In this week’s episode of DPReview TV, Chris compares the Nikon Z7 II and Sony a7R IV for landscape photography, with a close look at their displays, image quality, lens lineups and more.
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Articles: Digital Photography Review (dpreview.com)
The post Getting Landscapes Sharp: Hyperfocal Distances and Aperture Selection appeared first on Digital Photography School. It was authored by Elliot Hook.
Want to know how to master depth of field and hyperfocal distance – so you can capture consistently sharp landscape photos?
You’ve come to the right place.
Because in this article, I’m going to tell you everything you need to know about hyperfocal distance.
And by the time you’ve finished, you’ll be able to confidently use it in your own landscape photography.
Let’s get started.
Great landscape photos generally have all of their key elements sharp.
This includes foreground objects that are just meters from your camera, as well as background elements that are kilometers away.
So how do you achieve such perfect front-to-back sharpness?
By ensuring that your depth of field is large enough to render everything of interest suitably sharp.
Let me explain:
When you focus on an individual point within your landscape, you are creating a plane of focus that lies parallel to the sensor.
Everything in front of and behind that plane is technically not in focus. But there is a region within which objects will appear acceptably sharp – even though they’re not in focus!
That region is the depth of field.
Put another way, the depth of field is the range of acceptable sharpness within a scene, moving outward from the point of focus.
For instance, in the graphic below, the camera is focused on a rock:
So the plane of focus sits parallel to the sensor at that rock, and the limits of acceptable sharpness that form the edges of the depth of field lie in front of and behind that plane.
If you were to fire the shutter button on that camera, you’d get a photo with a sharp rock. The front of the first tree would be sharp, and the rest of the trees would fade into softness.
Make sense?
Thus far, I’ve talked about depth of field as if it were a fixed property.
But it’s not. Your depth of field can change depending on three key factors:
Let’s take a closer look at how each of these elements affects depth of field, starting with:
A short focal length (e.g., 20mm) will give you a greater depth of field than a long focal length (e.g., 400mm).
So while it’s easy to keep an entire scene in focus with a wide-angle lens, you’ll struggle to do the same with a long telephoto.
Of course, changing your focal length will alter your field of view and therefore your composition, so you should rarely adjust your focal length to change the depth of field. Instead, select your focal length, frame your composition, and then use the next factor on this list to achieve the perfect depth of field:
A narrower aperture, such as f/16, will produce a deep depth of field. A wider aperture, such as f/2.8, will give you a shallow depth of field.
So if you’re after an ultra-sharp, deep-depth-of-field shot, you’ll want to use a narrow aperture.
But be careful; extremely narrow apertures are subject to an optical effect called diffraction, which will degrade image sharpness. So while you should absolutely use aperture to adjust the depth of field, be on the lookout for blur.
If your focal point is close to the camera, then you’ll get a shallower depth of field. If your focal point is far from the camera, you’ll get a deeper depth of field. So if you shoot a distant subject, it’ll be much easier to get the entire scene sharp!
In other words:
To increase the depth of field, you can either choose a more distant subject…
…or you can back up to frame a wider shot.
Note that these three factors work together to determine the depth of field.
No one factor is important than any of the others; instead, they’re three variables in the depth of field equation.
So if you want a deep depth of field, you could use a narrow aperture or move farther away from your subject or use a wide-angle lens.
(You could also do all three of these things for an ultra-deep depth of field.)
And if you want a shallow depth of field, you could use a wide aperture or move closer to your subject or use a telephoto lens.
If you’re dead-set on capturing a scene with front-to-back sharpness, then you’ll need to understand another key concept:
Hyperfocal distance.
Hyperfocal distance is the point of focus that maximizes your depth of field.
In fact, by focusing at the hyperfocal distance, you can often ensure that the entire scene is sharp, from your nearest foreground subject to the most distant background element.
Look at the graphic below:
Do you see how the area from the point (or plane) of focus onward is sharp?
That’s what the hyperfocal distance will do for you.
And it’s the reason landscape photographers love using the hyperfocal distance.
Because by selecting a narrow aperture, and by moving the point of focus to the hyperfocal distance, you can render the entire scene in focus – for a stunning result!
(By the way, when focusing at the hyperfocal distance, the near acceptable sharpness limit is half of the hyperfocal distance.)
Now, you’re probably wondering:
How do you determine the hyperfocal distance when out shooting?
Technically, you can do a mental calculation, but this can get pretty complex. So I’d recommend you use a hyperfocal distance chart or calculator (there are plenty of apps for this, such as PhotoPills).
Eventually, you’ll be able to intuitively identify hyperfocal distances for common apertures and focal lengths – so you won’t even need to use an app!
As you should now be aware, a narrow aperture deepens the depth of field.
So if you want your entire scene sharp, you generally need a narrow aperture.
Unfortunately, choosing your aperture isn’t as simple as dialing in f/22. Thanks to diffraction, if you set such a narrow aperture, you may get the entire scene in focus – but still end up with a blurry image.
For example, the image below shows a comparison of the same scene, shot at f/8 (left) and f/16 (right):
The frosty fern leaf is an important part of the foreground interest here. And though both images look perfectly sharp when resized and compressed for browser viewing, the 100% crop for each image below shows a significant difference in detail:
Do you see how the image on the right (taken at f/16) is blurrier than the image on the left (taken at f/8)?
That’s diffraction at work.
And note that, for the scene in question, both apertures resulted in a depth of field that extends from before the fern leaf to infinity.
(In other words: The blurriness has nothing to do with depth of field.)
Diffraction becomes an issue in all lenses as the aperture gets smaller, though it is more pronounced on inexpensive lenses. Typically, the sweet spot, in terms of lens performance, is somewhere between f/8 and f/11.
So when selecting your aperture, you’ll want to keep your lens as close to the sweet spot as possible, while also ensuring sufficient depth of field.
Now that you’ve finished this article, you can hopefully see that it’s worth understanding hyperfocal distance, aperture selection, and how they affect each other.
So make sure you find a nice hyperfocal distance app.
And remember to avoid tiny apertures (because they cause diffraction).
That way, you can get consistently sharp landscape shots!
Now over to you:
Do you struggle to keep your landscape photos looking sharp? Do you think an insufficient depth of field is the culprit? Or is it diffraction? Share your thoughts in the comments below!
The post Getting Landscapes Sharp: Hyperfocal Distances and Aperture Selection appeared first on Digital Photography School. It was authored by Elliot Hook.
The post How to Use Photography Filters for Amazing Long Exposure Landscapes appeared first on Digital Photography School. It was authored by Simon Bond.
One of the most competitive genres in photography is landscapes. In this article, you’ll learn how to add creativity to your landscapes by using filters. The use of filters will allow you to create masterpiece long exposure landscapes, and you’ll learn what’s needed to do this. So read on and discover tips and tricks to get the best results.
One of the key settings on your camera is the ability to control the exposure length. If you’re new to photography, the chances are you’ll not have tried long exposures yet. You’ll need a tripod, but once you begin taking long exposure photos, the creative potential is massive.
Long exposure photos are those that last for over one second in length, and typically don’t last more than thirty seconds. There are some situations where even longer long exposures can be taken. These can last minutes. To take these photos, you need to use bulb mode on your camera.
The use of filters to produce these long exposure landscapes will increase your options. They allow you to take long exposure daytime photos (where there is lots of light), and, if you wish, even longer night time long exposures.
You can use different grades of filters to give you the ability to take photos of different exposure lengths. Of course, the time of day is a massive factor as well, with night time an easier time to take long exposures.
The filter you’ll need to use to take long exposure landscapes during the day is the ND filter. These are neutral density filters, which are abbreviated to ND filters.
These filters work by blocking out the amount of light that comes into the camera. They should do this without changing the color tone of your image, which is why the filter is considered neutral. The strength of these filters range.
These are the ND2, ND4, and ND8 filters. They’re more often used with flash photography, but you can use them to extend exposure length during the day. In low light situations like under tree canopies, or as the evening draws in, using one of these filters may allow you to take a long exposure.
In a similar fashion to the weak ND filters, you can use a CPL filter in a low light situation to turn a half-second exposure to a one or two-second exposure. This can be long enough to dramatically change the nature of moving water during an exposure.
These filters are designed for longer exposures, the typical filters you can use are the ND110 and the ND1000. Filters like this will allow you to take exposures longer than five seconds or more even during the middle of the day.
Infrared filters block out all light except infrared.
The exact light they block comes with the name of the filter. The Hoya R72 filter blocks all light except the light of a wavelength of 720 nanometers. This translates to a filter that’s even stronger at blocking out light than the ND1000.
You will, of course, be taking an infrared photo, but this will then be a long exposure that can often be minutes long.
The need to use filters for night time long exposure is not as extreme.
You’ll almost certainly be able to carry out long exposures with no problem, except perhaps during the transition from day to night. Here, the filters you’ll likely use are the weak ND filters or the CPL filters, with the intention of turning a medium-length long exposure into a longer long exposure.
However, the need to use a strong ND filter can occur. This happens when you want an exposure that lasts several minutes. Usually, you would not take an exposure of this length, but in order to get cloud motion across the sky, this length of exposure can be needed.
The more extreme long exposure landscapes will require filter stacking. Stacking filters means placing one filter on top of another to combine their strength.
Those wanting to take an ultra-long daytime long exposure, that produces cloud motion, often need to stack an ND110 filter with an ND1000 filter.
Stacking filters gives you an extra level of control over the length of your exposure. This happens by blocking more or less light. One thing to be careful of when stacking is vignetting. When using screw-on filters, there is a greater risk of this, caused by stacking too many filters on the front of your lens.
The aim of adding a filter to the front of your lens is to lengthen the exposure. Learning the correct strength of filter you need to apply is therefore important.
To know how strong the filter should be, you will need to decide what type of long exposure landscape you wish to take. The following is a list of photo types you could take during the daytime.
The take-home message is to know how long an exposure you need, and use the correct filter on your lens to allow this length of exposure.
Do you enjoy long exposure photography, or are you yet to learn about the genre?
If you have examples of your work you would like to share, please share them in the comments section. These could be from your archives or images you take after reading this article. So get out with your tripod, and create some long exposure magic!
The post How to Use Photography Filters for Amazing Long Exposure Landscapes appeared first on Digital Photography School. It was authored by Simon Bond.
The post 6 Tips For Capturing Better Urban Landscapes appeared first on Digital Photography School. It was authored by Kav Dadfar.
As you continue your quest to enhance your photography skillset, you should look to broaden your horizons by exploring various disciplines. In this article, we’re going to look more closely at how to capture better urban landscapes.
This discipline is all about bringing an urban environment to life in your photos. Shots of people living, moving, and working combined with an urban landscape can make for wonderful photos. It’s challenging even for experienced photographers. But you’ll find new ways of expressing yourself and capturing your surroundings, as well as immortalizing a piece of your growing environment.
But how do you best capture engaging images in an urban landscape? Here are six tips for capturing better urban landscapes.
Whilst there’s nothing to say that you can’t take urban landscape shots from viewpoints in a city, if you want to capture exceptional urban photography then you should be right there alongside it. Get off your balcony and put yourself right onto the street in the middle of life as it unfolds.
To photograph better urban landscapes, try to find scenes where you can capture the combination of the urban landscape and people. A tight shot on two people talking isn’t necessarily what you’re looking for here. This is more street photography than urban landscapes. So you need to introduce some elements of the urban arena into your composition.
By lengthening your exposure setting, you can create a very dynamic image. Admittedly, this may go against having a live subject (like a person or animal), since they will probably be moving quite a lot. However, if you can, taking a wide shot of the urban landscape with a long exposure can create some interesting effects through movement.
The streaked clouds overhead can give a sense of movement to your still landscape. It’s a nice trick for capturing better urban landscapes if you’re just looking to get an image of the scene itself instead of active subjects.
At night, this also can create light trails from vehicles. Their tail and headlights will streak in the image, creating an amazing photo that captures the hectic expression of any urban setting.
What’s really cool about urban photography is that it’s just as much about the manmade elements as it is people. If you’re shooting in a city setting, then there are likely many interesting buildings, sculptures, parks, and other manmade elements throughout to capture.
Do a little research and learn about why
the interesting buildings were built in the first place. By being just as
selective with your history as you are your visuals, you can create a story
using photography in an urban setting.
For example, if you’ve chosen a wonderful gothic church as the background for your scene, what is unique about that church’s history? It may look amazing, but what else is behind the building, historically-speaking? You might dig up something really interesting that’s going to help shape your photo sessions. It could be key elements in the architecture or historically important locations around the church. Or you may just find interesting viewpoints and angles for better urban landscapes of the church.
Another tip for capturing better urban landscapes is to come back during different seasons. It’s easy to forget what an urban setting can look like during a different season. If you’re standing in the middle of a skatepark during the height of summer, and it’s very active with teenagers riding on every surface, you aren’t necessarily thinking about what the same scene would look like covered in snow.
However, you could make some really
intriguing juxtaposing images if you returned to the same scene during a
different season later in the year.
If you have the ability to travel to a location more than once a year, then you should consider taking advantage of that luxury. The lighting, skyline, and general feeling can all change dramatically, allowing you to capture great images that you might not have even considered previously.
When you compose your shot, consider the golden triangle rule or the rule of thirds. You can also look to align your subjects with leading lines generated by the terrain; perhaps a bridge, trees, a street, or a mural.
Elements throughout your frame can guide the eye toward your subject naturally, or they can pull it away just as easily. Be aware of how you’re composing your shot and consider using the elements to better align your focal point for better urban landscapes.
An urban setting can really come alive at night. The shadows cast by daylight are now blending into the surroundings, and your lens will pick up way more than you thought possible.
Daylight photography can capture active scenes natural to that time, and the same can be said for nighttime photography. Aside from general lighting differences, the time of day also helps create an atmosphere in your image that you can’t replicate any other way.
If you can, just like visiting the scene during different times of the year, try and come back to see how the urban setting changes between night and day. Some differences may be subtle, but others will weave new visions for your camera to capture.
The wonderful thing about this type of photography is that often it’s accessible for lots of people. Most people live within or near urban environments. So there will be ample opportunity to practice capturing better urban landscapes. Use the tips above and you will be on your way for improving your photography in this genre.
Do you have any other tips for capturing better urban landscapes that you’d like to share? Do you have some images you’d like to share? Please do so in the comments section!
The post 6 Tips For Capturing Better Urban Landscapes appeared first on Digital Photography School. It was authored by Kav Dadfar.
The post 6 Vital Things to Look for When Photographing Landscapes appeared first on Digital Photography School. It was authored by Jeremy Flint.
Photographing landscapes is a hugely enjoyable pursuit that you can undertake all throughout the year. Landscapes are all around us, and being among them and capturing their beauty is a great way to immerse yourself in nature. Landscape photography can also be a fun way to practice your photography outdoors and learn about your camera in the fresh air. Here are six things to consider when photographing landscapes to elevate your images.
One of the best times to be outdoors with the camera photographing landscapes is when the light is adding ambiance to the land.
Dramatic light can appear in all weathers.
You might expect dramatic light only to appear when the sun is shining. This is simply not the case. A predominantly overcast sky can yield impressive light for landscape photography. When the clouds disperse, the sun can unveil magical light as it paints and radiates the landscape.
It is often these fleeting moments of light that make the scenery more outstanding.
Another great moment for dramatic light is after a storm or rain shower when the bad weather clears and breathtaking light replaces it, or the final rays of light following a sunset.
Fujifilm Finepix F700, 12.9mm, 1/300 sec, f/3.6, ISO 200, Normal Program, Pattern Metering. © Jeremy Flint
You can enjoy the beauty of the landscape throughout the year. Have you ever thought about how a local panorama changes with the seasons throughout the summer, autumn, winter, and spring? The changes each season brings can be brilliant for photographing landscapes.
Next time you visit and capture your favorite local scenic view, re-visit during a different time of the year and see how the landscape transforms in an alternative season.
The beautiful vibrant greens of summer are usually followed by the crisp and golden leaves and foliage of autumn when a palette of colors unfolds from shades of red and orange to hues of yellow.
In spring and summer, photographing landscapes can be a superb time to capture flowers in bloom or more minimalist looking images when the trees are bare and striking in winter.
Also, consider using a wide-angle lens to capture a greater perspective.
Canon 5D Mk II, EF 17-40mm f4L USM, 19mm, 1/4 sec, f/11, ISO 100, Manual Mode, Pattern Metering. © Jeremy Flint
Our dynamic landscapes continue to change due to human activity and natural processes, shaping our diverse and wonderful landscapes.
Farming has a big influence on our land and can be great for photography. Arable farming (the growing of crops and cereals) and pastoral farming (the rearing and production of animals such as pigs, sheep, beef and dairy cattle) can make great subjects for photography.
As fields get plowed, seeds also get planted. When different crops grow every year, including wheat and barley in the UK, for example, these changing landscapes provide wonderful photo opportunities.
You can also photograph grazing animals in the landscape.
Changes in the weather can be unpredictable and can occur at a moment’s notice. One minute it can be sunny, and the next minute it can be raining. Although you cannot control the weather, you can alter what you shoot. So get creative when photographing landscapes in varying weathers and make the most of anything it throws at you.
Bad weather can provide exciting chances to improve your photos. For example, snow can transform a landscape into a striking minimalist scene.
If the skies are overcast or it is raining, either head to a river for your photography or venture into woodlands where there is more cover for taking pictures.
Canon 5DSr, 16-35mm f2.8L III USM, 18mm, 15 sec, f/11, ISO 100, Manual Mode, Pattern Metering. © Jeremy Flint
The weather can influence a landscape with its changing patterns of light. As the sun and clouds come and go, shoot the diversity of the scene as it develops.
Atmospheric conditions can really help to lift your landscape images. A hint of mist can make an uninteresting scene look moody and interesting. Mist swirling around a group of trees or encircling a building can look spectacular, especially in the right light.
You can use fog to create mystical-looking images too.
© Jeremy Flint
The final suggestion to shoot quality landscapes is to add an extra element of interest in your shots. You can go for a tree, water, people, or even parts of the landscape, such as a fence or gate.
Experiment with different compositions and come up with a view you like. The extra element will help give scale to your pictures and bring out another interesting side to the scenery.
Canon 5DSr, 16-35mm f2.8L III USM, 18mm, 1/30 sec, f/11, ISO 100, Manual Mode, Pattern Metering. © Jeremy Flint
In summary, changes in the weather can be both subtle and extreme, creating incredible moments to capture the landscape. Consider things such as showers, sun, cloud cover or clear skies when photographing landscapes.
Also, look for the seasonal changes in crops and take advantage of dramatic light as it casts its rays over a magical view.
Mist and fog can be the icing on the cake for landscape photography as they add an element of drama and can lift your images from great to spectacular. Also, include a person or building in your landscape shots for interest and scale.
Do you have any other tips for photographing landscapes? Perhaps you’d like to share some of you landscape shots with us? If so, please do so in the comments!
The post 6 Vital Things to Look for When Photographing Landscapes appeared first on Digital Photography School. It was authored by Jeremy Flint.
The post How to Find and Photograph Wild Landscapes for Epic Images appeared first on Digital Photography School. It was authored by Jeremy Flint.
Wild Landscapes can be described as “unspoiled areas of land including hills, mountains, and rivers where wild animals, trees, and plants live or grow in natural surroundings and are not looked after by people.”
Venturing into the wild with your camera can be a great adventure that provides a unique opportunity and rewarding exploration to photograph untouched and pristine landscapes. Embarking on such a trip requires careful planning before you go.
Sinai Mountains, Egypt
The first thing you will need to do is choose a wild landscape location to visit. How to go about finding these places is simply a matter of looking for potential destinations. Certain areas around the world are famous for their wild landscapes and rugged beauty including the majestic mountains of Scotland, the highlands of Iceland, the Grand Canyon in the USA, the Canadian Rockies, the deserts of Namibia, Patagonia in South America and many more.
Closer to home, you can find wild landscapes within national parks, areas of outstanding natural beauty and amongst local nature.
Two UK-based photographers worth following who like to photograph wild landscapes include, Thomas Heaton and Alex Nail. Both produce great visuals of wild landscapes, outdoor photography and nature, and are very inspiring.
Once you have found a suitable location, there are several things to consider before going out to photograph wild landscapes.
Brecon Beacons, England
When going on a shoot, make a packing list and be prepared from wearing the right gear to having plenty of food and drink supplies to keep your energy levels up.
The clothing you take will determine how comfortable you will be. For example, appropriate rain gear is essential if this is the forecast. In sunny weather, you may be uncomfortable in too much clothing, and in colder weather, you will be chilly if you don’t wear enough layers. So you will need to wear appropriate clothing.
Choose the appropriate footwear for the terrain you will be walking on. A sturdy pair of waterproof walking boots with good grips on the souls are essential for long walks over rough grounds with rain forecast.
Supplies of food and water are important to keep you fuelled and hydrated. Take more than you estimate for your journey in case of any difficulties, such as burning more calories than expected on a long hike to your destination.
Torres del Paine, Chile
Consider taking a lightweight tent and camping out overnight somewhere to photograph an epic scene of the wilderness. There are advantages to wild camping beside a great view. They include being able to capture the sunset and sunrise, and not having to walk to the destination twice.
Travel light, especially if you are going to stay out overnight somewhere. Cut back on the camera equipment you take as much as you can. Make room to carry other essentials such as food and drink supplies. Only take the lenses you think you will need, such as a wide-angle lens.
Be sure to take a map with you as a precaution. Also, take a fully-charged phone with a GPS app or an ordinance survey map for directions.
It may seem obvious, but it is essential to tell people where you are heading, and for how long, as a safety precaution. This helps in the unlikely event that you experience any unforeseen circumstances. This could include bad weather (for example, thick fog on a mountain top) or sustaining an injury where you are unable to return at the anticipated time.
You will feel more comfortable in the knowledge that someone knows where you are if you require assistance.
The Rockies, Canada
When shooting a wild landscape, it is important to consider the weather conditions.
Time your visit to go and shoot when the weather is good or dramatic. It depends on the kind of image you want to achieve.
There is no such thing as ‘bad weather’ for photography, as in different conditions, you’ll gain different results. For example, a wild stormy sky is great for a powerful and energetic image. Calm and still conditions can give you a minimalist outcome. Each has its own appeal.
You can even shoot landscape images in the midday sun if you prefer to visit during the day.
When it comes to photographing an epic wild landscape, you will want to choose a viewpoint and composition that captures the location well. Seek out strong compositions that show the majesty of the place, such as a striking mountain range or some intriguing details.
It is worth setting your camera on a tripod, especially to help shoot in low light or blustery weather where the conditions can adversely affect the outcome of your images. This will assist in providing more stability and essentially sharper pictures.
Sossusvlei, Namibia
When photographing wild landscapes, consider the light to create great images. You can photograph spectacular scenes by using light creatively. Capture sidelight (when the sun lights the landscape from the side, often creating interesting shadows and textures), backlight (shooting in the direction of the sun where your subject can be silhouetted or have bright edges) or front light (where the sun is coming from behind you and straight onto your subject). You can also include the sun in your shot to make images with different tones and brightness.
Photographing wild landscapes can be a great adventure and an opportunity to explore pristine and untouched landscapes. You can find wild landscapes within national parks, areas of outstanding natural beauty and amongst local nature. Remember to consider clothing, footwear, food and water, camera equipment and a map and be sure to let people know where you are going. Choose an interesting viewpoint, use a tripod and be creative with light. Share your pictures of Wild Landscapes with us below.
The post How to Find and Photograph Wild Landscapes for Epic Images appeared first on Digital Photography School. It was authored by Jeremy Flint.
The post How to Choose Urban Landscapes for Portrait Photography appeared first on Digital Photography School. It was authored by Matt Murray.
Are you bored of doing portrait shoots in the studio or the local park? Try mixing things up with an urban portrait shoot. The city streets, the buildings, the laneways – this is your cinematic backdrop. All you need is a little bit of planning and a lot of imagination. If you’ve never done a shoot like this before, you might be wondering how to choose locations. In this article, I will run you through my process of choosing urban landscapes for portrait photography.
Bailey in a window, Brisbane. I took this shot with some off-camera flash outside my local library. Fujifilm X-T3 with a 23mm f1.4 lens.
You may think that your city or your town has nothing of interest, but it does. You just have to look with a fresh perspective. Sometimes I’ll be on a photo walk with another photographer, and they don’t seem to see the potential that their town has to offer. “Wow, look at that doorway!” I’ll say. With a puzzled face, they reply, “It’s just a doorway!”
No, it’s not just a doorway – it’s a potential scene in your next urban portrait shoot.
Sasha, Brisbane. I used these old street lamps as an element in the shoot. Fujifilm X-T3 with a 56mm f1.2 lens.
Every town or city I’ve ever been to has its charms and a unique look: from modern glass and steel skyscrapers to historic buildings to run-down industrial areas. There are so many aspects of urban locations that you could include in your shoots: laneways, street art, doorways, neon signs, steel shutters, and traffic trails, just to name a few.
There’s also the unique way that light falls in urban environments: harsh beams of light that fall between buildings, beautiful soft light that you find in doorways and under bridges, and in Brisbane, dazzling light reflecting off skyscrapers. The possibilities are endless.
The best time for an urban portrait shoot is whenever you and your client or model are both available. Regardless of the light, the weather, or the locations. The success of the photoshoot is ultimately in your hands.
My favorite time for doing urban portrait shoots is just before dusk. This allows you to get a good mix of golden hour photos with sunlight, blue hour photos as the city lights come into play and nighttime shots with artificial light.
Alyssa in an industrial alleyway, Brisbane. Fujifilm X-T3 with a 60mm f2.4 lens.
I usually run portrait shoots for around 90-minutes, allowing me to shoot in 6-8 locations.
It’s best to do your location scouting at the same time of day that your shoot will take place. This is so you can look at the light, see how it falls, and plan accordingly. In practice, though, I usually end up doing my scouting during the day.
Before I arrange the shoot, I take some time to wander about the city to find 8-10 locations close together. The reason I look for more places than I’ll need is to be flexible on the shoot. Cars or trucks can block alleyways, big crowds could move through the area at the time of the shoot, or the lighting could be all wrong. There’s a whole lot of things that could make the location unsuitable when you arrive at the scene.
Although it’s tempting to plan to shoot in two locations at opposite ends of town, unless you have easy access to transport on the day of the shoot, it will be impractical. Photoshoots can be tiring for everyone, so asking your client or model to walk several city blocks and back again to shoot in one location may not be the best idea.
When you’re scouting for locations, have a notepad and pen ready along with your smartphone. When you see somewhere that you like, take a photo on your phone for reference and jot down some notes. I always draw a map of the city streets in my notebook. Then I plot the locations on it and plan a direction for the shoot.
What I’m looking for during my walk is a cool urban location in which to place the client or model. Some locations will leap out at you, and you will know that you should take some photos there. Others may not reveal their charm until later when the lights are low.
Natasha, Brisbane. I like the very subtle reflection in the polished stone wall behind her. Fujifilm X-T3 with 56mm f1.2 lens
As you’re wandering around, there’s a couple of things you need to keep in mind:
What is this place going to look like at dusk or nighttime? Remember that for many shots, you will be shooting with a wide-open aperture, or close to wide open, so many of the details in the background will be blurred.
It may look cool, but is this place dangerous in any way? Think of how you will place the model or client in this scene – are there any risks that you need to be mindful of? Is there a lot of traffic? Is it a dangerous neighborhood? You should consider all of this when you’re planning, as safety should be your top priority for these shoots.
Below are some of my go-to shots when I plan an urban photoshoot. I took all of these within a few blocks of each other in central Brisbane, Australia.
Neon shots are a favorite with the Instagram crowd, and it’s easy to see why. They are so much fun and a great image idea to have up your sleeve.
Neon signs are something that, quite honestly, I never usually notice. However, as soon as you start looking for them, you’ll be amazed at how many your town has.
Alyssa, Brisbane. This neon light is outside a takeaway shop in central Brisbane. I was attracted to the three different colors the sign had.
As soon as I saw these beer kegs in a laneway outside a pub, I knew I wanted to incorporate them in a shoot. I’ve used them as both a background element and also as a prop for models to sit on.
In this shot of Anne, I struck gold. By chance, it was one of the busiest days for pubs in the year – Melbourne Cup Day. There were a few dozen kegs in a laneway all stacked on one another. I lit this shot with an LED video light.
Anne in front of beer kegs, Brisbane. I love the shape, color, and reflection of the kegs in the background. Fujifilm X-T3 with an 8-16mm f2.8 lens lit with an LED video light.
Many Australian cities are blessed with alleyways. In many ways, they are the perfect place for photoshoots. Expect atmospheric lighting, an industrial look, street art – and best of all – little traffic. While Melbourne may be the laneways capital of Australia, Brisbane has many too.
Natasha in a laneway, Brisbane. I like the color and bokeh that some tiny blue fairy lights provided in this shot. Fujifilm X-T3 with a 56mm f1.2 lens.
This is a really fun place to use for some shots – if you can still find one these days. You may also have to take some time to explain to younger clients or models on how to use a public payphone!
Alyssa in a phone booth in Brisbane. Fujifilm X-T3 with a 35mm f1.4 lens.
Reflections are a go-to image idea for urban portrait shoots. Many buildings provide you with glass or reflective surfaces.
Anne looking into a mirrored surface, Brisbane. Fujifilm X-T2 with a 56mm f1.2 lens.
I love history and nostalgia, but sadly there isn’t much left in my city. One day I noticed this sign and thought I’d love to do some shots here.
Sasha in front of a sign, Brisbane. Fujifilm X-T3 with a 16mm f1.4 lens.
Urban portrait shoots can be a lot of fun. If you’ve never done one before, I hope that this guide has inspired you to look around your city for urban landscapes for portrait photography.
For your first time, you can always ask a friend to be your model if you want to try things out and see how the images look. Practice makes perfect.
Remember, safety is a very important factor in a shoot like this – both for your client or model and for yourself.
Urban shoots have helped me grow as a photographer. I feel more creative, I see possibilities for images in the mundane, and they’ve also helped me to think on my feet and improvise.
So what are you waiting for? An endless array of scenes is right on your doorstep. Take your next portrait shoot to the streets.
Do you have any other tips for scouting urban landscapes for portrait photography? Share with us in the comments!
The post How to Choose Urban Landscapes for Portrait Photography appeared first on Digital Photography School. It was authored by Matt Murray.
The post Weekly Photography Challenge – Landscapes appeared first on Digital Photography School. It was authored by Caz Nowaczyk.
This week’s photography challenge topic is LANDSCAPES!
Photo by Simon Bond
Landscapes are one of my favorite things to photograph. Being out in nature with your camera is a wonderful experience. So for this week’s photography challenge, I’d love for you to get out in nature and take some lovely landscape photos. They can be color, black and white, moody or bright. Just so long as they are landscapes. You get the picture!
Have fun you awesome photographers, and I look forward to seeing what you come up with!
Photo by © Jeremy Flint
Photo by Adam Welch
Check out some of the articles below that give you tips on this week’s challenge.
11 Surefire Landscape Photography Tips
12 Tips to Help You Capture Stunning Landscape Photos
How to Photograph a Minimalist Landscape
The dPS Top Landscape Photography Tips of 2018
7 Landscape Photography Tips You’ll Wish You Knew Earlier
Easy Beginners Tips for Long Exposure Photography
How a Short Versus Long Exposure Will Affect Your Landscape Images
5 Framing Tricks to Help You Capture Better Landscape Photos
Simply upload your shot into the comment field (look for the little camera icon in the Disqus comments section) and they’ll get embedded for us all to see or if you’d prefer, upload them to your favorite photo-sharing site and leave the link to them. Show me your best images in this week’s challenge.
You can also share your images in the dPS Facebook group as the challenge is posted there each week as well.
If you tag your photos on Flickr, Instagram, Twitter or other sites – tag them as #DPSlandscapes to help others find them. Linking back to this page might also help others know what you’re doing so that they can share in the fun.
The post Weekly Photography Challenge – Landscapes appeared first on Digital Photography School. It was authored by Caz Nowaczyk.
The post 6 Important Compositional Elements to Consider When Shooting Landscapes appeared first on Digital Photography School. It was authored by Jeremy Flint.
There are many pleasures associated with photographing landscapes; from being in the great outdoors, to breathing in the fresh air and taking in the attractive views whilst capturing nature’s beauty all around you.
Taking good landscape photos is more challenging than you may think. People often tell me when they return home from capturing landscapes that they are often disappointed with their results. Part of this may be due to the subject, the weather, the photographer, or most likely the composition. To help you improve your composition, here are 6 fundamental elements worth considering when you next venture out with your camera to shoot landscapes.
Firstly, it is worth considering the term ‘composition’. Composition refers to “the nature of something’s ingredients or constituents” such as the formation and contents that make-up an image. When it comes to photography, there are many theories and factors that constitute what makes a good composition. One major component worth acknowledging is diagonal lines.
© Jeremy Flint
Diagonal lines can be a useful tool to use in your images. Carefully consider how you might use diagonal lines in your images. One proven way is to lead a viewer’s eye through the frame along a diagonal. These can go from left to right or right to left. They can be slightly horizontal or vertical and can be individual or repeated throughout the image. Leading diagonal lines can be a great way to naturally point towards an interesting part of your landscape, such as rows of flowers navigating towards a tree or a building.
© Jeremy Flint
When it comes to shapes and patterns, there are no hard and fast rules as to what works well together. Whilst seeing the landscape as a whole, be conscious of what geometric shapes you want to include in the frame. You may look for shapes that complement each other or that are opposite to one another. Consider their relationship and how they may be used together to bring balance to the image.
© Jeremy Flint
Have you ever produced pictures of landscapes that you were not pleased with and wondered why this could be? Well, one reason could be to do with the rule of thirds. The rule of thirds is an essential technique that can be applied to improve the composition and harmony of your landscape images. In essence, it involves dividing your image by thirds using 2 horizontal and 2 vertical lines. The idea is that you then place the important elements of your scene along those lines or at the point where they intersect.
In your landscape shots, try placing the horizon on the lower third and top third of the image and see which makes a more pleasing composition. You can also include an interesting object such as a tree where the lines meet. This gives a natural focal point for the scene.
Rule of Thirds Grid
© Jeremy Flint
How you frame your images of nature can make the difference between a good and a great photograph. When framing your shots, create a visually effective image that communicates with the viewer in the way you envisaged. Overhanging leaves or branches can be used to form a natural frame to shape your picture. This helps to emphasize the subject and mask unwanted elements in the scene.
Foreground elements can add more dynamism to your landscape images. Placing features in the foreground can give a sense of receding distance. For example, a rock, flowers, or snow are individual components that can be used to provide scale. Find an interesting subject to show in the lower part of your frame and see how this changes the composition of your landscape images.
© Jeremy Flint
Don’t feel you have to stick to the rules of composition outlined above. As with all rules, they don’t always give the best result and you can break them. Sometimes positioning the horizon along the center of the frame can produce a much more eye-catching photo. In addition, you can even place your main subject in the center of your frame. Don’t be afraid to try out different compositions and experiment to see which looks best.
While you can break the rules, it is worth learning the rules of composition effectively before you try to break them. They were introduced to benefit your photos in the first place, so remember to put them to good use. Diagonal lines, the rule of thirds, foreground details, and framing your images can all be used to enhance your landscape photos.
Now it’s over to you to put these tips into practice! Share the images you take and any comments with us below.
The post 6 Important Compositional Elements to Consider When Shooting Landscapes appeared first on Digital Photography School. It was authored by Jeremy Flint.
The post How to Turn Day to Night Using Photoshop for Urban Landscapes appeared first on Digital Photography School. It was authored by Ana Mireles.
Have you ever wished you’d photographed something at night? You may not have had the time, knowledge, or gear to do it, but you still regret not getting that shot.
In some cases you may be able to return at night and have another go. But if you can’t, you can quickly turn day to night with Photoshop.
In this article I’ll show you how you to turn your daytime urban scene into a nighttime one using layers and masks. I’ll also give you a few tips on the details you should take care of for a more realistic effect.
But first I want to explain the idea behind this technique so you can apply it to all kinds of photography.
You may have noticed that different lights have different colors. Sunsets are redder and warmer than the sunlight at noon. The table lamp from your bedroom is more yellow than the fluorescent light of an office building. And so on.
This is called the color temperature, and is measured in Kelvin degrees. (You can see it in full in this color temperature scale.) And you can take advantage of it to simulate night time by colorizing your image accordingly.
First, you need to change the white daylight into a dark blue that corresponds to the night light by adding a blue layer. You can do this in various ways, although I find the easiest way it to select Layer -> New Adjustment Layer -> Color Lookup… from the menu and clicking OK.
From the Properties panel, open the top drop-down menu and choose any option that gives you a blue tone such as Moonlight, Foggy night, or Night from Day.
If you’re more experienced, and want to to have full control, you can work with a RAW file. At the top of the adjustment panel of the ACR window is a slider where you can adjust the color temperature. You can also enter the Kelvin degrees value you want directly according to the scale I mentioned before.
Next, create another layer that’s yellow or amber. If you’re using Adjustment Layers, remember to duplicate of the original first and then add the color one on top of it. If you’re sticking with the Color Lookup adjustment layer style choose Edgy Amber or Candlelight. Once you have it, merge the adjustment layer with the copy you created from the original.
If you’re doing it from ACR, don’t just duplicate your layer. Use the Create a New Smart Object via Copy option instead, or the first layer will go yellow too. You can find this option by right-clicking the layer and choosing it from the menu. Then double-click on the thumbnail to open ACR again and drag the slider to the yellow side.
You now need to add a mask to this yellow layer. You can do this by clicking on the Layer mask button on the bottom of the panel. Once you’ve created it, click Invert in the properties panel. We do it this way because the white mask will show all the content and the black one will block all of it. (To learn more about it, check out Getting Started with Layer Masks in Photoshop – a Beginners Tutorial.) For now you’ll want it all covered so you can paint only what you need to in the next step.
The yellow corresponds to the tungsten light from light bulbs, which you can use to paint lamp posts, windows and any other source of light that might be available during night time. Identify these sources and, using the Brush tool, start painting in the Layer Mask with the brush set to white.
For windows, I find it easier to paint the entire rectangle and then paint out the divisions with the black brush.
This also works for any corrections or detailed work. If you paint something by accident, change the color of the brush to black and paint back over it to cover it again. This is why we’re using masks. The work is non-destructive, and you can easily go back and forth.
It’s up to you how much work you want to put into the transformation. But keep in mind that the more details you do, the more realistic the effect looks.
For example, the lamp will shed some light onto the wall where it’s hanging, so you’ll want to illuminate that part as well. With the same Brush tool you were using, diminish the opacity from the Options Bar and paint the wall where the light would be hitting. Keep diminishing the opacity as you get further away from the light source.
Another big giveaway is reflective surfaces because light would reflect onto them. In this example, the water in the canals needs to have reflected light. But it may also be needed for cars or puddles, so keep an eye on your scene and paint those as well.
There you have it: from day to night using nothing more than layers and masks.
I hope you enjoyed this technique. I recommend you go out and do some night photography so you can learn how light, tones and colors behave. The more you understand it, the better you will be able to replicate it in post-production.
If you need some help getting started, check out The Ultimate Guide to Night Photography.
And to get some inspiration for your next digitally created night scenes, here are two great articles:
The post How to Turn Day to Night Using Photoshop for Urban Landscapes appeared first on Digital Photography School. It was authored by Ana Mireles.
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