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Posts Tagged ‘needs’

3 Lenses Every Beginner Photographer Needs [video]

14 Jun

The post 3 Lenses Every Beginner Photographer Needs appeared first on Digital Photography School. It was authored by Caz Nowaczyk.

In this video by MiketheMathMan, he outlines what he believes to be three lenses that every beginner photographer needs.

3 lenses every beginner photographer needs

In the video he lists the following:

1. Wide-Angle Lens

The “see everything lens” because of their ability to capture a wide field of view. These lenses are handy for shooting landscapes, interiors, cityscapes and anything where you need to capture a wide field of view.

2. Telephoto Zoom

They are great for capturing details from a distance for better detail.

3. Fast Prime Lens

A fast prime lens has a wide aperture. These are great for use in low-light and for creating beautiful bokeh with shallow depth of field. Prime lenses are fixed focal lengths, for example, 35mm, 50mm or 85mm. They are great for portraits/headshots, milky way photography/astophotography.

What lenses would you add to this list? Share with us in the comments below.

You may also find the following helpful

  • 3 Lenses Every Photographer Should Own
  • Can New Gear Kickstart Your Photography?
  • Why Carrying Less Camera Gear Will Make You a Better Photographer
  • Essential Portrait Photography Gear You Need When Starting Out
  • Wedding Photography Gear You Need When Starting Out
  • Why Your Camera Gear Doesn’t Matter

 

The post 3 Lenses Every Beginner Photographer Needs appeared first on Digital Photography School. It was authored by Caz Nowaczyk.


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Lightroom Shortcuts Every Photographer Needs to Know [video]

15 Mar

The post Lightroom Shortcuts Every Photographer Needs to Know appeared first on Digital Photography School. It was authored by Caz Nowaczyk.

In this awesome video by Lucy Martin, you’ll learn Lightroom shortcuts every photographer needs to know to make their editing workflow faster and more efficient.

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The Lightroom shortcuts every photographer needs to know

Help make your editing process be more efficient and fast-paced so you can deliver your photos much quicker by knowing these shortcuts:

G – Grid view
E –  Loupeview
L –  Lights Out – (isolates your image against a black background for previewing)
P –  Pick (Flag)
x –  Reject
Caps Lock –  auto next
Cmd+Delete –  delete rejected
D –  Go to Develop
\ –  Before/After
Y –  Before/After Side by Side Comparison
V –  Black and White
R –  Resize and Rotate
Q –  Spot Removal Tool
H –  Hide adjustment Pins
Cmd+Z –  Undo last action
Cmd+C –  Copy Settings
Cmd+P –  Paste Settings
Cmd+/ –  Show all shortcuts

You may also find the following helpful:

Lightroom CC and Photoshop CC Keyboard Shortcut Cheat Sheets

How to Use Lightroom Star Ratings to Improve Your Editing Workflow

How to Customize Your Lightroom Workspace for Better Workflow

10 Tips to Make Lightroom Classic CC Run Faster

5 Adobe Lightroom Plugins That Will Make Your Life Easier

How to Find Your Photos in the Lightroom Catalog Using Filters

 

The post Lightroom Shortcuts Every Photographer Needs to Know appeared first on Digital Photography School. It was authored by Caz Nowaczyk.


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5 Camera Bags That Every Travel Photographer Needs At Some Point

18 Jul

One of the great things about being a travel photographer is that you are almost always working outside. Sometimes this might be in a city and sometimes in the wilderness. Either way, one of the main attributes you will need is to be organized. This involves everything from research and planning, to your shot list and efficiency. It also includes being organized with your equipment and what you will need on a day to day basis.

There is a fine balance between carrying too much unnecessary equipment and what you actually will need. A vital part of carrying your equipment is choosing the right bag for the scenario you are going to be photographing. Not only are camera bags important in keeping your equipment safe and dry, but a good bag will also make it easier to carry equipment.

Especially when you will potentially be walking around all day. There are so many bags to choose from, so here are the five types of bags that you may need at some point.

person on a cliff overlooking the water - 5 Camera Bags That Every Travel Photographer Needs At Some Point

#1 – Day Bag

A day bag is usually the first bag that most people would purchase. It will also be the bag that gets the most usage. So it’s vital that you take into account the different options available to fit your needs. Before you rush out and buy one, consider the following factors:

day bag for camera gear - 5 Camera Bags That Every Travel Photographer Needs At Some Point

  • Size – What will you generally be carrying day to day? Most travel photographers will carry a telephoto lens and possibly a couple of smaller lenses. You may also carry a flash as well as memory cards, batteries and possibly a second camera.
  • Tripod – The first day bag that I ever purchased, didn’t have a way to attach and carry my tripod. I quickly realized how frustrating and tiring that was. Carrying a tripod means you are constantly having to put it down every time you want to take a photo. So when fleeting moments arrive you are not ready to snap away.
  • Non-photography space – Another big consideration when purchasing a day bag is how much additional space you will have to carry non-photographic items. For example, can you carry a bottle of water? Or a rain jacket? Is there somewhere safe and hidden away that you can keep your keys, mobile phone or even cash?
  • Accessibility – Would you really want to take everything out of your bag to get to those plasters right at the bottom? How quickly and easily you can access the various compartments of your bag is very important. For example, some bags will allow you to get your camera out from a side zipper without having to open the whole thing up.
  • Comfort – As a travel photographer you will often be out walking for hours. Being able to carry your equipment comfortably can mean the difference between going back to the hotel because you’re uncomfortable and in pain or carrying on.
  • Airline carry-on – Another consideration is whether your bag complies with the carry-on regulations of airlines. I always carry my camera equipment on the plane (I put my tripod in my suitcase) rather than check it in so have to make sure that my bag isn’t too big.

All of these are factors that need to be considered before purchasing a day bag. It’s taken me a few attempts to find the perfect day bag but my choice is the Lowepro ProTactic 450 camera bag.

It has plenty of storage for two cameras as well as a couple of other lenses and things like memory cards and batteries. It has a top zip, as shown below, that makes it easy to access my camera without needing to open the whole bag. I can also carry a large tripod attached to the bag as well.

5 Camera Bags That Every Travel Photographer Needs - Lowepro ProTactic 450 AW Camera Backpack

#2 – Hiking Bag

While a day bag is great for everyday use, sometimes it’s simply not big enough. For those photographers who like to hike or camp overnight, then a day bag won’t be able to hold all of your camera equipment and additional things needed like a tent, food, and water.

So the next bag up from a day bag is a hiking bag. But again it’s important to consider the factors below before purchasing your hiking bag.

5 Camera Bags That Every Travel Photographer Needs - man sitting on a rock by the ocean

  • Size – The first criteria for your hiking bag is the size that you will need. This will come down to what you are planning to photograph and the duration of your hike/trek. For example, if you are planning to camp overnight you will need space for a tent and sleeping bag. But if your hikes are one day ones then you could get away with something smaller. Factor in all the items you will need such as spare clothes, a first aid kit and even cooking utensils as well as your camera gear. Then find a bag to fit what you will be carrying.
  • Water reservoir – This might seem like a trivial point when considering a bag, but being able to have a drink without having to take your bag off is incredibly useful. So one thing that I would always recommend is buying a bag that either comes with a water reservoir or one that you can fit one into. You don’t want to have to constantly stop and take your bag off every time you want to have a drink.
  • Waterproof – Most outdoor bags these days will be somewhat shower proof, but some bags also come with a rain cover that you can place over the bag. These sometimes sit under the bag and can easily be accessed when you need them.
  • Adjustable – On any long walk or hike, comfort is vital. So look for a bag that allows you to be able to adjust the straps to fit your posture. The best thing to do is to try out your given bag for a few hours with your equipment locally before setting out on your trip.

My personal choice for a hiking bag is the Lowepro Pro Trekker 650 AW camera backpack. As I rarely camp overnight, this bag is big enough to carry my camera equipment and any additional daily items. There is also a side pocket for a water reservoir (not included) and you can strap a large tripod to it as well.

pro trekker LowePro bag - camera bags for travel photographers

Lowepro Pro Trekker 650 AW camera backpack

#3 – Sling Bag

There are times that even a day bag is too big and cumbersome to carry around. Sometimes all you need is a small bag to carry your camera and a few additional accessories. Sling bags are useful for this purpose and also because you can get things in and out without having to take your bag off.

There may also be occasions (i.e. in busy events) where you can keep your bag in front of you thus making it less inviting to pickpockets and thieves. You won’t be able to carry a lot of equipment or strap your tripod to it, but a good sling bag should still have plenty of room for what you need.

I pack my sling bag into my suitcase (it folds flat) and will use it on occasions when I don’t need to take a lot of equipment. For example, some museums or viewing platforms don’t allow backpacks whereas you’ll be okay with a sling bag.

My sling bag of choice is an older version of the Lowepro Passport Sling III camera bag. It’s surprisingly spacious for its size and I can fit my DSLR as well as a wide-angle lens and a telephoto lens inside. It also has space for memory cards and batteries as well as outside pockets which are useful for things like a water bottle.

sling bag - travel photographers camera bags

#4 – Toploader

These small camera bags are only big enough for one camera and one lens (if you want it for a telephoto lens make sure you purchase the bigger size). The real benefit of these bags are that you can keep your camera on your hip for easy access. So rather than having to take your bag off to pack or unpack your camera you can simply place in this bag as and when you need to.

I find that this is especially beneficial on long hikes or treks when I sometimes may not take a photo for long periods of time but I still have it on hand when a moment presents itself.

The less obvious benefit of these bags, which I realized recently, is when traveling by air. Airlines can be very picky about the weight of your checked-in luggage. So if you find that you are over the limit you can place some items from your luggage into this bag and take it onboard. For example, on a recent trip I was able to place the head from my tripod and few other small but heavy items into this bag and avoid paying the excess weight charge.

I take my Lowepro Toploader Pro 70 AW II camera case with me on every trip. If I can, I pack it in my suitcase and use it where necessary. If my suitcase is full, I put my camera in it and carry it onto the plane in addition to my day bag.

Lowepro Toploader bag - travel photographers camera bags

#5 – Hard Case

Another option to consider for traveling are hard cases. These are suitcases which are made of a tough material which is waterproof and dustproof. They are especially designed for transporting camera equipment.

The benefit of these cases is that your equipment will be safe inside from damage. But they are generally only useful for transportation rather than day to day use. Some of the latest models are designed with a camera backpack inside which allows you to wear it like a traditional day bag. But having tested one a while ago, they are not as comfortable as the traditional day bags.

Personally I have never found a need for one to date as I carry all my equipment in my backpack. But if you are going to be traveling to harsh conditions or face the likelihood of your equipment getting wet than it would be worth investing in a hard case.

Summary

Camera bags might not be the first accessory that comes to mind when building your photography equipment inventory, but they are incredibly important. Not only will they keep your equipment safe, but they might stop you from being uncomfortable or even in pain because of the weight you are carrying.

The important thing is to not rush out and buy all of the above at once. Over the years as the need arises, you can invest in a new bag. So, think carefully about what you need and do some research into the different types of bags available.

What camera bags do you have or find useful? Please share your recommendations below.

The post 5 Camera Bags That Every Travel Photographer Needs At Some Point appeared first on Digital Photography School.


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Fotopro Mogo flexible monopod kits are designed for various photography needs

31 Mar

Photo gear company Fotopro has launched a crowdfunding campaign for a series of photography kits centered around Mogo, a flexible monopod based on the Fotopro UFO. Mogo features flexible legs that can be wrapped around a rail or post, used on uneven surfaces and more. The monopod has a universal screw-head and removable mount for use with mobile devices, action, mirrorless and any other type of camera.

“Our aim in delivering Mogo with additional gear was to ensure each gear kit was mobile, lightweight and easy to put together and apart for anyone,” Fotopro explains on Indiegogo, where the campaign is live.

The company is offering a total of four kits (detailed below), each designed for a different usage scenario. The Mogo monopod itself has an 800g / 1.7lbs maximum capacity, can be used underwater and features a metallic wire core covered by a rubber skin. Fotopro expects to ship the kits to Indiegogo backers starting in June; the prices listed below are discounts from the planned eventual MSRPs.

Mogo Starter Kit ($ 39):

– Mogo Monopod
– Bluetooth Remote Trigger
– Small Metal Tripod Stand
– Smartphone Clamp (x2)
– GoPro Screw

Mogo Tablet Kit ($ 49):

– Mogo Monopod
– Bluetooth Remote Trigger
– Metal Tripod Stand
– Smartphone Clamp (x2)
– Large Tablet Clamp
– GoPro Screw

Mogo Mobility Kit ($ 59):

– Mogo Monopod
– Bluetooth Remote Trigger
– UGO2 Flexible Tripod
– Smart Metal Tripod
– Smartphone Clamp (x2)
– GoPro Screw

Influence Kit ($ 99):

– Mogo Monopod
– Bluetooth Remote Trigger
– Smartphone Clamp (x2)
– Large Tablet Clamp
– Sliding Metal Bar
– Metal Tripod Stand
– Mic Clamp
– Mic Dampender
– LED Light
– GoPro Screw

Via: Indiegogo

Articles: Digital Photography Review (dpreview.com)

 
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Why Every Photographer Needs a 24-70mm Lens

17 Dec

Fondly known as the “walk around lens” by professionals and hobbyists alike, the 24-70mm lens is the staple of any photography kit! A lens that offers diversity and functionality, its range makes the 24-70mm lens a remarkable companion for a vast array of photo shoots. From wide captures to close-up portraits, and everything in between, this lens is one that many photographers jump for immediately.

Camera brands such as Canon, Nikon, Pentax, Sony, Sigma, and Tamron understand this and have offered a rather wonderful selection of 24-70mm lenses from which to choose. Several professionals actually own more than one 24-70mm, as this lens has the potential of becoming the most used glass in your photographic arsenal.

Why Every Photographer Needs a 24-70mm Lens

Why? Well, it’s awesome of course! The benefits of the 24-70mm lens are as priceless as our love for it. Here are some of the reasons why you want to have this lens in your bag.

No Learning Curve

The focal range of the 24-70mm lens is greatly inspired by the human eye. As such, this lens allows brand new photographers to learn with more ease than some other types of lenses due to its lack of distortion.

It is much easier to study composition when you can photograph similarly to how your eye sees naturally. Some wide angle lenses have a curve to the glass, which causes the subjects to warp when improperly photographed. The 24mm aspect of this lens offers no ultra-wide angle distortion while still offering a rather wide capture, perfect for simply concentrating on the best arrangement of elements.

There is equally little trouble with the rest of the focal range. The range passes through 50mm, a commonly used focal length for portraiture. The 70mm offers a very nice zoomed close-up. This lens is a great stepping stone to a variety of focal lengths, such as the 70-200mm lens.

Why Every Photographer Needs a 24-70mm Lens

Close Focusing Abilities

This lens is absolutely excellent for a subject that happens to be in close proximity to the glass. The minimum focusing distance does vary depending on models, but it averages 38 centimeters (15 inches) from the glass. To give perspective on how close this is, the average focusing distance for most lenses is 48 centimeters (19 inches), although this is affected by whether your camera is full frame or not, the type of lens, etc.

Although the 24-70mm is not a macro lens (whose minimum focusing distances are around 20 centimeters), it can still take beautiful close-up photographs of flowers and other favorite macro subjects.

Why Every Photographer Needs a 24-70mm Lens

Versatile Range

Arguably the most important benefit of the 24-70mm lens is its versatility. The range offers limitless possibilities, with an added boost of immense adaptability in the face of various photo shoots.


You can easily go from a wide angle to a zoom with this beauty, acclimating as quickly as your subjects change. This lens also allows you to capture a large variety of shots per session without the need to consistently change your lens. Considering our photography game with clients is primarily speed and efficiency, the 24-70mm will quickly become your best friend for this reason alone.

The versatility allows you to pack just this one lens when you go gallivanting across the world on vacations or destination shoots, an ideal prospect in and of itself. The 24-70mm lens is also a favorite of wedding photographers, as it allows them to capture precious moments without lapsing to change out gear. As previously touched upon, the focal range also covers the significant focal lengths in the photography world, such as the 50mm and the 70mm.

Why Every Photographer Needs a 24-70mm Lens

Robust and Comfortable Build

Most 24-70mm lenses are rather robust little creations, with a comfortable build to last. Knowing that this lens is referred to as the walk around lens, most brands have ensured that your faithful companion is able to outlast most of your adventures.

From weather protection offered by some manufacturers, to solid and sturdy bodies, the 24-70mm is ready for most anything you can throw at it. This lens is also rather comfortable to hold, considering it isn’t very long nor terribly short.

Why Every Photographer Needs a 24-70mm Lens

Size

Of course, we cannot discuss build without talking about size. At an average size of 3.28 x 3.28 x 4.86 inches and weight of approximately 2 pounds (900g), the 24-70mm is neither the largest nor the heaviest lens on the market. Quite the contrary, this lens happens to fit into most cases and isn’t the world’s worst hassle to carry.

In comparison to the rest of my kit, my 50mm (f/1.2) lens weighs more despite being shorter. To add even more praise, I have been easily able to put this lens with a camera body into a regular old purse. The amount of use and adaptability you can accomplish with this lens greatly outweighs any physical burdens of transporting it and many would argue that this lens is the same size as the average, most common lenses.

Why Every Photographer Needs a 24-70mm Lens

Now that the 24-70mm has (hopefully) won you over, there comes the burden of choosing which one to get. There are a variety of different 24-70mm lenses, ranging not just by brand, but also by aperture and weight. Here are some, just to name a few:

Canon

Canon’s collection of lenses is home to the Canon EF 24-70mm f/2.8L, Canon EF 24-70mm f/2.8L II USM, and Canon EF 24-70mm f/4L IS USM Lens. The f/2.8 aperture version is the most commonly seen 24-70mm lens, due to its beautiful depth of field and low light capabilities (remember, the wider the aperture, the more light the lens lets in!).



The EF 24-70mm f/2.8L (above left) is the predecessor of the newer EF 24-70mm f/2.8L II USM (above middle), and those on a budget may do well looking into the original lens which landed an iconic spot in Canon’s lineup. The updated version features improvements to image sharpness, vignetting, and AF speed. That being said, these improvements come at a rather substantial price tag. When pairing with a camera body that features advanced auto-focus systems, the version II is significantly faster than its predecessor. However, if you own one of the older bodies, you won’t see a significant difference. Like version I, version II features weather sealing with a front filter in place, which separates this lens from its competitors.

Canon’s EF 24-70mm f/4L IS USM Lens (above right) is another option. Although it does not feature a 2.8 aperture, the addition of image stabilization may sway some to purchase this version. Some of the benefits of this lens over its f/2.8 companion are reduced size/weight, image stabilization, and much lower cost. Another huge benefit is maximum magnification (MM). The 24-70 f/4L IS features an impressive 0.70x magnification (compared to 0.21x for the 24-70L II) which means it can double as a macro lens in a pinch.

Nikon

 

Nikon has the AF-S NIKKOR 24-70mm f/2.8E ED VR ($ 2396 USD) and AF-S NIKKOR 24-70mm F2.8G ED ($ 1796 USD), with a $ 600 difference between them (at the time of writing this article). The 24-70mm f/2.8E ED VR is on the larger size of the 24-70mm array of lenses, being an inch longer than its predecessor and a bit wider. However, both of these lenses are extremely sharp in practical use, a wonderful testament to the models. Unfortunately, there is quite a bit of vignetting at the wider apertures. The f/2.8E ED VR version features image stabilization and vibration reduction, unlike the 24-70mm F2.8G ED.

Tamron

Tamron is home to their 24-70mm f/2.8 DI VC USD Lens, which is still one of the only f/2.8 24-70mm lenses with image stabilization. Tamron’s vibration control system allows this lens up to 4-stops of camera shake compensation. The ability of this lens to capture sharp images of static subjects in low light is extremely beneficial, given its low light capability. This lens is also significantly more cost-effective than the Canon lenses. Sadly, you can expect anywhere from 2-3 stops vignetting on a full-frame camera, wide open, depending on the focal length. However, this lens is quite sharp and was noted to out-perform Nikon’s 24-70mm not too long ago. Unfortunately, the AF has been said to not always be consistent.

Note: Read reviews for lenses before you make any decisions.

Sigma

Sigma has the Sigma 24-70mm F2.8 DG OS HSM ART. This lens is significantly heavier than some of the other 24-70mm lenses mentioned, primarily the Canon 2.8 version II. The build quality is excellent given the comparatively affordable price tag. This lens features built-in vibration reduction just like the Tamron equivalent, and a minimum focusing distance of 37 centimeters.

For more on other 24-70mm lenses see these dPS reviews and comparisons:

  • Lens Comparison 24-70mm f/2.8 Canon Versus Tamron
  • Field Test and Thoughts: Tamron 24-70mm F/2.8 Di VC USD G2 Lens
  • Writer’s Favourite Lens – Nikon 24-70 mm F2.8

Your turn

Now that you’ve learned of the wonders of this charming lens, what are you waiting for?!

Have you used a 24-70mm lens before? What are your favorite things about it? Please share in the comments below.

The post Why Every Photographer Needs a 24-70mm Lens by Anabel DFlux appeared first on Digital Photography School.


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Why Every Photographer Needs a 70-200mm Lens

07 Nov

As photographers, some pieces of advice are universal; the same can also be said for some camera gear. The 70-200mm lens is a staple for a reason, found in pretty much every pro’s camera bag around the world, they are trusted on location from portrait studios to the heart of the Amazon.

So here is why you need one in your kit.

Nikon 70-200mm lens review must have

Optical Performance

Let’s start with the big reason, optical performance. The 70-200mm is a professional lens and features the latest in optical design and quality.

Perfected over the last 30 years they have an excellent edge to edge sharpness, both wide open and stopped down. Featuring the ED elements and the latest lens coatings, they fend off chromatic aberrations and flare very well and produce stunning sharp, contrasty images shoot after shoot.

Focal Length

Short telephotos and wide-angle lenses are fantastic for getting up close into the action or taking the wider view, however, they can often be problematic. If you are trying to photograph wildlife, candid portraits, or anything that you can’t get close to, the 70-200mm lens will come in handy.

Nikon 70-200mm lens review environmental portraits

The reach of the 70-200mm is perfect for so many situations, allowing you to focus in on key subject areas, crop out distracting areas or elements in your frame and just get closer to the action.

The focal length allows you to also give your subject space to move without you having to be right up in their face, while still giving you the scope for those tight shots. It also allows you to be creative in new ways, giving you options to focus on small details within a composition or landscape, all the while not needing to move your feet.

Nikon 70-200mm lens review details

Large Maximum Aperture

The 70-200mm f/2.8 is a fast lens, with the wide aperture being a key reason why so many pros love it. This gives you a number of benefits for shooting on location, once again making this a top quality lens in which to invest.

Benefits

The first benefit is the bokeh (or out of focus areas). The fast f/2.8 aperture means depth of field wide open is very limited. This results in much of the background and foreground dropping into mushy out of focus goodness, helping to keep the viewer’s attention on your main subject.

The large aperture, combined with the telephoto reach of the lens, really allows for the rendering of wonderful out of focus elements. This gives a truly dreamy quality and feeling to the images produced with the 70-200mm lens.

A second benefit of the wide open aperture is that of the low light performance. Having a fast f/2.8 aperture means the lens lets in far more light than slower alternatives. This, in turn, means the camera has more light to work with. So, when the light starts to fade you can still get sharp shots with reasonable shutter speeds without the need to stretch your ISO capabilities.

Another benefit of the fast aperture is the brightness it brings to the viewfinder. If you haven’t used fast lenses before you’ll soon fall in love with the brighter viewfinder experience that comes with the 70-200mm f/2.8. This might not sound like a big deal, but being able to see your composition better allows you to be more focused on selecting what you want in and out of the frame, helping you to hone your compositional skills for better images.

Speed

When working with fast paced action, speed is imperative, and the 70-200mm lens doesn’t disappoint. As a pro spec lens, the 70-200mm offers brilliant AF speed that is a huge benefit when working with erratic subjects on fast paced shoots.

Nikon 70-200mm lens review blazing fast focus

The autofocus, aided by the fast aperture, locks onto subjects quickly and focuses through the range in the blink of an eye (something that certainly can’t be said for all telephoto lenses). The speed of the focus reduces frustration when trying to pick up moving subjects, helping you to focus on composing your shots rather than the frustration of your lens not focusing.

Size and Weight

Some people think the 70-200mm is a large lens, however, that weight and size also have their advantages. The physical length of the lens itself, being around 25cm, provides for good placement of the controls, with the large zoom and focus rings being well spaced on the lens’s barrel.

The length also allows for the inclusion of a tripod mount (collar). This is handy for working with a tripod for better balance and for lowering the stress on the bayonet mount between the camera and lens.

Nikon 70-200mm lens review 01

The size also lends itself to being comfortable for handholding. The wider barrel fits well in the hand, with the weight of the lens balancing well with medium to large camera bodies. The lens is also a little front heavy that means when attached to the camera it helps equal out the balance to a comfortable feel.

Of course, modern versions of the 70-200mm f/2.8 also include the implementation of image stabilization (VR, IS, or OS) helping to once again improve the abilities of this lens when working handheld. The optical stabilization systems help to reduce camera shake by up to 4-stops, meaning even when the light gets low you can work handheld with sharp results. That is something that can really come into its own when on location on a fast moving shoot.

Nikon 70-200mm lens review Close focusing

Build Quality

The 70-200mmm f/2.8 is designed to be used by pros, and it’s constructed like a tank. Metal construction and weather sealing mean it’s built to last while being taken out and abused day in and day out.

Nikon 70-200mm lens review compressing landscapes

My 70-200mm has been everywhere with me and is built to withstand the elements.

The 70-200mm lens is also a fantastic addition to the kit bag for those nature photographers who also have a passion for landscape photography. The focal length is excellent for giving you the reach to pick out sections of a landscape, details within a scene or for compressing layers for flattering images. The 70-200mm offers flexibility for composing, with the telephoto reach helping to compress a scene for flattering perspectives that might not work with a wider focal length.

I’ve had my 70-200mm lens for many years and worked with it in the rain, snow, freezing conditions, as well as the jungle and it’s never skipped a beat. Rugged and reliable, just as you want a working tool to be!

Teleconverters

This lens was also designed with the ability to work with teleconverters in mind. These small optical devices fit between the camera and lens, helping to magnify the image for a greater telephoto effect.

That means that the 70-200mm, when paired with a 1.4x teleconverter, becomes a 105-300mm equivalent or a 140-400mm when paired with a 2.0x converter. This can be very handy if you need some extra reach but don’t want to invest in a super telephoto or you just can’t fit it into your bag.

Nikon 70-200mm lens review reach portraits

Shot at about 280mm using the 1.4x teleconverter.

Going the other way you can also add extension tubes to the 70-200mm to reduce the minimum focusing distance. That results in the ability to get ultra close for some semi-macro images, once again showing the scope for the versatility of this stable lens.

Conclusion

The 70-200mm lens is truly a worthy lens to be part of every photographer’s kit bag. Offering top optics, a fast aperture, excellent speed, ergonomics, and weatherproofing. They are built to last and perform day in, day out.

They are expensive, but as a long-term investment, the 70-200mm f/2.8 is certainly one that every keen photographer should think about making. You certainly won’t regret it.

The post Why Every Photographer Needs a 70-200mm Lens by Tom Mason appeared first on Digital Photography School.


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5 Camera Settings Every New Photographer Needs to Know

26 Oct

The first time you pick up a camera it can be pretty confusing. With all the bells and whistles crammed inside even entry-level DSLRs nowadays, knowing where to start is anyone’s guess. Teaching yourself, through trial and error, is one of the best means-tested ways to come to grips with your camera and learn how to use it. But sometimes that takes a while, so here are some of the camera settings that I think every photographer needs to know about when they get their hands on a DSLR.

1. Live View Stops Mirror Slap

That satisfying, reassuring “clunk” sound you hear when you press the shutter button isn’t actually the shutter firing on the camera. In fact, that is the mirror moving up and down to expose the sensor to the world. But that relatively aggressive motion of the mirror can introduce camera shake into your images.

It’s something you might notice if you’re shooting a long exposure, but there’s an easy way around it. Switch the camera into Live View mode, forcing the mirror to raise permanently (until you turn off that mode) so that you can see the image on the LCD screen. This means that when you do actually press the button, only the shutter itself is moving – no need to worry about that mirror thudding up and down anymore.

Long exposures are better shot in Live View. 5 Camera Settings Every New Photographer Needs to Know

2. Auto ISO and Manual Mode Helps You Learn

Lots of photographers stay in Automatic mode because of the fear of missing images when they switch to Manual mode. To remove this fear, try shooting in Manual mode with Auto ISO enabled. This means that the camera is still in control of one of the three factors affecting exposure (aperture, shutter speed, and ISO) so that it can balance out the settings with the ISO. But now you get to control the aperture and shutter speed yourself, changing them around to see what effect they will have on your photo.

5 Camera Settings Every New Photographer Needs to Know

Use Manual mode and Auto ISO to experiment safely with the other camera settings.

Try slowing down the shutter speed, or narrowing the aperture of the lens, safe in the knowledge that auto ISO will do a pretty good job at balancing the exposure (unless you slow your shutter down a lot). Being able to experiment freely like this will help you to get a practical knowledge of the exposure triangle and how it works.

3. Disable Area Autofocus Modes

The first thing you should do is disable any Area (zone) Autofocus modes. This is where the camera picks and chooses where it focuses, as it will rarely be at the point you would want. Instead, try using single-point focus. This allows you to be precise and line-up the black square over the target area in the scene.

5 Camera Settings Every New Photographer Needs to Know

Here I used single-point focus to nail the focus on the eye.

If you were taking a photo of a dog, for example, it’s much better to focus on the eyes than to rely on the camera to find that spot for you. Most likely, the camera would be focused on the end of the dog’s nose – not very good for an impactful shot.

4. Mute Your Camera

As a wildlife photographer, one of the really annoying things to hear in a quiet hide or nature reserve is the beep of someone’s camera. Whenever I get a new camera, it’s not long before I dive into the menu and disable all of the autofocus beeps, menu selection beeps, and any other noises the camera might feel so inclined to make.

5 Camera Settings Every New Photographer Needs to Know

Mute your camera to avoid disturbing sensitive animals – or people!

Not only is it pretty pointless, it could alert an animal to your presence! So, wildlife photographers, don’t do it.

5. Pay Attention to the White Balance Setting

The White Balance setting is one that can totally transform your images in a second, but it’s one that most people ignore for quite a while and just leave in auto mode.

If you’re shooting in JPEG file format, and not raw, then the White Balance choice you make in the camera does matter. If you’re shooting raw, you can adjust this later during post-production.

5 Camera Settings Every New Photographer Needs to Know

Adjust your white balance for proper color replication.

Why not Auto White Balance? I find that it never gets things right. Colors always look much flatter and dull, whereas the daylight or cloudy presets add an immediate punch to your shot. Try it, and you’ll probably find things really do change for the better.

You can also look at the manual White Balance setting (measured in degrees Kelvin) if you want to have a much more fine-tuned control over this setting.

Summary

Hopefully, these five tips will help you to navigate through the minefield that is a new DSLR camera. There are of course so many more things to know – and that’s where Digital Photography School can help you, of course. But these are some things that I think will make life easier for you as a new DSLR user.

Let me know in the comments if you have any other great tips or camera settings for new DSLR users!

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How To Pick the Best Camera For Your Photography Needs

04 Sep

What is a good camera for me? Everyone might have a different answer to this question. At  the end of the day, the best camera is subject to someone’s photography needs. Sometimes you don’t need to buy the most expensive one just to take that simple shot. And of course, you can’t just use your point and shoot if you Continue Reading

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Spekular is a modular LED lighting system you can reshape to suit your needs

01 Sep

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Spiffy Gear, the company behind the Light Blaster strobe projector, is back with another accessory for photographers and videographers who want a lighting solution that can conform to every shooting situation. It’s called Spekular, and Spiffy is calling it “the Swiss army knife of LED lighting.”

Spekular consists of four ultra-bright, color-accurate LED strips that can be arranged in whatever configuration suits your shooting needs. Each of the four LED lights boasts a dimmable, flicker-free 14.5 watts of power (~150W halogen) with color accuracy guaranteed (94+ CRI and 96+ TLCI).

Here’s a quick intro video so you can see the lights in action:

And here are a few sample shots, all captured with the Spekular arranged in one of its various configurations (Note: the star shape requires an additional four-light ‘expansion kit’ and star adapter):

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Spiffy is branding the Spekular as ‘the only light you need,’ and while we’re always a bit skeptical of grand claims, the modular design and attention to technical detail certainly make it a unique lighting option.

You can find out more about Spekular on the Spiffy Gear website, where you can order the standard 4-light kit for $ 650, the 4-light extension for $ 130, a battery adapter (in case the power goes) also for $ 130, and that Star Adapter for, you guessed it, $ 130.

Press Release

Spekular from Spiffy Gear is the Swiss army knife of LED lighting for photo and video.

SUMMARY: Spekular is a modular LED lighting system for videographers and photographers. It is a collection of light bars with high brightness and unparalelled color accuracy. The system drastically reduces the number of accessories needed to create professional lighting setups.

31 August 2017 – Today, Spiffy Gear launches the $ 650 Spekular, a flexible, modular LED lighting system for videographers and photographers. Spekular adapts into different lighting modifiers, such as light strips, soft boxes or shaped lights for creative effects.. This reduces the amount of gear needed to be carried to shoots. Spekular can be configured as a ring, a square, a strip, a star, a “standard” panel, and many more configurations.

Using the attachment options in the Spekular kit, discerning lighting artists can configure the light into different shapes to create different looks, adapt to different situations, and add flair to portraits by adding eye-catching catch lights.

Spekular is extremely bright. Each of the LEDs sections provides 14.5W of light (the equivalent of around 150W of halogen light). And there are four of them. This kit delivers as much power as four “standard” LED panels, so you have to carry less to light more.

Spekular is fully dimmable for further lighting flexibility, without any of the flickering typically associated with dimmable LED light sources. The LED bars do all of this while maintaining a perfect color rendition to save you time in post-production. (94+ CRI and 96+ TLCI).

The kit is extremely sturdy and hard-wearing. It can withstand the hard, unrelenting abuse of a typical professional photo or video shoot. Its aluminum sections and tough ABS connectors will keep going, day after grueling day.

“Spekular will enable photographers and videographers to tell their stories while paying less, carrying less and having more lighting options, says Udi Tirosh, CEO at Spiffy Gear.

The Spekular Ecosystem

At launch, Spekular is part of an extendable kit, with accessories to add even more flexibility.

The Spekular kit is the core kit to get you started with Spekular. It consists of four LED light sections, four hinged connectors and mounting gear, all packed in a handy carrying case. This kit provides more than 5,000 luminous flux of light.

The optional Spekular Star Adapter enables you to configure the Spekular kit into an eight-section star with a hole in the middle. The hole is big enough to shoot through, making some creative lighting options possible.

The optional Spekular Extension Kit unlocks even more ways to use Spekular. It enables using one kit as a three points lighting system, create complex lighting schemes, and create long seamless strips.

The Spekular Battery Adapter makes the Spekular kit usable anywhere in the world. Use any DTAP-enabled battery to power the kit – no need to be plugged into a wall socket. The battery adapter includes a mounting bag that connects to a light stands for easy access.

Pricing and Availability

Spekular is available starting today at http://www.spekular.com/ and at selected photography retailers.

  • Spekular kit: $ 650
  • Spekular Star Adapter: $ 130
  • Spekular Extension Kit: $ 130
  • Spekular Battery Adapter: $ 130

Articles: Digital Photography Review (dpreview.com)

 
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7 Common Mistakes That Every Photography Business Needs to Avoid

11 Aug

Everyone makes mistakes. When growing your photography business, you will make more mistakes over than the years than you can count – and some of them you will even look back on and cringe.

Mistakes are all part of the process. But also part of the job of being a photographer is figuring out how to minimize these mistakes, especially the ones that can set you back a long way. Learn from your peers so you can avoid their mistakes.

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Here are some of the main pitfalls that plague photographers. Just fixing these alone can save you a lot of money, and even more importantly, a lot of time.

Mistake #1 – Not Charging Enough

When you are first building your portfolio, certainly you might have to do some jobs for free or at a reduced rate as you build your skill level. That part is fine, but once you have that portfolio and are a full fledged business, you do not want to sell yourself short.

Photography may seem to others like a passion job – that you just show up for an hour or two, take some photos, and send them over. But it is about so much more than that. It’s about building your skills, learning about light, composition, fixing mistakes on the fly, editing, and learning how to work with clients. It’s traveling to and from the location, paying your expenses, spending the time to market yourself to get the job, paying the bills to keep the lights on, and feeding your family. And it’s about having some time left over to enjoy yourself.

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Create a spreadsheet and calculate these costs so you know what you have to make per job to survive and thrive. This will give you the confidence to ask for what you are worth. If you’re not able to cover all of these costs, then you’re not running a true full-time business, you won’t survive in the long run, and you’re lowering the value of the work itself.

Stay away from the cheap jobs and the cheap clients. They will just suck your time away and demand more and more. If the requirements for a client on a particular job suddenly change halfway through, ask for more money.

Sometimes you will want to do work for less than you are worth if it is the right type of job or the right type of client, but this should only be situational. There will be many points in your career where it will be more valuable to spend the time on your marketing and business development than on the job itself.

Mistake #2 – Not Reaching Out to People and Being Proactive with Marketing

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Jobs are not going to come to you at first, no matter how good your work is. You will have to go out and find your clients, so create a list of your ideal client types and of the best ways to reach each of them.

Work within your personal network, canvas local businesses, attend events and offer your services to individuals. The more you put yourself out there, the more business will come to you. But at first, every job you receive will come as a direct result of you proactively contacting someone or figuring out a strategy to get your work in front of them.

Mistake #3 – Not Collaborating and Working With Other Photographers in Your Space (i.e. Your Competitors)

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Other photographers can be one of the biggest helps to you along your journey. They’ve been there before, they have a lot in common with you, and they could become great friends. Learn from them and offer to help them.

Often you will get some of your first jobs from other photographers, whether it be assisting them or taking some of their overflow. Many established photographers still have a portion of their income come from helping out other photographers in their community.

In addition, accountability can be extremely important for your growth. Find a photographer in a similar place (level and business-wise) as you and work together. Have strategy sessions and share what is working and what is not. Having someone in your life like this can be integral to your success and for getting you through the hard times.

There will be a portion of photographers who see you as a competitor. They will not want to talk to or worth with you. That’s their problem, and the collaborations that you do with the willing photographers will help you both jump ahead of the ones who don’t.

Mistake #4 – Not Responding Quickly Enough

Why don’t photographers respond as quickly as possible to job inquiries? Either way, it makes things easier for us when the competition is slow to respond. I hear it all the time, how surprised people were by how quickly I responded to them, both at the beginning and throughout the entire job process. This shows a level of dependability, and in addition to helping people to want to work with you, it will also make them want to refer you. The more dependable you are, the more your clients will want to help you out however they can.

Even if it’s not a job inquiry, respond quickly. You never know when a casual conversation or advice that you give will turn into a job or reference. Often, it will turn into nothing, but when those one or two out of 10 turn into jobs, in the long run, those will add up.

Mistake #5 – Not Spelling Out the Terms of a Job from the Very Beginning

Photography Business Marketing

Being a skilled photographer is not just about creating beautiful pictures. A big aspect of the photography business is how you handle the job from start to finish, and often the most important part is the very beginning when you spell out the terms and requirements.

It is really tough to know exactly what a client is envisioning for the job, so it helps to ask a lot of questions. This will even help them figure out what they want, as many of them will not have any experience with hiring a professional photographer. It will also help you justify your price when you talk out the steps of a job with them.

Make sure they know that if the parameters of the job change (through their decisions), you will have to charge more for the extra work. Most clients will think it is not a big deal to add something that was not specified ahead of time, but this is just more work they are giving you that was not spelled out originally. It happens a lot of the time, so it’s very important for your photography business to learn how to handle it correctly.

Mistake #6 – Not Having a Contract

Similar to the last point, while you both need to come to an agreement on the scope of any photography project, you also need to spell out those terms in a contract. Without a contract, you can easily be screwed over, and many photographers learn this the hard way. Hire a lawyer to give you advice, and look into thelawtog.com, which provides a variety of photographer contracts. These can save you a lot of time and money.

Read this on contracts: The Biggest Legal Mistake Photographers Make

The contract is important for setting the boundaries of the project. It will be easier to ask for more money if the scope of a job changes when you have a contract that spells out the exact requirements that were drafted.

Mistake #7 – Not Having an Efficient Workflow

Photography Business Marketing

Efficiency is one of the most important aspects of running a photography business, and unfortunately, speed is something that is learned over time. Create a speedy and organized system for how you work. Import a job, cull the selects, crop, do the post-production work (light, color, contrast, etc.), export, deliver, and invoice. The more efficient you are with this, the less you will procrastinate. There is nothing that will cause a photographer to procrastinate more than staring at a mountain of unedited images.

While this tip may sound simple, jobs that might take beginning photographers three hours to edit, can take an experienced photographer an hour. It took me much longer to edit a job when I started, and this organization and efficiency can give you so much more time to spend on everything else.

Also read: Photography Workflow Tips – From Memory Card to Computer and Beyond

Always tell a client that you will get a job to them a couple days later than you think you can. This will allow you time to screw something up and still get the work to them on time. Usually, you will get it to them early which will make you look even better (this is called under promise, over deliver).

Mistake #8 – Bonus Tip: Learn When to Say No

Photography Business Marketing

It’s hard to say no as a photographer, especially if you are growing your business and are under booked, but some jobs or some clients are just not worth it. If you are not being paid enough and the job is not good for your portfolio, if the client is tough to work with and overly demanding, save that aggravation and pass.

Some of these clients will prey upon young photographers to squeeze as much out of them before the photographer wises up. Just avoiding these jobs alone will save you so much time, and allow you to put it towards marketing and business development efforts that will set you much further ahead than by taking a less than desirable job.

Your time is very, very important, so don’t waste it. Saying no can be one of the best decisions you make.

If you have a photography business and have any other tips for newbies just getting started, please share in the comments below.


For even more business help – join the Focus Summit 2017 Online Business and Marketing Conference for Photographers on Sept 26-28th 2017. We will cover marketing, business development, law, SEO, branding, blogging, and much more. Use the code “DPS” for a $ 50 discount.

 

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