, I’d recommend you try out both settings. Work with your camera’s continuous shooting mode for a while. Then, once you’ve gotten some shots you’re satisfied with, switch over to a single-shot mode and see how it feels!

players with the football

10. Listen to the coaches (and follow proper etiquette)

If you are covering a particular team over the course of a season, introduce yourself to the coaches. Your job will be easier if they know who you are and why you are there. Plus, play your cards right with the coaches and there’s no telling what kind of access you might get.

football players preparing for a game

Being nice to coaches gets you all kinds of access.

If a coach or official tells you something, listen. If they ask you to move, move. You’re in their house and you have to play by their rules.

As I mentioned above, don’t use flash. It’s not allowed, plus it can seriously impact the game. It may sound silly, but you have no idea what the consequences of an unexpected flash might be. There could be college scouts in the stands, and if you blind the receiver with your flash, they might not get a scholarship or even get recruited at all.

Also, if play stops for an injury on the field, show respect and put your camera down. While injuries might make for compelling photography, you may be witnessing the end of a child’s life-long dream or even their chances of going to college. You don’t want the student or their parents to see that on your website. This is high school, not the NFL. Be sensitive and keep things in perspective.

High school football photography tips: final words

Any seasoned photographer will tell you that photographing sports is not easy, and football may be one of the hardest games to shoot.

However, with with a little practice and preparation, your images will start to improve. Remember these tips, apply them to your photography, and pretty soon, your photographs will be outstanding.

Now over to you:

Do you have any tips for football photography? Have you photographed any games? What was it like? Share your thoughts in the comments below!

Table of contents

Sports Photography

  • GENERAL
    • 8 Tips On How to Photograph Sports
    • Tips from the Sports Photography Pros to Help You Get the Money Shots
    • Indoor Sports Photography
    • SETTINGS
      • How To Use Sports Mode
    • LIGHTING
      • Shooting Portraits and Action Sports with Speedlites – Workshop
    • GEAR
      • Lens Review Canon 300mm f4 Lens for Sports Photography
      • Aquatech CO-7 Underwater Sport Housing [REVIEW]
      • Shooting Motorsports with a Micro Four Thirds Camera
    • ADVANCED GUIDES
      • Tips for Photographing Football (Soccer)
        • How to Shoot High School Football

        • Play Ball! Covering Your Bases Shooting Baseball
        • How to Capture the Perfect Action Shot in Sports Photography
          • Low Light Sports Photography
          • 3 Tips for Taking Better Motorsport Photos
          • Catching the Action: Photographing Youth Sports
            • Top 5 Tips for Extreme Sports Photography
          • POST-PROCESSING
            • Using Photoshop to Create the Illusion of Depth of Field with your Sports Photos

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          The post 10 High School Football Photography Tips appeared first on Digital Photography School. It was authored by Jeff Guyer.


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          What is the Highest ISO Camera? High ISO Explained and Cameras Compared

          22 Jul

          Digital cameras with higher and higher ISO ranges are appearing on the market these days.  Some have ISO numbers that seem out of this world. These are best suited for specific conditions and types of photography.  Should you go for the absolute highest ISO camera or are there other aspects to consider? In this article I will share my experiences Continue Reading
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          The Weekly Photography Challenge – High Noon

          29 May

          The post The Weekly Photography Challenge – High Noon appeared first on Digital Photography School. It was authored by Sime.

          High Noon, when the sun is its most harsh, when things tend to get very bright, can be a tough time to make a photograph – that’s why, this week, we’re challenging you to share your best ‘high noon’ photograph in this week’s weekly challenge.

          Remember to tag your photographs #dPSHighNoon

          Generally most photographers will try to avoid high-noon, or the middle of the day, so that they don’t need to struggle with the harsh light (and in some cases, the heat, though from a cold Melbourne afternoon I say ‘bring the heat!’) but when you have a small window in which to shoot and you have to go and make photos, all you can do is the best you can do!

          Here are a couple of little helpers on the blog to help you out;

          “Bright ideas for shooting in the midday sun”
          “3 Quick tips for photographing in harsh midday sun”

          The Weekly Photography Challenge – High Noon
          Photo by Michael Kroul on Unsplash

          Your photograph can be of anything, a portrait, a wildlife scene, a landscape, but it must be taken in the middle of the day – we’re not checkin’ exif because we trust you! Ha.

          Remember to tag your photographs #dPSHighNoon

          But how do I upload my photos?

          Upload your photo into the comments field below this post (look for the little camera icon in the Disqus comments section below this post) and they’ll get embedded for us all to see. Or, if you’d prefer, upload them to your favourite photo-sharing site and leave the link to them.

          Weekly Photography Challenge – Looking Up

          The post The Weekly Photography Challenge – High Noon appeared first on Digital Photography School. It was authored by Sime.


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          When to Use a High ISO (+ Tips for High-ISO Photography)

          04 May

          The post When to Use a High ISO (+ Tips for High-ISO Photography) appeared first on Digital Photography School. It was authored by James Maher.

          when to use a high ISO in photography

          Are there times when a high ISO makes sense? When should you consider using a high ISO? And what ISO can modern cameras handle?

          In this article, I’ll explain everything you need to know about high ISOs, including:

          • Whether high ISOs are ever a good thing (spoiler alert: they are!)
          • Tips and tricks for working with high ISOs for great results
          • How to determine the maximum acceptable ISO for your camera
          • Much, much more!

          Let’s get started.

          When (if ever) should you use a high ISO?

          Raising the ISO is one of the most common photographic fears. Photographers – especially beginners – are afraid to boost the ISO past 400 or so, lest they ruin images with ugly, unwanted noise.

          Ten years ago, these fears were justified. Raising your ISO to 1600 or 3200 was a no-go for the majority of cameras.

          But no longer. Things are changing. These days, it often makes sense to boost your ISO to get better images. In fact, the improvements in camera technology have been such that you can now comfortably photograph at ISO 1600, 3200, and even 6400 with most DSLRs, Micro Four Thirds cameras, and mirrorless cameras.

          Here are three simple situations when shooting with a high ISO makes sense:

          1. When you’re photographing indoors or at night

          If you take your camera indoors, or you shoot at night, you’ll quickly run into a problem:

          Your images will be dark and lacking detail.

          In such situations, you have three solutions:

          First, you can widen your aperture. Often, this can help (and it’s the reason why many night photographers and event photographers work with an ultra-low f-stop). But it’s rarely enough.

          Second, you can drop your shutter speed. But unless your subject is completely still and you’re shooting with a tripod, you’ll end up with lots of blur. Not ideal, right?

          Which brings me to the third solution:

          You can raise your ISO.

          when to use a high ISO in photography concert

          Will it introduce some noise? Yes. But the noise produced by modern cameras at high ISOs just isn’t that bad; as I mentioned above, you can comfortably boost your ISO to ISO 3200 and ISO 6400 without much loss of quality.

          And by raising the ISO, you’ll end up with much brighter images, even indoors and even at night.

          2. When you’re photographing fast-moving subjects

          The faster your subject, the faster the shutter speed required to render it with zero blur.

          For instance, if you’re photographing a runner, you might need a shutter speed of 1/500s. If you’re photographing a moving car, 1/1000s might be more appropriate. And if you’re photographing a diving falcon, 1/3200s is a safe bet.

          Unfortunately, even in relatively good light, boosting your shutter speed to 1/3200s will result in a too-dark exposure – unless you raise the ISO, that is.

          After all, better to end up with a slightly noisy image than a completely blurry one, right?

          So don’t be afraid to increase your ISO when faced with a fast-moving subject.

          when to use a high ISO in photography people walking at night

          3. When you’re using a long lens

          The longer your lens, the easier it is to end up with blur – because subject movement and camera movement are magnified. So with a long lens, you need a fast shutter speed, just the same as if you were shooting a moving subject.

          That’s why boosting your ISO is so essential when working with telephoto lenses; it allows you to boost the shutter speed, too, and capture a sharp image.

          Sure, when the light is bright, you can keep the ISO at 100 or 200 and end up with sharp, well-exposed images.

          But as the light begins to drop, you’ll need to raise your ISO with confidence. That way, you can capture bright and clear photos at 300mm, 400mm, and beyond.

          when to use a high ISO shadowy man with briefcase
          Canon 5D Mark II | 135mm | f/6.3 | ISO 1600

          The high ISO allowed for a 1/320s shutter speed; this accounted for both the motion in the scene and for the longer focal length used.

          But doesn’t a lower ISO give better image quality?

          Well, yes – and no.

          Yes, if you are setting up a studio shot and controlling the lighting. Yes, if you are using a tripod, if you are a landscape photographer, or if there is very strong natural light. Yes, if you don’t have to compromise your shutter speed or aperture settings to expose the shot correctly. A photo taken at ISO 100 will always be significantly sharper and cleaner than a photo taken at ISO 1600, assuming the aperture and shutter speed are the same, and you have complete control over the subject and the lighting.

          In every other case, however, the answer is no; a lower ISO will not give better image quality.

          Raising your ISO will help you capture a higher quality photograph in many situations. Why? Because it lets you use a faster shutter speed and a smaller aperture to get a sharper result. When creating a technically great photograph – one with minimal blur and proper exposure – getting the aperture and shutter speed settings correct is much more important than using a low ISO.

          If you want to know how great event photographers consistently create such bright and beautiful images, it’s not only because they use fast lenses and flashes. It’s because they are not afraid to raise the ISO.

          Plus, the look of grain at high ISOs in digital cameras has become more pleasing. The newer camera models have not only reduced the strength of grain (noise) at high ISOs, but they have also created noise that looks more artistic.

          ISO has now become a luxury instead of an obstacle. We can photograph in dark areas while handholding the camera when we need to.

          crop of the man with a briefcase
          Cropped version of the above (ISO 1600) shot. Note the minimal, pleasing grain.

          Tips for working with high ISOs

          Now that you know when and why high ISOs are important, let’s take a look at some easy tips for improving your high-ISO images:

          1. When shooting at a high ISO, get the exposure right

          car at night

          Here’s the major problem with photographing at a high ISO:

          Raising the exposure in post-production will ruin the look of the grain.

          Raising the exposure a small amount is usually okay, but if you are photographing with a high ISO, you need to be even more diligent than usual about exposing your images correctly in-camera.

          2. Pay attention to color noise versus black and white noise

          when to use a high ISO woman smoking at night
          Fujifilm X100S | f/2 | 1/125s | ISO 6400

          You should carefully evaluate how your camera handles the look of noise in your color images. My Fujifilm X100S, for instance, handles color noise exceptionally well. But other cameras don’t do so well with color noise at high ISOs. 

          In many cases, however, the problem can be solved by converting the photo to black and white.

          Take a look at the image above. This was taken a while back with a compact mirrorless camera at the very extreme end of its ISO range, 6400. Yes, there is a lot of grain, but it still looks good. I prefer not to go over 3200 with my Fujifilm X100S whenever possible, but without using ISO 6400, I probably wouldn’t have been able to capture this image.

          crop of the woman with a cigarette
          Cropped version of the woman with a cigarette (above). Very significant grain, but excellent color noise.

          3. Test your camera’s ISO to determine acceptable noise levels

          While I’ve talked in generalizations up to this point, I do think it’s important to evaluate the ISO capabilities of cameras you own (or cameras you’re thinking of purchasing). You should determine their ISO range, as well as the quantity and quality of noise at different ISOs.

          If you’re considering particular cameras but can’t get your hands on a copy to test, there are plenty of in-depth reviews, both on this site and elsewhere. Nearly all of these reviews will discuss high-ISO capabilities, and they’ll often provide sample images.

          Of course, if you own the camera already, test it out yourself. Make sure you are using a fast shutter speed and an aperture of somewhere between f/8 and f/16; that way, each image you take is guaranteed to be sharp.

          Focus your lens on a nearby object, then take a series of shots, going from ISO 100 all the way to your camera’s maximum ISO. 

          Then pull up the images on your computer and zoom into 100% (both in black and white and in color). And decide which ISOs you’re pleased with, and which ISOs you just can’t handle.

          If you have a photo printer, I highly suggest printing out your test images to see how the grain looks in real life and to see the differences between images.

          It is also important to remember:

          If you are regularly printing at smaller sizes, such as 5×7 or 8×10, then you will likely not notice a significant difference between ISO 200 and ISO 1600. But if you prefer to print at larger sizes, such as 20×30, then there will be a noticeable difference. So test it out.

          Here are a few examples of noise levels at different ISOs on my old Canon 5D Mark II and Fujifilm X100S:

          birds flying around a building when to use a high ISO
          Canon 5D Mark II | 28mm | f/9 | 1/500s | ISO 800
          crop of birds flying around a building
          Cropped version of the above shot. Insignificant grain at ISO 800.
          people sitting in the park
          Fujifilm X100S | f/9 | 1/250s | ISO 1600
          crop of people sitting in the park
          Cropped version of the above photo. Note the insignificant and pleasing noise.

          Noise can be beautiful!

          Now that you’ve finished this article, you know why high ISOs can be useful. And you know when you should consider working at a high ISO.

          So don’t be scared. Embrace the noise/grain and create some stunning photos!

          Now over to you:

          What ISO do you generally shoot at? And how high do you go? Share your thoughts in the comments below!

          when to use a high ISO in photography street at night

          The post When to Use a High ISO (+ Tips for High-ISO Photography) appeared first on Digital Photography School. It was authored by James Maher.


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          11 Tips for Photographing High School Senior Portraits

          01 May

          The post 11 Tips for Photographing High School Senior Portraits appeared first on Digital Photography School. It was authored by Guest Contributor.

          11 tips for photographing high school senior portraits

          Looking for some senior portrait tips to take your photos to the next level?

          In this article, I’m going to give you plenty of helpful tricks, techniques, and advice – so you can capture stunning portraits, consistently. Specifically, I’ll share:

          • A handy trick that guarantees you never run out of poses
          • A few easy ways to get seniors feeling comfortable in front of the camera
          • A step-by-step process for generating plenty of satisfaction and free advertising after your session
          • Much, much more!

          Sound good? Let’s get started.

          What to do before the senior portrait session

          When it comes to planning for sessions, seniors are some of my favorite people to work with. Don’t get me wrong, I love families, children, engaged couples, and wedding ceremonies, but seniors are close to the top of my list.

          senior portrait tips

          Why, you may ask? It’s simple: seniors are excited to model, seniors are some of my best marketing tools, and seniors know what they want. They also have a great sense of style, which translates well in their photographs.

          When a high school senior books a session with me, I get started immediately. I don’t wait for the actual photoshoot; instead, I take several steps right away to let my client know I am excited about working with them. I have found that if you do these things, your session will not only run smoothly, but you will have a client who loves to refer you to their friends.

          So here are the key items to do prior to the photoshoot:

          1. Communicate your excitement

          First things first, before doing anything else:

          Let the senior know how excited you are about working with them. Since seniors are all about social media, I send out a tweet explaining how excited I am to work with them and to plan their session – and I make sure to do this within a few days of the booking.

          senior with guitar in woods

          2. Really get to know your client

          After sending out the tweet (above), I give the senior a tailored questionnaire so I can get to know them better.

          Some of the questions found in the questionnaire include:

          • What are some of your favorite features about yourself?
          • What do you want to remember most about this time in your life?
          • Are there any specific locations you have in mind for your shoot?
          • How would you spend your ideal Saturday?
          • How would you describe your personal style?

          This helps me tailor the photoshoot to their personality, interests, and needs.

          3. Give clothing suggestions on a Pinterest board

          Even though seniors are on top of the latest styles, they often need help deciding what to wear to their session.

          So a week before the session, I send them a link to a Pinterest board – one that’s full of clothing and prop examples. This gives the senior specific ideas of what to bring. It helps your client, and it also helps you achieve the look you want in your own portfolio.

          senior portrait tips black and white

          What to do during the senior portrait session

          In this section, I explain my session workflow – what I do to make the hours I have with my senior memorable and stress-free (and fun!).

          You can have a great experience by following these tips:

          1. Have a real conversation

          Many seniors don’t feel totally comfortable in front of the camera. So to break the ice, talk to them, ask them questions, and find out what their plans for the future are.

          Seniors are at an awesome stage in their lives; they have their whole future ahead of them. So encourage them and invest in them when you have the chance.

          They will feel appreciated, valued, and confident after hearing reassuring words from an adult who isn’t their parent.

          senior portrait girl laughing

          2. Praise your client (and show them photos)

          Most seniors have never been in front of a professional photographer other than for the cheesy pictures their parents had them take when they were younger. So make them feel comfortable.

          Praise them when they look good in front of the camera. I love to turn my camera around and show them some little peeks of how well they are doing. They love this! It will encourage them to keep up the good work, and it will give them confidence in their appearance.

          3. Keep plenty of posing examples on hand

          You may have some go-to poses you use for your seniors. But since each person is different, you need to have several tricks up your sleeve.

          Enter the smartphone.

          Before your session, simply browse the web and take screenshots of poses you like.

          Then, when you hit a rut during your senior portrait shoot, just whip out your phone and look at your saved poses.

          It might feel like cheating at first, but seniors love this approach. They think it’s so cool that you’re invested enough that you planned for their poses. It makes them feel valued.

          senior portrait tips

          4. Make sure to bring props

          I love to bring small props for my seniors to hold or sit on during the photoshoot. This could be an old folding chair, a cute beach hat, an old quilt, or even some books.

          Props are a great way to spice up your senior portraits. Plus, some people feel really awkward in front of the camera at first, so little props will give them something to do with their hands while they adjust to your presence.

          What to do after the senior portrait session

          After a session, you can keep your clients excited, satisfied, and ready to recommend your services with these senior portrait tips:

          1. Post a teaser

          The day after a senior portrait session, I post a “teaser” or “sneak peek” photo from their session on Facebook.

          Your senior will share that teaser with all of their friends through social media, which means more publicity for you and your business. (That’s another reason why I love seniors!)

          2. Send out a handful of photos in advance

          The following week, after I have edited all of the images, I will send ten files to them through PASS.

          The senior will also share these images through Facebook, and it will help them understand why they should purchase a disc with all of their high-resolution images.

          3. Give the senior a great gift bag

          As soon as I have all of the images edited, I will order a custom book and send it to the senior – along with a really appealing package.

          The package includes a handwritten note, business cards, and other little goodies. My seniors always love how personal I make the gift bag for each of them (another great reason to send them a questionnaire and to get to know them well during the session).

          4. Post on your blog

          After you’ve delivered all the final images, blog about the session, including images you didn’t include in the original ten.

          This blog post will also be shared on social media with their friends and family (more free advertising!).

          senior by the ocean

          Bonus tip: Edit for longevity

          When post-processing senior photos, always remember that you are photographing for the parents as much as you are photographing for the senior client. I keep “fad” type editing out of the equation because I know ten years from now the parents will want a solid (i.e., not overly processed) image on the wall.

          Instead of using “fad” editing techniques, I always let style come from the locations I choose. You can do this by choosing old brick buildings, abandoned farmhouses, fields of cotton, etc. The seniors love this, and their parents will appreciate the timelessness of the photographs they receive.

          senior portrait tips girl in forest

          Senior portrait tips: final words

          It is not hard to rock a session with your seniors. It just takes some extra things to go above and beyond – so the seniors know you appreciate them.

          All of these extra things will make your client feel special and will translate into those coveted word-of-mouth referrals for you!

          Now over to you:

          Which of these senior portrait tips do you like most? Which will you try the next time you’re doing senior portraits? Share your thoughts (and photos) in the comments below!

          This post was written by guest contributor Meghan Newsom. Meghan is a lifestyle and wedding photographer located in northern Alabama. When she’s not writing for her lifestyle blog, cooking up gluten-free recipes, or taking pictures, you can find her exploring outside with her husband and pup.

          The post 11 Tips for Photographing High School Senior Portraits appeared first on Digital Photography School. It was authored by Guest Contributor.


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          Understanding Olympus OM-D E-M1 Mark III and E-M1X High Res Shot modes

          31 Aug

          Olympus has introduced several groundbreaking technologies in its cameras over the years, including high-performance multi-axis stabilization, and high-resolution shot modes, which combined multiple exposures to create a single, much larger final image.

          The technology is complex, but the idea behind the classic tripod high res shot mode (introduced in the OM-D E-M5 Mark II) is simple: the camera’s sensor is shifted in minute increments across multiple exposures, so that the scene is ‘covered’ by more pixels. Those images are then combined in-camera to create a single, higher resolution photograph.

          The Olympus E-M1 Mark III and E-M1X offer two high-res shot modes, ‘Tripod’ and ‘Handheld’

          Today’s flagship OM-D E-M1X and E-M1 Mark III include the latest iteration of this feature, alongside a new mode: ‘Handheld high Res Shot’. Handheld High Res Shot mode enables ultra high-resolution images to be captured without the need for a tripod.

          In Handheld High Res Shot mode, blur from camera shake is avoided thanks to a powerful in-camera stabilization system, which compensates for any accidental camera movement during this process.

          The Olympus OM-D E-M1 Mark III and E-M1X feature a powerful inbuilt stabilization system. This system is also used in the cameras High Res Shot modes.

          Choosing the right High Res Shot mode

          The E-M1 Mark III’s high-res shot modes are available for those times when you want more than the camera’s normal resolution of 20MP. Which of the two modes you choose will depend on the kind of subject you want to capture.

          With both the OM-D E-M1 Mark III and E-M1X, the maximum output resolution of 80MP is available in ‘Tripod’ mode, while in ‘Handheld’ it is possible to capture images of up to 50MP.


          Tripod mode (max 80MP)

          • Download Tripod High res shot mode (80MP) sample
          • Download conventional (20MP) sample

          This is a great mode for architecture, interiors and still life or reproduction work – basically, any scene where nothing in your subject is moving. With your camera steady on a tripod, and a stationary scene, you’ll be able to get the maximum resolution out of the system.

          In ‘Tripod’ High Res Shot mode, the E-M1 Mark III and E-M1X’s sensor is shifted in tiny increments across multiple exposures. These exposures are automatically combined in-camera to create an 80MP file.

          In this mode, your camera shifts the sensor eight times, in increments of one micron, capturing one exposure per adjustment. These images are then combined automatically to create a single 80MP photograph in either JPEG and / or Raw file format.

          Use for:

          • Architecture
          • Landscape (on a still day)
          • Interiors
          • Still life
          • Macro
          • Night sky

          Handheld mode (max 50MP)

          • Download Handheld High res shot mode (50MP) sample
          • Download conventional (20MP) sample

          Handheld mode is great for situations where you want more resolution, but you either don’t have a tripod handy, or you want to shoot something where slight movement in your image is unavoidable, like a posed portrait, or landscapes.

          In ‘Handheld’ High Res Shot mode, the E-M1 Mark III and E-M1X capture 16 images in quick succession, and combine them to create a 50MP file. The cameras’ powerful inbuilt stabilization system is employed to reduce the risk of shake.

          In this mode, the E-M1 Mark III captures 16 exposures very rapidly, totaling 320MP of data, and combines them to create a single 50MP image. The sensor-based stabilization system does double-duty, turning on and off throughout the sequence of exposures, helping to prevent excessive movement due to motion blur, and analyzing the amount of camera movement that occurs during the sequence. The camera uses this information to automatically align the images for the final image and clone out any blurred areas.

          If too much motion is detected, the camera will flash a warning to let you know.

          Use for:

          • Landscapes
          • Portraits (static)
          • General photography at wide / medium focal lengths
          • Any situation where a tripod isn’t practical / allowed

          Tips for using High Res Shot modes

          • With the Olympus OM-D E-M1 Mark III and E-M1X it is possible to hand-hold exposures down to four seconds*. Used in combination with Handheld High Res Shot mode, this makes it possible to capture long exposure nighttime photographs.
          • For best results with Handheld High Res Shot mode, shoot at wide and medium focal lengths, where the image stabilization system of the OM-D E-M1 Mark III and E-M1X is most effective.
          • Because it combines 16 exposures, Handheld High Res Shot mode also cancels out a lot of noise. Try switching to handheld High Res mode in low light situations for better image quality at high ISO settings.
          • When shooting in High Res Shot mode, avoid shooting at very wide apertures, especially for scenes with out of focus objects in the foreground. You’ll get best results at smaller apertures, where more of your scene is in focus.

          * Exact performance is dependent on lens and focal length

          Articles: Digital Photography Review (dpreview.com)

           
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          Photoshop Sharpening for Beginners – Unsharp Mask, High Pass and Smart Sharpen Explained

          02 Jan

          The post Photoshop Sharpening for Beginners – Unsharp Mask, High Pass and Smart Sharpen Explained appeared first on Digital Photography School. It was authored by Nisha Ramroop.

          photoshop-sharpening-for-beginners

          With the constant improvement of technology, it is realistic to expect tack sharp images straight out of your camera. Many times, though, the image appears sharper on your camera than when uploaded to your computer. This is because images need to be sharpened for their specified output. In Photoshop sharpening for beginners, we look at why and how to sharpen your images. Also, you will review some of the sharpening filters and techniques that help make a huge difference to the overall quality of your final edit.

          Image: F/5.6 1/200/ ISO800 @420mm

          F/5.6 1/200/ ISO800 @420mm

          Why sharpen?

          Before we delve into the photoshop sharpening tools, it is important to know why and when you need to sharpen your images. The premise of sharpening is that it increases the contrasts around the edges in your image.

          As previously mentioned, you need to sharpen images for their specific output types. This means you sharpen an image displayed on the internet differently than one meant for print.

          Sharpening is also very useful when it comes to correcting smaller focus issues. For example, if you are shooting a portrait and the focus is on the ear instead of the eyes.

          Sharpening the subject’s eyes brings the attention back where you intended. In other genres of photography, use sharpening in pretty much this same way. Sharpen the areas you want to draw the viewer’s eyes to and decrease the sharpness in areas you want to “fall away”.

          Photoshop-Sharpening-for-Beginners

          Sharpen for your respective output: web vs print. Details make a difference F/11 1/250 ISO200 @10mm

          Keep in mind that while sharpening takes your image to the next level, there are times when it is not needed. While sharpening a person’s eyes and lips can take their portrait to the next level, you want to avoid sharpening their skin!

          How to sharpen

          As with other editing techniques, Photoshop sharpening filters are destructive (when applied directly to your image). Use layers and smart objects, to maximize the following sharpening tools and avoid permanently changing it.

          Bonus Tip: When post-processing, save the application of your sharpening technique for last.

          Unsharp Masks

          While the name “unsharp” sounds like a tool that would make your images less sharp, this counter-intuitively named filter is, in fact, a sharpening tool. Interestingly enough, it was regarded as the best tool to sharpen images in earlier iterations of Photoshop.

          While it is still useful, some of the other tools afford you a greater amount of control.

          Photoshop-Sharpening-for-Beginners

          Photoshop sharpening for beginners notes: When you sharpen an image too much, it starts to look a little noisy.

          To use Unsharp Mask:

          • Duplicate your original/background layer
          • Right-click on your new layer and choose “Convert to Smart Object”
          • Go to Filter -> Sharpen -> Unsharp Mask. This brings up a dialog box with the options: Amount, Radius and Threshold

           

          Remember, we said that sharpening basically increases the contrasts around the edges in your image? Well, building on that will make these sliders easier to understand.

          Use the Amount slider to increase or decrease the amount of contrast in the edges of your image.

          Radius manages the level of detail. So a smaller radius will manage the smaller details, while a large radius affects a bigger area.

          The last slider, Threshold, affects the areas of higher contrast.

          Photoshop Sharpening for Beginners – Unsharp Mask, High Pass and Smart Sharpen Explained

          When using these sliders, a good starting place is to figure out your radius first. Do you want to sharpen the smaller details or the larger ones? If you are still unsure how to work with Photoshop sharpening for beginners, experiment!

          In this example, push your radius up and then work back down until you affect the areas that you want. From here, you can start moving around the other two sliders until you get your desired results.

          One of the downsides of using Unsharp Mask is that it is Layer specific. This is because it affects your entire image, so you need Layer Masking to discard areas that you don’t want sharpening.

          Smart Sharpen

          The Smart Sharpen tool is like a child of Unsharp Masks, as it gives you some more options. One of the cool things with Smart Sharpening is that it ignores skin detail and focuses on areas with higher contrasts e.g. eyes, eyebrows, lips.

          Use the same workflow as above to access the Smart Sharpen filter. The dialog box gives you more advanced options than the previous Unsharp Mask. Amount and Radius work the same way as previously described.

          Image: F/5.6 1/1600 ISO100 @420mm

          F/5.6 1/1600 ISO100 @420mm

          A drop-down menu allows you to remove different types of blurs such as Gaussian, Lens and Motion blur. Lens blur is the most common removal used in this menu.

          Image: In Photoshop CC, your menu looks a little differently but has all the same options. Additiona...

          In Photoshop CC, your menu looks a little differently but has all the same options. Additionally, it includes a useful option to reduce noise.

          Smart Sharpen also allows you to create presets. This is helpful if you are sharpening a batch of images at similar focal lengths. Remember, when you apply your filters/filter preset to a Smart Object, you can further adjust/refine it.

          High Pass Sharpening

          Another photoshop sharpening for beginners is the High Pass Sharpening technique. While it is a little more advanced than the other tools, you can still easily apply it. It is not a filter found in the Sharpen Menu like the Unsharp Mask and Smart Sharpen filters. What it is, however, is a combination of steps that sharpens your image.

          To process with High Pass Sharpening:

          • Duplicate your layer
          • Desaturate your new layer. It seems like a strange step, but since sharpening increases saturation around your edges, your image may start to look surreal.
          • Right-click on your desaturated layer and choose “Convert to Smart Object”
          • Go to Filter -> Other- > High Pass. Your entire image now turns to gray, and when you move the radius slider, you will see the targeted detail areas affected.
          Photoshop-Sharpening-for-Beginners

          Left: Using High-Pass in the default normal mode, see how your edges are defined. Right: Using High-Pass in Overlay Blend Mode allows you to see your changes in real-time

          There is, of course, an alternate way to this gray image where you see your edit in real-time.

          Prior to the last step above:

          • Select your desaturated layer and go to Blend Modes
          • Select Overlay
          • Then go to Filter -> Other -> High Pass and adjust

           

          Photoshop-Sharpening-for-Beginners

          At full size, you don’t always see that the eyes are not as sharp as they can be. Like Smart Sharpen, the eyes and lips are sharpened, but the skin is unaffected. F/7.1 1/125 ISO100 @70mm

          Note: This sharpening technique is the only one that lets you apply sharpening with different blend modes.

          Conclusion

          Remember, sharpening should be the last step in your post-processing workflow. These filters and techniques in Photoshop Sharpening for Beginners will take your image to that next level. It helps to know when and why to sharpen an image and as with all processing, applying correctly makes a huge difference to your final image.

          Do you have any other photoshop sharpening for beginners tips you’d like to share? Please do so in the comments!

          The post Photoshop Sharpening for Beginners – Unsharp Mask, High Pass and Smart Sharpen Explained appeared first on Digital Photography School. It was authored by Nisha Ramroop.


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          Sigma 24-70mm F2.8 DG DN Art lens delayed due to unexpectedly high preorder demand

          18 Dec

          Sigma has announced its 24-70mm F2.8 DG DN Art lens for Sony E-mount and Leica L-mount has been delayed due to unexpected demand for the product. In a statement on its Sigma Japan website, the company explains that it is working on producing the lens, but that it will take additional time for the model to be made available.

          Sigma’s latest Digital Native lens was announced in early November with plans for it to arrive through authorized dealers in the US starting in mid-November. The lens is currently listed for preorder/backorder on Adorama and B&H Photo for $ 1,099, a price that’s considerably lower than competitors’ alternatives.

          That low price likely contributed to the high preorder numbers. Sigma doesn’t provide an estimated shipping date for the backordered lenses, instead asking that customers ‘remain patient’ during the delay. Interested future buyers can enter their email address on B&H Photo’s website to receive an alert when the lens is back in stock.

          Articles: Digital Photography Review (dpreview.com)

           
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          iPhone 11’s Portrait Mode sets a high bar for the Pixel 4

          12 Oct
          Taken with iPhone 11 ISO 500 | 1/30 sec | F1.8

          The bokeh-imitation effect that’s all over your Instagram feed is a few generations old, but it’s still a relatively young technology. Portrait Mode, as Apple calls it, is a computational feature that mimics the shallow depth of field closely associated with professional portrait photography. The latest iteration in the iPhone 11 is a great leap forward and, when compared with Google’s Pixel 3, shows that the search-engine giant is going to have to do something pretty special with the forthcoming Pixel 4.

          Just to make sure you’re caught up – phone sensors and the lenses they are coupled with are quite small, and inherently limited in their ability to create a blurry background behind a subject. Hence, portrait mode was born (Portrait Mode is Apple’s proprietary name, but for the sake of simplicity I’ll use it throughout this article to refer to all such modes).

          Compared side-by-side with results from the iPhone 11, the Pixel 3 has been surpassed in many respects

          Like so many first-generation technologies, portrait mode was a bit dodgy at first – subjects poorly separated from their backgrounds and results that were decent but not quite convincing. But no matter where you stand on its current state from “It’s so terrible it’s an insult to photographers” to “Eh, it’s passable,” there’s no denying that it has steadily improved with each generation.

          Apple, like most manufacturers, introduced Portrait Mode when it brought dual cameras to its devices. However, Google chose to offer it with a single camera, relying on dual pixel depth data, machine learning, and up-sampling to create that fake bokeh look. The results looked fine until, well, about now.

          Compared side-by-side with results from the iPhone 11, the Pixel 3 has been surpassed in many respects. Here are the areas in which the iPhone 11 pulls clearly ahead of the Pixel – and where Google needs to do some catching up in the Pixel 4.

          The nitty gritty details

          Google achieves its portrait mode by digitally zooming in to mimic a longer focal length and creating a depth map by using dual pixels along with a learning-based algorithm to judge distance to a subject and separate it from its background, up-sampling the final result to a full 12MP resolution. Apple (and Samsung, Huawei, among others) instead use their telephoto camera, calculating depth with the help of the perspective offset between the telephoto and wide cameras – no cropping or up-sampling needed.

          The images below demonstrate the difference – note that to match the subject’s size in the frame using the two different focal lengths, the 3a image was taken from about a meter farther back than the iPhone 11.

          Of course the vast majority of portrait mode images will be viewed on a phone or computer screen, where the difference in detail is much harder to spot. Still, looking at the images above at even a 50% crop shows a vast difference in the level of detail captured, and all things being equal we’d much rather have more detail than less.

          Backlit subjects

          We’ve previously noted the Pixel 3’s fantastic ability to render high-contrast scenes, but one place this falls flat is with backlit portrait subjects. The camera’s tendency to preserve highlight detail and push up shadows is normally what we’d prefer, but it doesn’t work well when the shadows are your main subject.

          Pixel 3a iPhone 11

          The resulting image shows that the Pixel does a poor job of rendering the cat’s orange fur, giving him an overall ‘crunchy’ look in comparison to the more pleasing rendering by the iPhone. In our testing, the Pixel 3 has consistently shown this tendency to expose for highlights, even when it might do better to choose an exposure better suited to your human or feline subject, at the cost of highlight detail. Even tapping the subject’s face doesn’t adjust the exposure as much as we’d like.

          Skin tones

          The most sophisticated depth mapping in the world won’t save an image from bad-looking skin tones, and this is one area where Google really needs to catch up. The subject below is lit by window light that’s much cooler than the yellow lights of the kitchen behind him. It’s a tricky situation for sure, but the iPhone has clearly made the right call to warm up the subject’s skin tone rather than preserve the cool cast of the window light.

          Pixel 3a iPhone 11

          To be fair, both of these phones are susceptible to producing noticeably different colors based on slight shifts in framing, or using a different camera mode like Night Sight. But over the course of much use, we’ve seen that the Pixel 3’s standard camera mode renders skin tones particularly poorly by comparison.

          Apple’s face smoothing and skin tone rendering has a tendency to go too far in some situations, and there are times when we prefer the more faithful color rendering of the Pixel. It’s also pretty easy to correct the Pixel’s skin tone rendering in the phone’s own Photos app, but we’re betting that most people don’t want to (and won’t) take the time to color correct every portrait that they take.

          Focal length flexibility for portrait mode

          Taken with iPhone 11 | ISO 200 | 1/60 sec | F1.8

          Apple’s XR introduced wide-angle portrait mode to the iPhone, but the 11 and 11 Pro improve on it with more accurate depth maps thanks to the availability of the ultra-wide lens. Thus, the 11 offers a very good wide Portrait mode via its standard lens, and the 11 Pro offers both telephoto and wide portrait options.

          Whether you prefer the look of a telephoto or wide portrait is of course a personal preference, and I tend to prefer the wide portrait mode on the iPhone 11. I like an across-the-table environmental portrait, which usually requires backing up if I’m using the telephoto lens or the crop imposed by the Pixel 3.

          Whether or not you like the crop, it being forced on you makes it less flexible and, in my book, I’d rather have that wide-angle – and I’m sure I’m not alone.

          Your move, Google

          To be fair, there are things we prefer about the Pixel 3’s portrait mode. We find it’s much less prone to obvious errors in cutting around human subjects than the iPhone 11. I also far prefer using Google Photos to Apple’s iCloud, so the seamless integration with my photo archive is a big plus.

          Healthy competition between two big tech companies keeps pushing phone camera technology forward at a rapid pace

          We can also say with some certainty based on leaks and rumors that the Pixel 4 will address some of these shortcomings. We know that the device will offer more cameras, which will likely improve portrait mode. Whether we’ll see improvements to skin tones or better handling of backlit subjects is less certain, though encouragingly, leaked photos do show better rendering of skin tones. All will be revealed soon, but one thing is for sure – healthy competition between two big tech companies keeps pushing phone camera technology forward at a rapid pace, and that’s nothing but good news for the photo-taking public.

          Articles: Digital Photography Review (dpreview.com)

           
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          High resolution Sony a7R IV pixel shift images added to studio scene, sample gallery updated

          24 Sep

          $ (document).ready(function() { SampleGalleryV2({“containerId”:”embeddedSampleGallery_0635778599″,”galleryId”:”0635778599″,”isEmbeddedWidget”:true,”selectedImageIndex”:0,”isMobile”:false}) });

          One of the eye-catching features of the Sony a7R IV is its 16-image pixel-shift mode. This shoots four images centered around one position then shifts the sensor half a pixel sideways and takes another four, then another half pixel… until it’s taken 16 images. These 16 images can be turned into 240 megapixel images.

          We’ve added pixel-shift images to our studio scene at several different ISO settings, along with a couple of real-world examples to our sample gallery showing both the 4-image demosaicing mode as well as the high-res 16-image mode. Just for good measure, we’ve added more standard images to the gallery as well.

          Studio Scene

          $ (document).ready(function() { ImageComparisonWidget({“containerId”:”reviewImageComparisonWidget-52074786″,”widgetId”:715,”initialStateId”:4752}) })

          Image Processing

          We’ve processed the images in the studio scene using PixelShift2DNG, because it allows us to use our standard Adode Camera Raw processing to maximize comparability with other cameras in the scene.

          It should be noted that Imaging Edge has a setting called ‘Px Shift Multi Shoot. Correction,’ adjustable in eleven steps between 0 and 1, that smooths some of the stair-stepping and chequerboard errors that can appear in the image. The shots in our test scene effectively have this set to 0.

          Before making this decision, we compared this output with the results from Sony’s own Image Edge software. We’ve created a rollover that compares the PixelShift2DNG result to the Imaging Edge output with sharpening, noise reduction and Px Shift Correction minimized, and to the default Imaging Edge result.

          DNG -> ACR Imaging Edge Modified Imaging Edge Defaults

          We’ve uploaded the Image Edge-combined ‘ARQ’ files to the studio scene, but you can download the combined DNGs here:

          16-image files merged using PixelShift2DNG
          • ISO 100
          • ISO 6400
          • ISO 51200
          • ISO 102400

          Articles: Digital Photography Review (dpreview.com)

           
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