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Why the Fujifilm X100V is one photographer’s perfect camera for the streets

29 Mar

Introduction

Recently, Fujifilm released its fifth-generation Fujifilm X100V camera, an update that has been two years in the making. By now there are a lot of reviews out there, but my goal here is to focus on why I believe this is the best camera on the market for street photography. The X100V works really well as an everyday travel camera and even as a daily a cityscape/architecture camera, but I think that street photography is in the camera’s DNA.

I’ve been using the X100 since the first version, released in 2011, as my everyday camera and my primary street photography camera. Since then, it has transformed the way that I work as well as the quality of my work. Full disclosure: Fujifilm provided me with a loaner camera to review.

How the original X100 transformed street photography

The original X100 rocked the photography world in 2011. It embraced the design and ergonomics of old rangefinder film cameras and combined them with a cutting edge hybrid viewfinder and excellent image quality. And the cost was fairly affordable considering everything that was packed inside it.

While a few other camera companies had come close, no company had yet to put together such a small, tight, and refined (after some firmware updates, admittedly) street photography camera. Many photographers began to ditch their SLRs and prime lenses for the X100 and its later models.

And while many companies have created incredible cameras for street photography, most of them have a significant flaw or two that hold them back in some way (or they cost $ 10,000). I still don’t believe there is a camera company out there that has put together the entire package for street photographers in the way that Fujifilm has. It continues to lead the pack.

What’s new in the X100V?

The X100V comes with a host improvements over the previous models, including:

  • More reliable autofocusing: This may be the major reason for upgrading the camera for some of you.
  • New 26.1-megapixel sensor (shared by the X-T3): You get a modest resolution bump and much faster readout speeds.
  • Newly weather-resistant body: You will need to purchase an attachment to make the lens itself weather resistant, but I have shot significantly with older versions in the rain with an umbrella and never had an issue with it getting fairly wet. A weather-resistant body would make me even more comfortable in doing so.
  • Newly developed lens: The lens redesign is two years in the making and improves corner sharpness and close-distance focusing.
  • Slightly sleeker design: Streamlined lines and new top and bottom aluminum plates with a satin finish make the camera even more aesthetically appealing.
  • Two-way tilting screen: The screen is so thin, you hardly know it can tilt.
  • Updated hybrid viewfinder with a new OLED panel.
  • 4K Video: For any street photography videos you may want to make.

Now let’s take a look at why I think the X100V is perfect for street photography.

Size and ergonomics

While the benefit of the Fujifilm X100 series is its complete package of features, the size and ergonomics of the camera are what stand out the most for me. With its very compact 23mm (35mm equivalent) lens, the camera is tiny and a pleasure to carry around all day. It is both inconspicuous for street photography and light enough that it allows you to photograph in a quicker and more spontaneous manner.

The X100V just makes you want to take it outside and walk around all day

The camera has dials for all the major camera functions, which makes it easy to change your settings on the fly without going into the menus. The viewfinder allows you to move between an optical view and an electronic view, which I do frequently depending on what I am shooting.

The X100V just makes you want to take it outside and walk around all day. And it’s tough to understate that, because that’s really the key to street photography: getting out there with a camera consistently and having as much fun as possible.

Image quality

Part of the genius of the X100-series is the restraint that they showed in building it. The choice to have a fixed lens and an APS-C sensor could have been thought to have been features that held this camera back, but instead, they were the features that defined this camera. Both choices allowed it to hit a perfect mix between size and image quality. The photos that come out of it look great and I easily feel comfortable blowing them up to giant sizes, even at remarkably high ISOs.

I find that the colors and black and white tones that come out of this camera are nothing short of remarkable, and in recent years Fujifilm has provided a wide variety of color and black and white profiles that allow you to create a variety of looks depending on your style and the particular image you’re working with.

High ISO and autofocus

I’ve found the X100V to be a beast for night photography, whether it’s street or architectural. I tested this camera up to ISO 6400, and found the noise was fairly minimal. The photographs were sharp as well. I would certainly be comfortable printing ISO 6400 photographs and I would even be comfortable using ISO 12,800 in a pinch. The level and look of the noise in the newest version of the X100 is something that I could not have imagined even five years ago.

Mix the ISO capabilities with the size and inconspicuousness of the camera, and shooting street photography at night is so much easier. In general, street photography at night is incredibly hard to do, but this camera speeds you up enough to significantly lessen some of the primary constraints with night street shooting.

Autofocus, what was originally one of the main issues with the first X100 camera in 2011, is now one of its strengths. The X100V has incredibly reliable autofocusing and performs remarkably well for a camera of this size. It’s still is not as fast as an SLR, of course, but with each new iteration, they get closer.

Lens(es)

The Fujifilm X100V comes with the option to purchase 50mm equivalent and 28mm equivalent attachment lenses. I’ve found that 35mm and 50mm primes are my bread-and-butter focal lengths for street photography: wide enough to get close and intimate while showing a lot of background, but not too wide. Many street photographers love to use a 28mm equivalent as well, although that is usually too wide for me unless I am on a very crowded street corner.

The act of using a prime lens like this has allowed me to capture so many more split-second moments than I would have missed otherwise. With a zoom, I feel like I am a part of the camera, but with a small prime, I feel like the camera is part of me.

Battery life

The battery life over the last few versions is remarkably improved, particularly for a camera of this size. I still find that I need three batteries for an active day of shooting, but the battery life has been turned from a detriment to a benefit over the five generations of this camera.

Street photography settings and tips

While I think that the silver version of the camera is the prettiest, people tend to notice it frequently. It still works great for street photography, but I suggest getting the black version, which is more inconspicuous and gets fewer comments.

The X100V has a leaf-shutter, so is already very quiet, but you can disable all other sounds and enable an electronic shutter for completely silent shooting. This is particularly helpful for indoor and especially quiet situations.

I also lengthen the time that it takes for the camera to go to sleep. I find this option necessary since the camera will go to sleep occasionally just as a fast-moving moment appears out of nowhere The ‘Boost’ option also enables even faster autofocus speeds. Both of these options will significantly reduce the battery life, but with three batteries, you should have more than enough for a full day of busy shooting.

Street photography accessories

While Lensmate has not yet released a thumb-grip for the new design of the X100V (here it is for the X100F), I’m sure one is coming soon. This type of thumb grip makes the camera much easier to hold, particularly with one hand.

I also find that a soft release button makes the camera more comfortable and sensitive to shoot with: My personal favorite is the Abrahamsson Mini Soft Release. Purchase a couple of these because they can unscrew in your bag and get lost easily. I lose one a year usually and I’m very careful.

The overall aesthetic of Gordy’s camera straps goes very well with the camera and are incredibly comfortable. I typically keep the strap shorter than normal to keep the camera higher on my chest, which makes it easier to shoot quickly with and isn’t bothersome since the camera is so light.

Conclusion

The X100 series has been around for almost 10 years now, and it only gets better as Fujifilm works to find smart and subtle ways to improve it and the photos that come out of it without straying from the initial spirit of the camera.

I’ve found that the Fujifilm X100V has helped turn me into a more spontaneous street photographer. I can react faster, am able to manipulate the camera easier, and have gotten really in-tune with the fixed focal length. If you decide to get one for yourself, I think you’ll feel much less self-conscious and afraid of getting close and intimate with your photographs.

The combination of all of these factors has allowed me to capture images that I would not be able to come back with before. And to be honest, I don’t know what camera I would use for street photography if the X100V didn’t exist. I can’t say I would be as happy or comfortable with any other.

Articles: Digital Photography Review (dpreview.com)

 
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Professional Photographer Catherine Hall’s Advice On How to Get The Perfect Shot

06 Feb

In this article, Catherine Hall tells us about what inspired her into photography, and gives us tips and tricks of the industry offering some advice to fellow photographers. What influenced you to photograph people? Over the years, I’ve tried many different types of photography, and at the beginning of my career all I knew was that I loved shooting but Continue Reading

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Learn How You Can Easily Create the Perfect Reflection Photos

02 Feb

The post Learn How You Can Easily Create the Perfect Reflection Photos appeared first on Digital Photography School. It was authored by Simon Bond.

learn-to-create-perfect-reflection-photos

In this article, you’ll discover how to create the perfect reflection photos. You’ll learn how to find reflection photos in locations near to you, and then how best to capitalize on these reflections in your photo. Use the correct equipment, the right angle, and you’ll be taking stunning photos in no time.

What is reflection?

First, the science behind reflection photography. Knowing why reflections form will help a lot when it comes to finding and taking these types of images.

The most obvious object you’ll come across on a day-to-day basis that reflects is a mirror. So in reflection, the angle of the incident light will be equal to the angle of the reflected light.

That means when you stand directly in front of a mirror, you’ll see yourself. However, if you stand to the side, you’ll see the scene that’s to the side of you.

When you reach the extreme edge of the mirror and look across it, you’ll see the room you’re standing in duplicated in a mirror image.

In the majority of cases, you’ll want to get down to the angle of the reflection to create this duplicate image in your photo. Repetition always works well in photography.

Image: A strong subject like architecture can work well for reflection photography.

A strong subject like architecture can work well for reflection photography.

Which materials have a reflective surface?

Now you know what reflection is, you’ll need to know where to find it. There are lots of things that have a reflective surface – the mirror is the most extreme of these and is designed to reflect. You’re really looking for something with a smooth, shiny surface. So look for the following to get a reflection:

  • Metal – Any metal surface will reflect. Surfaces with less scratches are best.
  • Glass – Glass will also reflect. The shallower the angle you use, the stronger the reflection will be.
  • Marble – Shiny smooth stone surfaces will reflect, but not as much as glass or metal. That said, with water on top of the marble, the reflection will be better.
  • Water – Where water forms a flat surface, there will be a reflection. Puddles often do this, ponds also work, and even larger bodies of water can work when there is no wind.
Image: The glass on this shop window becomes more reflective the shallower the angle.

The glass on this shop window becomes more reflective the shallower the angle.

How to take the perfect reflection photos.

Now you know what reflection is, and the materials that produce it, you’re ready to take the perfect reflection photos. Take a look at the following steps, and you’ll be in a position to get the best results.

Finding locations with reflection

Knowing which surfaces cause reflection is only half the story. You need to combine finding one of these surfaces in a location that has an interesting reflection. Going out and finding these is sometimes easy, and sometimes more of a challenge.

Look to the following to improve your chances:

  • Clear surfaces – Windows on high streets, or glass protecting commuters from the track in subway stations, all have the potential to be good reflection surfaces.
  • Bodies of water – Permanent bodies of water like ponds or lakes can be great for reflection photos. The moat around a castle can also work very well. You’ll want to choose a calm day for best results.
  • Puddles – After it’s finished raining, but before the puddles drain away, it is a great time to look for reflections that would not normally be there.
Image: After it’s finished raining get out looking for puddles that will then be reflection po...

After it’s finished raining get out looking for puddles that will then be reflection pools.

Create your own reflection

There are, of course, times when you’d like to photograph a reflection where one doesn’t usually form. In that case, you could experiment by taking a mirror with you to a location. It might not be practical to bring a large mirror with you, but by using a wide-angle lens, you can make the reflection look much larger than it actually is.

Another solution is to bring a bottle of water with you or even a bucket. If there is a readily available source of water nearby, like a lake or the sea, you might be able to carry buckets of water to a location where you wish to create a reflection.

Image: This location is a popular location to photograph reflections. It’s next to the sea, so...

This location is a popular location to photograph reflections. It’s next to the sea, so it’s possible to make your own reflections. I’m thankful to my friend for helping make the puddle.

Enhance your reflections

There are a couple of things you can do to enhance your reflection photo in-camera. These mainly involve the equipment you use. Look to do the following to create the perfect reflection photos.

  • Circular polarizing filter – One of the best items you can use in reflection photography. Using this filter will greatly increase the strength of the reflection.
  • Wide-angle lens – Use a wide-angle to increase the scope of the reflection within your photo. Even a small puddle can fill an entire frame if you get close enough to the puddle.
  • Shallow angle – The shallower the angle, the greater the reflection will be. So get side-on to a window, or down on the ground near a puddle for best results.
Image: This is the result of making a reflection using buckets of water.

This is the result of making a reflection using buckets of water.

Good subjects for reflection

Now just because a place has a reflection doesn’t mean it’s going to be the best place to take a reflection photo.

As with all photography, you need a strong main subject. That main subject might already be there in the form of architecture. If that’s not the case, you may need to wait for a moment of capture, a person walking past your reflection location, for instance.

While a mirror image reflection could hold your photo, a single person, single tree, or an iconic landmark that also reflects will dramatically improve your results.

Use post-processing for reflections

In addition to the steps you can take in-camera, there are further steps you can use in post-processing. These involve enhancing your existing photo or creating a reflection within your image.

Enhancing a photo

This involves taking a photo that already has a reflection and then making that reflection stand out more. 

You’ll be looking to make local adjustments to your image. To do that, you can either use graduated filters to adjust the image or layer mask and reveal only the area of the image that you wish to effect. 

Adjustments you can consider making are brightening, sharpening, and adding more contrast to the reflection in an attempt to mimic the image that the reflection is from.

Image: This sunset had the perfect reflection pool. It could be better with a stronger main subject.

This sunset had the perfect reflection pool. It could be better with a stronger main subject.

Creating a reflection

Lastly, in your bid to create the perfect reflection photos, you could turn to post-processing.

You’ll need to choose an appropriate image to do this – one that has some nice sky would work best.

Then it’s a case of increasing the canvas size of your image, duplicating the image, flipping it, resizing it, and then making the reflection look realistic by adding some imperfections. You can look to create this by using the following guide.

How will you create the perfect reflection photos?

Now you have the knowledge needed to go out and create stunning reflection photos in your neighborhood. Are there any techniques you use to enhance your results either when you take the photo or post-process it?

Here at digital photography school, we value your ideas and opinions, so please share those in the comments section. Likewise, if you have images you’ve taken that show reflections, please share those as well!

The post Learn How You Can Easily Create the Perfect Reflection Photos appeared first on Digital Photography School. It was authored by Simon Bond.


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3 Things Aperture Mode is Perfect For in Photography

25 Nov

The post 3 Things Aperture Mode is Perfect For in Photography appeared first on Digital Photography School. It was authored by Mat Coker.

things-aperture-mode-is-perfect-for

Many new photographers are overwhelmed by all the settings on their camera. But what if you could ignore most of the settings on your camera and just choose one to experiment with? Where would you begin?

I suggest you begin by experimenting with the aperture because this setting has a huge effect on your photos.

Once you know the things Aperture Mode (or Aperture Priority) is perfect for, you’ll have increased your creative possibilities and simplified the camera setting problem.

Here are three things you can do with Aperture Mode.

 

But first, how to put your camera on Aperture Mode

For most cameras, to put your camera on Aperture Mode you need to turn the dial to A in order to take control of your aperture (Av for Canon).

things aperture mode is perfect for

This is a Nikon camera. On Canon, you’re looking for Av

 

When you look at the screen on your camera, you’ll notice a number with an F beside it. This is your aperture value. Use the scroller on your camera to change that number. Experiment and see how high and how low you can make that number go.

things aperture mode is perfect for

When that number is smaller (1.8, 3.5, 5.6) the aperture is wider or more open.

 

things aperture mode is perfect for

When the number is larger (11, 16, 22) the aperture is narrower or more closed.

As we move through the tips, you’ll see how opening or closing your aperture affects your photo. When you’re intentional about setting your aperture, it will drastically change your photo.

 

1. How to create background blur (or keep the background in focus if you prefer)

Think in terms of opposites for a moment.

Normally, when we take a portrait, we only want the person to be in focus. But when we photograph a landscape, we want the whole photo to be in focus.

I’ll show you how you can use aperture to create background blur for portraits. I’ll also show you the opposite; how to keep the whole scene in focus for landscapes.

The principle is as simple as this: open your aperture for portraits, close it for landscapes.

PS – the technical term for background blur is bokeh (like a bouquet of flowers).

Image: Remember to open your aperture to create background blur in your portraits. Opening your aper...

Remember to open your aperture to create background blur in your portraits. Opening your aperture means setting it to the smallest number possible (probably 1.8 or 3.5 or 5.6). I set the aperture to F/2.5 for this portrait.

 

Image: F/1.2 using the 56mm Fuji prime lens

F/1.2 using the 56mm Fuji prime lens

 

things aperture mode is perfect for

Remember to close your aperture to keep the whole scene in focus for landscape photos. Closing your aperture means setting it to a larger number such as 11, 16, or 22. I set the aperture to F/11 for this landscape photo.

 

things aperture mode is perfect for

The aperture is set to F/11 for this landscape photo.

 

How to achieve better bokeh (background blur)

The first thing I told you about bokeh is that you need to open your aperture all the way. That means that you need to set it to the smallest number possible. That number might be 5.6, 3.5, or even 1.8, depending on your lens.

However, opening your aperture all the way isn’t always enough. So I’ll show you a formula for getting an even better bokeh.

My goal for the following portrait of Batman is to have him in focus with a nice blurry background.

There are four simple steps involved; let’s look at them one at a time.

1. Open the aperture

Image: The aperture is set to 3.5

The aperture is set to 3.5

Now, I opened the aperture all the way, but the building isn’t really out of focus. The back part of the building is out of focus, but the part directly behind Batman is still pretty crisp.

The biggest problem is that he is too close to the background, so the second step will make a huge difference.

2. Bring Batman away from the background

Image: Batman has been moved away from the background.

Batman has been moved away from the background.

Now the building is out of focus, but let’s make it even more out of focus.

3. Zoom in

So far, I set my lens to its widest angle of 18mm. When I zoom all the way to 55mm, the background will go more out of focus.

things aperture mode is perfect for

The aperture has closed a little bit to f/5.6 because I zoomed in. This will happen with most lenses.

As well as blurring the background, zooming in also gave the photo a more compressed look.

Would you like the background to be even more blurry? Is it even possible?

4. Get closer

Yes, it is!

The closer you get to Batman, the more out of focus the background becomes.

things aperture mode is perfect for

I used my Olympus Tough TG-6 for this photo. The microscope mode allows me to get very close. The aperture is set to f/6.3 because I zoomed in.

For great bokeh just remember:

  • Open your aperture
  • Step away from the background
  • Zoom in
  • Get closer

Controlling your background blur is just one of the things Aperture Mode is perfect for. Now let’s see what else it can do.

 

2. Starburst effect

The starburst effect adds interest to your photos because we don’t normally see this with our eye.

To achieve the starburst effect, it’s as easy as closing your aperture.

things aperture mode is perfect for

For this landscape photo, I closed the aperture to F/8.

 

Image: For this photo, I set the aperture to F/8. I thought that it would be interesting to capture...

For this photo, I set the aperture to F/8. I thought that it would be interesting to capture this bridge using the starburst effect. But I’m disappointed with the angle or perspective. When the river freezes over, I’m going to come back and photograph the bridge from a different perspective. I consider this to be a “sketch shot.” I tried it out, and I know that it’s worth pursuing another photo later on.

The starburst effect is one of the more creative things Aperture Mode is perfect for. Now let’s see one of the biggest problems that Aperture Mode will help solve.

3. Low light photography

One of the biggest problems with dim light is that your photos become blurry from motion.

Image: A typical blurry photo caused by dim light and a slow shutter speed.

A typical blurry photo caused by dim light and a slow shutter speed.

Photos become blurry because there is not enough light and the camera takes more time to capture the photo. Technically, it’s a slow shutter speed issue.

The important thing to know is that you need to get more light into the camera. You can get more light in by opening your aperture all the way.

You should also raise your ISO higher (1600, 3200, or 6400).

Your shutter speed may still be a little bit slow, which could lead to motion blur in your photos. But if you hold still while taking the photo, and wait for your subject to hold still, you’ll get a pretty crisp photo.

things aperture mode is perfect for

I captured this candlelight portrait at F/2.0, ISO 4000, shutter speed 1/60 sec

 

things aperture mode is perfect for

F/2.0, ISO 2500, shutter speed 1/60 sec

 

Image: An extreme low light photo captured at f/2.0, ISO 5000, shutter speed 1/15 sec

An extreme low light photo captured at f/2.0, ISO 5000, shutter speed 1/15 sec

Sometimes you have no choice but to have a slow shutter speed. Why not get creative and make the most of it?

You’ve increased your skill as a photographer!

You’ve learned four things aperture mode is perfect for. These creative effects are achieved by simply opening or closing your aperture:

  • Blur your background by opening the aperture
  • Keep a landscape in focus by closing your aperture
  • Create a starburst effect by closing your aperture
  • Improve dim light photos by opening your aperture

Focusing on this one camera setting will help improve your photography and simplify camera setting confusion.

Try these out, and let me know how you go in the comments!

The post 3 Things Aperture Mode is Perfect For in Photography appeared first on Digital Photography School. It was authored by Mat Coker.


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How to Plan the Perfect Landscape Photo

14 Nov

The post How to Plan the Perfect Landscape Photo appeared first on Digital Photography School. It was authored by Simon Bond.

 

how-to-plan-the-perfect-landscape-photo

The best photography comes from having a plan. That’s especially the case when it comes to landscape photography. In this article, you’ll learn the practical steps you can take ahead of time so you can get the best possible results. Follow these steps to plan the perfect landscape photo, and you’ll get amazing results every time.

how-to-plan-the-perfect-landscape-photo

This photo needs the seasonal salt marsh plants to give it that extra punch.

Know where the perfect landscape photo is

The first step is finding a great location to photograph. If that’s in your local area, you’ll almost certainly know where the local money shots are. What if you’re traveling to somewhere new, though? Well, there are several things you can do before you visit, which will give you a head start. It is good planning to make a list of photos you wish to take ahead of time. To do that, look to do the following:

  • Choose a location – The first step is going to be choosing a location. Keep this to a defined area like one city, or a national park. If the country is small like perhaps Iceland, you can look to that as your location.
  • Famous landmarks – Now within that location, start looking for the standout places that people visit, not just for photography, but because they’re amazing. Make a list of these places, and choose which ones you would like to photograph.
  • Other photos – Now it’s time to search online for inspiration from other photographers. This may lead you to replicate one of these photos. If you’re concerned about this then avoid this step, and go to the location with a clear mind about how you will take your photo. Sites like 500px, Instagram and Flickr can be good resources for this step.
Image: If the location is far from where you live, ask people who have visited there before for thei...

If the location is far from where you live, ask people who have visited there before for their advice.

Visit the location ahead of time

Where possible the next step for you to plan the perfect landscape photo is to visit the location before you photograph it. There are three possible ways you can go about doing this. Each has its drawbacks, but if you can, then this step will help a lot.

  • Day trip – If your location is nearby, you could make a day trip without your camera. This is aimed at getting you that vital on-the-ground information.
  • Arrive early – A lot of landscape photos are sunsets. Arrive several hours before sunset to thoroughly explore the area for the best location to get a good composition. Taking a sunrise photo? Then arrive the evening before so you can see the location while it’s still light ahead of your photo the next day.
  • Online maps – Should the location be an airplane ride away, the only way of visiting the location early is online. While you won’t get all the information, using services like Google maps street view can allow you to explore a location remotely ahead of time.
Image: This photo is of the new skyscraper in Bangkok, the Mahanakhon.

This photo is of the new skyscraper in Bangkok, the Mahanakhon.

Sunrise or sunset?

A lot of landscape photos will be either sunrise or sunset locations. Make sure you know where these are ahead of time.

You’ll need to work out your route from where you’re staying to these locations. You also need to arrive around one hour before sunrise or sunset happens. With sunset or sunrise skies comes big differences in the dynamic range. Make sure you’re familiar with techniques like bracketing and digital blending before you go out to take these photos.

Finally, don’t always photograph towards the sun, turn around and look for the golden light and see if that makes a good photo as well.

Image: One of my friends is a Balloonist who has, on occasion, taken me for a balloon ride.

One of my friends is a Balloonist who has, on occasion, taken me for a balloon ride.

Contact a fixer to plan the perfect landscape photo

There are lots of situations in photography where you will need a fixer. A fixer is someone who helps you facilitate the photograph you want to take. This fixer could take several forms depending on the situation or location you want to photograph. These are a few examples of fixers that you could need to deal with.

  • Security guard – A lot of cityscape photos are taken from the rooftop of tall buildings. Contacting the security of that building to ask for permission ahead of time is a good idea.
  • Restaurant or bar manager – There are some restaurants that have amazing viewpoints. Some of these will allow you to photograph from their premises. Once again, you need to contact them ahead of time to arrange this.
  • Photographer – Contacting local photographers to ask them for information is a great idea. If you’re lucky enough to find someone who will show you the local places to photograph, be sure to return the favor when you have the chance.
  • Tourist company – In some cases, joining a tour can get you to a location you want to photograph but otherwise could not reach. For example, if you want to take an aerial photo of a location, one solution is booking a balloon or helicopter ride! Remember, not everywhere will allow you to fly a drone.
how-to-plan-the-perfect-landscape-photo

This photo required a longer focal length to compress the scene.

Bring the right equipment

Make sure you have the right equipment with you to get the photo you want. The list below is a suggested packing list for landscape photographers. The location you’re photographing from will have a big bearing on which items from the list below you actually take.

  • Tripod – A tripod is essential for all landscape photographers, whatever the conditions. Getting sharp images is important, and you’ll get this when using a tripod.
  • Camera body – The newest camera body may not be as important for daytime landscapes, but if you’re photographing the Milkyway, having a new camera body is invaluable.
  • Lens – If you have researched your location properly, you’ll know whether the primary photo you intend to take requires a wide-angle or telephoto focal length. There is nothing worse than getting a location and realizing your lens doesn’t allow you to compose the photo the way you wish.
  • Remote trigger – A remote trigger or perhaps a cable release will mean you don’t need to touch the camera on the tripod. This will remove the chance of camera shake.
  • Filters – These are always worth packing as they take up minimal space. Neutral density filters are great for long exposure work, and graduated neutral density filters are also nice to have. A circular polarizing filter should be packed to give your photo more punch. Looking for a little creativity? How about packing an infra-red filter?
  • Other equipment – Looking to make a landscape that’s a little different? A lensball allows you to capture the scene in front of you in a unique way. It’s like having an external lens. How about light painting? You’ll need to bring things like a torch or an LED light stick for this.
Image: Filters are a vital piece of equipment for all landscape photographers.

Filters are a vital piece of equipment for all landscape photographers.

Know the local conditions ahead of time

Finally, make sure you’re checking the weather ahead of time. If your schedule is flexible enough, check the 5-day forecast and choose a day that works best for the sky. The long-range forecast can’t always be relied on though, so also be prepared to drop everything on the day if the right conditions develop for your photo.

Weather

Of course, this means using a reliable weather service or app on your phone. There are several of these out there. The recommended ones are windy.com and wunderground.com. These sites give good forecasts, though it’s worth checking them as you get nearer the intended day of your photo as they are updating their information. Then on the day itself, you can check their satellite images for up-to-the-minute information. These satellite images give information on current positions of clouds or any rain.

The sun

Another factor to consider is the sun, and that’s not whether it’s a sunny day or not. The sun’s position in the sky changes throughout the year. That means you can plan your trip to coincide with when the sun will be in the best position in the sky for your photo. To get this information use suncalc.org or the photopills app for your smartphone.

how-to-plan-the-perfect-landscape-photo

Seasonal changes to the landscape can make a dramatic difference as well. Plan for when there will be spring or fall foliage you can make use of. In the winter, the snow can also be pretty.

Tide times

Those of you doing any photography along the coast will need to know the tide times. The landscape scene along a coast can change dramatically depending on whether it’s high or low tide. Again, tide times change throughout the year, so you should be able to plan your trip so that the level of the tide is perfect for your photo.

It’s also important to know from a safety perspective. If you can only access your location at low tide, you need to know how long you can safely photograph from that low tide position.

How do you plan the perfect landscape photo?

Having read this article, you’ll have a better feel for how to plan your landscape photo.

Which of the above steps will you put into your planning phase? Are there things you do when you plan your landscape photos that were not included here?

We’d love you hear your thoughts and ideas in the comments section of this article. Then, once you have taken your landscape photo, you can share it in the comments section.

So now it’s time to start planning, and taking better landscape photos!

 

 

The post How to Plan the Perfect Landscape Photo appeared first on Digital Photography School. It was authored by Simon Bond.


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The Olympus TOUGH TG-6 Camera Review – A Perfect Adventure Companion?

12 Nov

The post The Olympus TOUGH TG-6 Camera Review – A Perfect Adventure Companion? appeared first on Digital Photography School. It was authored by Mat Coker.

olympus-tough-tg-6-review

The Olympus Tough TG-6 is the perfect camera for the adventurous soul.

Like a wilderness travel guide, the TG-6 pulls you into the micro world, under the water, and down deeper trails than you would ever take your clunky DSLR down. You can trust the Olympus Tough TG-6 out in the wild because it’s built strong and made for adventure. It’s even tough enough to let your kids use it.

Moreover, it’s really small, so it doesn’t hinder your adventure for even a moment. And it’s so capable it will inspire adventures you hadn’t planned.

This review is about what the Olympus Tough TG-6 will let you do as a photographer and how the pictures look.

TG-6 small size

An evening adventure used to mean hauling a heavy bag filled with gear. I never knew which gear I would need for sure, so I always brought too much. Eventually, I just stopped going on spontaneous adventures because it became too much of a chore. The Olympus Tough TG-6 replaces all that stuff I used to haul around. Gear is no longer the hindrance it used to be.

The technical specs

The reason why so many people are excited about the Olympus Tough TG-6 is the impressive list of technical specs.

  • F2.0 wide-angle lens (the aperture narrows as you zoom)
  • 20 frames per second
  • Underwater modes
  • Microscope mode
  • In-camera focus stacking
  • Scene selection
  • Aperture mode
  • RAW capture
  • 4K video
  • Waterproof
  • Shockproof
  • Dustproof
  • Crushproof
  • Freezeproof

Of course, the reason this list of specs is so exciting is because of what they’ll let you do with this camera as a photographer.

“No photographer is as good as the simplest camera.” – Edward Steichen

When you read camera reviews, you want to know what a camera is capable of and how great the picture quality will be.

Don’t forget that a camera only has to be so good and then the rest is up to you. The world’s greatest camera isn’t much good in the hands of a person that knows nothing about light, moment, or composition. Look for a camera that meets your general needs, then up your game as a photographer.

The most famous photographs were made with cameras that we would consider inferior by today’s standards. A beautiful photograph transcends the technology it was made with.

In the end, it’s not about the technical specs of a camera, but what those technical specs let us do as creative people and photographers.

The TG-6 has an impressive resume. Let’s see what it can help us do.

Adventure photography olympus tg-6

Aperture: f/2.0, Shutter Speed: 1/250 sec, ISO: 3200

When my first child was born I was just becoming the photographer I had always wanted to be. I couldn’t wait to take him on adventures with me as he grew. Ironically, it was a bag filled with too much gear and too many options that held me back from adventures with my kids. The TG-6 is everything I always wanted and fits in my pocket. It practically pushes us out the door and into the world.

“My life is shaped by the urgent need to wander and observe, and my camera is my passport.” – Steve McCurry

What if you could shrink yourself?

It is captivating to suddenly see the world through a magnifying glass or microscope – to see tiny details blown up big. You may not be able to shrink yourself, but you can enter the micro world with the Olympus Tough TG-6.

Microscope mode

With the TG-6, you can get insanely close and discover the mystery and beauty in the fine details of everyday objects. You’ll be exploring the world in a way you haven’t done since science class.

The micro world offers you an infinite number of things to photograph. Look around you right now. There are so many things that you would never photograph on their own, but you can dive in microscopically to a new world and become enamored with the beauty of fine details.

insect macro photography

If you’ve got the courage, the TG-6 will bring you up close and personal with insects.

 

The Olympus TOUGH TG-6 Camera Review – A Perfect Adventure Companion?

 

The Olympus TOUGH TG-6 Camera Review – A Perfect Adventure Companion?

 

macro mode fine detail

The TG-6 can capture incredibly fine detail that the human eye overlooks.

 

The Olympus TOUGH TG-6 Camera Review – A Perfect Adventure Companion?
The Olympus TOUGH TG-6 Camera Review – A Perfect Adventure Companion?
The Olympus TOUGH TG-6 Camera Review – A Perfect Adventure Companion?

 

Berry macro photography

F/3.6, 1/100 sec, ISO 800

The problem with close-up photography

One of the biggest problems you’re going to run into with close-up photography is a shallow depth of field. You may take a photo of a flower, and nothing more than the edge of a petal is in focus. This is frustrating when you want more of that tiny object to be in focus.

How “focus bracketing” solves the problem

One way to deal with this is to take a series of photos at different focus points (focus bracketing), and later combine them in Photoshop in a process called focus stacking. The end result is an image with more depth of field than is possible in a single photo. If you’re a serious macro photographer, this is an amazing option. But it’s a labor-intensive process and you’re not likely going to do it on a whim while on a nature hike.

But the amazing thing about the Olympus Tough TG-6 is that it can actually do both the focus bracketing and focus stacking for you – all in-camera!

Let the Olympus Tough TG-6 do the Photoshop work for you

The photos below illustrate the frustration of such a shallow depth of field in close-up or macro photography. But they also illustrate the power of the TG-6’s in-camera focus stacking.

Olympus TG-6 focus stacking feature

The photo on the left is a single exposure with a shallow depth of field, while the photo on the right is the result of several photos with varying focus points stacked together into one image.

 

Focus Stacking with the Olympus TG-6

On the left, only a small portion of the leaf is in focus. But using the focus stacking option on the TG-6, the photo on the right is almost entirely in focus.

Normally, you need a dedicated macro lens if you want to take close-up, macro, or microscopic photos. That means a financial investment and another lens in your bag. But the TG-6 has this capability built-in. The close-up function is worth the cost of the camera.

Get in, the water’s nice!

You’re missing so much fun if you can’t take your camera into, or at least near, the water.

Generally, an underwater housing is expensive and might limit your access to camera settings. Best case scenario, you invest a lot of money to get your camera into the water. But this is a lot to invest and most people won’t do it on a whim. You’ve got to be sure you want to be in the water a lot to make it worth the investment.

With the Olympus Tough TG-6, you don’t need to think twice; just get in!

Having a camera that can get wet means you can get into the splash zone. Don’t photograph puddle-jumping-kids from a distance; get close and get wet!

Get underwater and explore fish from their world.

Don’t stand on the shore with dry feet to photograph the sunset; hit the waves.

The Olympus TOUGH TG-6 Camera Review – A Perfect Adventure Companion?
The Olympus TOUGH TG-6 Camera Review – A Perfect Adventure Companion?
The Olympus TOUGH TG-6 Camera Review – A Perfect Adventure Companion?
The Olympus TOUGH TG-6 Camera Review – A Perfect Adventure Companion?

 

Olympus TG-6 underwater mode

My kids and I discovered a stream filled with salmon. I knew it was the perfect chance to try out the TG-6 underwater.

A couple of years ago, I stepped into a river with one camera in my hand and one around my neck. I was photographing people back on the shore and kept crouching a little to go for a lower angle. Every time that I crouched down for a great low angle, I was unknowingly dunking the camera around my neck into the water. Goodbye, Fuji x100s.

The irony is that I had an underwater case for my x100s. But it’s so clumsy to use in the case that it hinders my photography.

You no longer need to be nervous around the water with your camera – the TG-6 is completely waterproof and pulls you right in.

A good motivator

If it hasn’t happened yet, the day will come when you lose your drive and inspiration as a photographer.

At first, the thought of packing up all your gear and lugging it around will overwhelm you. Especially because you know you won’t even be happy with the pictures you take.

Then, even just the thought of picking up your camera will depress you.

You lose your drive, your inspiration, and eventually your will as a photographer.

You’ve already learned that new gear is not the answer to this depressing dry period you’re going through. But that’s because most gear is the wrong gear for you.

The TG-6 isn’t just a new camera, it’s a passport to new lands. It’s like slinging on a backpack and heading out to discover the world. It sits there looking at you, hoping you will take it out to play. Photography doesn’t have to feel like a burden anymore.

TG-6 photography inspiration

“It’s a dangerous business, going out your door. You step onto the road, and if you don’t keep your feet, there’s no knowing where you might be swept off to.” ~ Bilbo Baggins

Leave the Olympus TG-6 laying around

When my camera is in the bag, it never gets used. I prefer to leave it out with the lens cap off and the power button left on so that I’m ready to make a photograph at a moment’s notice.

But when I leave my cameras lying around, my wife doesn’t like the clutter (even though she loves the photos that result from the clutter).
Not to mention that leaving expensive cameras around is a hazard with a house full of kids and their rowdy friends.

The TG-6 has become our dedicated “leave it laying around the house” camera. It’s so small that it doesn’t bother my wife. It’s there when we need it. And, it’s so tough we don’t mind the kids using it.

I’m capturing many more moments now that I’ve got a dedicated “everyday life camera.”

Olympus TG-6 capturing candid moments

 

Window light candid moments with the Olympus TG-6

 

Black and white photography wit hthe Olympus TG-6

So tough I let the kids use it

One of the things that first attracted me to the Olympus Tough cameras is that I can let my kids use them. The TG-6 is waterproof, shockproof, dustproof, crushproof and freezeproof. Which means it’s also kid-proof.

TG-6 great for kids

I love to look at the photos my kids have taken. It’s inspiring to see what captures their attention enough to take a picture.

 

Olympus TG-6 dustproof

When my kids ask to use the camera while they explore sand dunes and lakes, I have no problem handing them the TG-6 to use.

Essential modes

After using the Olympus Tough TG-6 for about a month, I’ve figured out my favorite combination of settings for everyday use; P mode.

I want a certain amount of control over ISO, aperture and shutter speed because I understand how they affect my photo. But I don’t want to overthink these settings and miss the beauty of the moment.

In P mode, the camera will choose the shutter speed and aperture for you. All you have to think about is ISO (but you can select auto ISO if you wish).

With a few minor adjustments in P mode, I can make the TG-6 do exactly what I want it to.

In the menu, I set the minimum shutter speed to 1/125th. I want the camera to set the shutter speed for me, but I don’t want it to go any slower than this.

I select auto ISO, but I set the maximum ISO to 1600. I don’t want the ISO to go any higher than that because of the noise issues.

While it’s balancing the settings out, the TG-6 will always favor a lower ISO and only raise it if it needs to. Eventually, if it’s dark enough, it will go below your minimum shutter speed in order to achieve a good exposure.

Here’s the best part; in P mode, you have direct access to exposure compensation with the camera dial. Your camera will hardly ever get the exposure just as you want it. So use the exposure compensation feature to brighten or darken the photo before you take the picture.

There is no full-manual mode on this camera. But if you know what you’re doing, you can still take full control.

TG-6 exposure compensation feature

Processing RAW files

Using Lightroom 6, I am unable to edit the RAW files from the TG-6. However, Olympus provides free editing software called, Olympus Workspace.

Because of this camera’s smaller sensor size (and difficulty capturing extreme dynamic range), I am not putting much hope in the RAW files. RAW + JPG capture is a great option. Get the best exposure you can in order to have the highest quality JPG file, and keep the RAW file in case of an emergency.

Even heroes have a weakness

There are three main weaknesses that I have discovered with the Olympus Tough TG-6.

Lens Flare

I love playing with lens flare and I quickly discovered that is almost impossible to do with the TG-6. This is the strangest lens flare that I have ever seen. It’s discouraging, but I’ll have to learn to make compelling photographers without lens flare.

Oympus TG-6 lens flare

Noise

The Olympus Tough TG-6 produces a lot of noise in high ISO, low light photos.

The following photos are lit with a small-screen TV and/or a lamp.

High ISO

This photo was lit with a lamp. you can see the grainy discoloration in the white blanket. The ISO is 3200.

High ISO noise

This is a close-up of the white blanket in the previous photo.

 

High ISO noise

This photo is lit with the light from a TV and a small light in the next room over. The ISO was 3200.

High ISO noise

Close up of high ISO noise

You can see the grain and discoloration in his skin.

The following photos are backlit with dim light from a living room window.

Bright light high ISO noise

Again, the ISO was set at 3200. Because the light is brighter, there isn’t as much noise and discoloration. But there is a lack of crispness to the photo.

 

High ISO and window light

But I was shocked to capture this photo with lots of movement at ISO 3200 because it looks so crisp.

Sharp in bright light

You’ll have to get used to keeping your ISO at 1600 or lower (you’ll need a steady hand for the slow shutter speed that results).

But in bright light, with a low ISO, the TG-6 is nice and sharp.

A sharp photo with low ISO

So the Olympus Tough TG-6 is weak under extreme lighting conditions, but so are many other cameras. For many of us, high ISO with low noise is the last frontier on the technological side of photography.

We can strengthen the TG-6 by post-processing the photo with a program such as Lightroom. Keep your ISO to 1600 or lower when possible, and convert to black and white when suitable.

No control over shutter speed

At first, I thought it was a problem that there was no shutter speed mode on the TG-6. But then I realized that it wasn’t really necessary. You just have to know how to work around it.

If you want a quick shutter speed to freeze the action, use sports mode.

If you want a slow shutter speed to capture motion blur then you need to understand how to force the camera to produce a slow shutter speed.

Suppose you want to capture a silky waterfall photo. Normally, you need control over your shutter speed to make it go slow enough to capture the motion. But with the TG-6 you don’t have control over the shutter speed.

Or, do you?

When you understand ISO and aperture then you do have control over the shutter speed.

Olympus TG-6 slow shutte speed silky waterfall

In order to get silky waterfalls, you need a slow shutter speed. You can force your camera to choose a slow shutter speed by lowering your ISO and closing your aperture.

Choose an ISO of 100. Choose an aperture of f18. This will effectively choke out the light and force the TG-6 to slow down the shutter speed to let more light in. The slow shutter speed will produce a silky waterfall.

So the lack of control over shutter speed isn’t a big problem.

Olympus TOUGH TG-6

The greatest weakness

As photographers, we can find moments so powerful that lens flare isn’t necessary. And, we can look for moments so strong that the viewer will overlook high ISO noise in the photo. Whatever the shortcomings of our cameras, we as photographers always fall shorter. Whatever their weaknesses, our cameras are just fine. We need to increase our skills and know that, even if there was a perfect camera, it could only be used by an imperfect photographer.

The power of the Olympus Tough TG-6 is not merely in its technology. The power is in what that technology allows us to do. This is a camera that will nudge you every time you walk by. It’s like a kid who wants to be played with or a dog that wants to be taken out for a run. Come on, just a quick adventure?

A countless number of moments pass us every day. They become almost infinite in size when we consider their range from wide-angle to microscopic. When you’ve got a camera like the TG-6 in your pocket, it’s not so hard to make those moments hold still.

Have you used the Olympus Tough TG-6 camera? Would a camera like this make you take more photos? Share your thoughts with us in the comments!

The post The Olympus TOUGH TG-6 Camera Review – A Perfect Adventure Companion? appeared first on Digital Photography School. It was authored by Mat Coker.


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How to Achieve the Perfect White Balance in Lightroom

06 Nov

The post How to Achieve the Perfect White Balance in Lightroom appeared first on Digital Photography School. It was authored by Simon Ringsmuth.

perfect-white-balance-in-lightroom

Achieving the perfect white balance in your pictures can seem like a futile gesture. Don Quixote tilting at windmills is as nothing compared to finding the harmony that exists somewhere between 2,000 and 10,000 Kelvin! Photographers have wasted away before it, entranced by what they have seen, or been driven mad by their desire to get their pictures looking pixel-perfect with the ideal white balance that seems ever just out of reach. Fret not! With a few tips on adjusting white balance in Lightroom, you’ll be turning out beautiful photos in no time.

perfect-white-balance-in-lightroom

Understanding white balance can be a little tricky, but basically, what you are doing is giving your camera or computer a reference point to calculate all the colors in an image. It’s similar to explaining the size of something like a box or a bowl. Unless you have precise measurements, you need to compare it to a common object, so people have a frame of reference.

Image: White balance is like a banana: it’s a reference point.

White balance is like a banana: it’s a reference point.

Digital cameras use white balance as a way of knowing how all the colors in an image should appear. It’s true north on the color compass, so to speak, and helps inform the values for every other color in the image. By using white balance as the foundation for color calculation, your camera will then adjust what everything else is supposed to look like.

Since colors change under different lighting conditions, white balance is often the key to getting your pictures to look just how you want them.

Image: Temp: 5250K, +39 Tint

Temp: 5250K, +39 Tint

The image above has a crisp, bright appearance that seems fitting after a midsummer rain shower. This is mostly due to setting the white balance to mimic the tones of natural daylight.

Image: Temp: 7274K, Tint +26

Temp: 7274K, Tint +26

A change in the Temperature and Tint resulted in an image that seems as though it was shot in the early morning, or perhaps in a warmer climate. This one feels more comforting, while the top photo might be more true-to-life.

All cameras have an Auto white balance setting, which tries to interpret color based on an analysis of the perceived lighting conditions at the time a shot is taken. However, that doesn’t mean it’s the correct white balance. It’s just one particular value that your camera thinks might be appropriate given the algorithms it has been programmed with by the manufacturer.

The nice thing about white balance is that, like almost everything artistic, it’s entirely subjective. You can make your white balance be whatever you want! It’s a tool to make your pictures look not how someone else thinks they are supposed to look, but how you want them to look. Realizing this helped me immensely over the years, and refocused my editing process altogether. No longer do I look for the correct white balance, but instead, I try to find an accurate white balance given how I want my pictures to appear.

How to Achieve the Perfect White Balance in Lightroom

Shoot in RAW

You can use myriad tools to set your white balance at the time you shoot your pictures. Most cameras have presets like Sunny, Cloudy, Fluorescent, etc., to make sure your white balance is properly calibrated for your given shooting conditions.

However, the option that gives you the most creative freedom isn’t any of these at all. It’s the Photo Quality setting, and the first step to achieving white balance nirvana is to shoot in RAW. This lets you fine-tune the white balance ex post facto so you can edit and tweak in Lightroom rather than worrying about getting it right when you click the shutter.

perfect-white-balance-in-lightroom

Adjust the sliders in Lightroom left or right to change the color temperature and tint. Click the eyedropper to select a neutral color for setting the white balance. Use the Select Menu in the top-right to access various white balance presets.

Post-processing is where the real fun begins because when you shoot in RAW, you can edit your picture however you want. If you want your pictures to look warmer, you can adjust the white balance sliders accordingly. If you prefer a cooler look, you can do that too. The point is there is no correct value for white balance on any given picture – the end result is what matters. What that looks like can be entirely up to you.

Setting white balance in Lightroom

Changing white balance in Lightroom is fairly simple, but there are various options you can use to make the process easier and more customizable.

I like to start with the Eyedropper Tool, which lets you specify white balance by clicking on an area of your photo that is almost white. You’ll get the best results if you click on a slightly gray area. As you hover the eyedropper around your picture, you will see a preview of the results in the top-left corner.

Image: When selecting a target neutral color, look for a portion of your image that is slightly gray...

When selecting a target neutral color, look for a portion of your image that is slightly gray and not pure white. This is just a starting point though and should not be thought of as the final word on white balance.

Finally, you can specify your own white balance just by dragging the Temperature and Tint sliders left and right. You can streamline your editing process by copying and pasting the values into other pictures or use the sync feature to instantly apply them to an entire batch.

Finally, the way to set white balance is by using the preset options in the drop-down menu. These options are just preset values for the Temperature and Tint sliders similar to the white balance in any digital camera.

perfect-white-balance-in-lightroom

Creative customization

The mechanics of changing white balance are one thing, but the effect of changing white balance is another matter entirely. Say it with me: there is no such thing as correct white balance. Instead, your goal should be to create an accurate white balance – one that reflects your artistic intentions in terms of color, mood, and emotion.

Consider the following picture as an example. I shot this file in RAW and this is the result using Auto White Balance.

perfect-white-balance-in-lightroom

Temp: 4650K, Tint: +30

It looks fine, and there’s nothing wrong with the picture, but look what happens with a few clicks of the Temp and Tint sliders. I raised the Temperature and lowered the Tint, and the result is an entirely different image.

Image: Temp: 6758K, Tint: -9

Temp: 6758K, Tint: -9

This version feels much warmer and more intimate than the original, almost like rain has fallen on a parched plant. To change the image again, we can adjust the sliders for different values.

perfect-white-balance-in-lightroom

Temp: 3448K, Tint: +38

In the final version, the viewer is left wondering if those are drops of water or ice. The picture feels cold and distant and evokes an entirely different emotion than the second version.

Which image is the right one?

They all are, and for different reasons.

The point is to know what effect white balance has on your pictures and understand how to change it to get your images to look how you want them to look.

I use this technique all the time when shooting portraits. I used to fret and worry about finding the best white balance for each of my pictures when, in truth, I was putting the white balance cart before the emotional horse. Instead, I now ask myself what I want my clients to feel when they look at their pictures and then adjust white balance (along with other settings) accordingly.

The image below has been processed using Auto white balance.

Image: Temp: 6000K, Tint: +1

Temp: 6000K, Tint: +1

Much like the previous example with water drops on leaves, the results here aren’t bad. It’s a perfectly serviceable image that the client would probably be happy to have in their home. However, a few clicks on the white balance sliders can have a dramatic impact.

Image: Temp: 8285, Tint: +5

Temp: 8285, Tint: +5

This picture has a warmer tone and feels more comfortable. One might argue that the top picture is more true-to-life, while another person could prefer the saturated tones of the lower. The options for adjusting white balance, as with anything in photography, are endless. However, the point is to create an image that is pleasing to you.

Take a break

You might look at any of the examples in this article and immediately prefer one particular white balance setting over another. This happens to me during much of my editing sessions, as well. I find myself drawn to one version of a picture while entirely disregarding another. I find, walking away from my computer to reset my eyes is the best option.

After a brief respite from editing, I often find my initial editing preferences dashed to pieces. It helps me see my photos with a set of fresh eyes, especially after removing myself from technology even for just a few minutes. I often find that photos take on an entirely different appearance when coming back to them from a break. I will usually try new things with white balance that I didn’t think of initially.

Image: Temp: 5500K, Tint: +11

Temp: 5500K, Tint: +11

In the photo above, I went back and forth from warm to cool and back again before settling on a middle-ground approach that I preferred. If I had gone with my original instinct, I don’t think I would have liked the final result. Shooting in RAW, as well as trying different white balance options and finally taking a break from editing altogether, helped me arrive at what I felt was the best result.

How to Achieve the Perfect White Balance in Lightroom: Conclusion

Ultimately, the subjective nature of something as fundamental as white balance can seem a little scary. If there is no correct value, how can you even know where to start? There’s nothing wrong with using Auto, but I encourage you to experiment and try new settings you might not have thought of.

Just because your phone or your computer tells you that your picture should have a certain white balance doesn’t mean that’s the correct value. There is no correct value with creative editing! Tweaking and customizing the white balance is a great way to have creative control over your images to make them look the way you want.

Do you experiment with your white balance in Lightroom? Share with us your thoughts in the comments!

The post How to Achieve the Perfect White Balance in Lightroom appeared first on Digital Photography School. It was authored by Simon Ringsmuth.


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Loupedeck+ Review – the Perfect Editing Companion for Lightroom and Premiere?

02 Oct

The post Loupedeck+ Review – the Perfect Editing Companion for Lightroom and Premiere? appeared first on Digital Photography School. It was authored by Carl Spring.

Loupedeck+ Review - the Perfect Editing Companion for Lightroom and Premiere?

There is something undeniably cool about Hollywood editing studios. I remember seeing one in a magazine as a child and wanting to play with it. Thinking how cool it would be to figure out what all the dials did and edit Hollywood Blockbusters. I never made it in Hollywood, but I can remember my first editing console. Purchased from the high street, it allowed me to link 2 VCR players and have a fade and wipe slider for video. It even had an audio fader that allowed me to (surprisingly) fade audio. At the time it was amazing! I made a lot of skateboard videos using that console.

Obviously we’ve moved to digital everything, but there is something about using knobs and dials to edit that I have always liked. So, when I was given the opportunity to try the Loupedeck+, I jumped at the chance to get hands-on with it. 

What is it?

Simply put, Loupedeck+ is a keyboard-sized photo editing console. The main editing functions are controlled via a series of knobs and buttons.

Loupedeck started life on Indiegogo. The initial Loupedeck was marketed as a photo editing console just for Lightroom. With the Loupedeck+, however, it has become much more than that. The new version has support for several different software platforms too.

This device is still aimed primarily at Adobe users, with support for most of the Creative Suite. There is also support for Apple’s Final Cut and Aurora HDR and is also currently in Beta testing with Capture One Pro, which is my preferred choice of photo editor.

Out of the box

In terms of looks, it is beautifully packaged. However, that doesn’t mean anything if the product itself is not up to scratch. The Loupedeck however, definitely is. Although fully plastic, everything is solid and feels like it will survive long term usage. The only exception to this is the control dial, which does feel a little flimsy compared to the rest of the device.

In terms of the buttons, when making notes, I put down that they are squishy but solid. I still think that’s the best way to describe them. There is also a nice little detail for the cable to connect the Loupedeck. There are grooves that allow you to place it to work with how your computer is setup. It’s not a deal-breaker, but attention to detail like this tends to show the makers care about the end-user. 

dpsloupedeck+-review

The Loupedeck+ is well built apart from the control dial. It just feels a little flimsy. However, in use, it has been flawless so far.

Getting set up 

Once you have unpackaged your Loupedeck, the next stage is setting it up. To do this, you need to install the Loupedeck software. This is a simple download from the Loupedeck website, which then allows you to customize the Loupedeck to your specific editing preferences.

I have left it is standard for now, but I can definitely see me looking into this again to fine-tune it to how I edit.

Once you have the software installed, it is as simple as choosing which software you want to use the Loupedeck with and off you go. Loupedeck has a series of guides for each piece of software that it is compatible with. I recommend having these on hand, especially when using software other than Lightroom. Even with Lightroom though, it is worth having nearby to see what extras you may find yourself reaching for.

The fact that the user guide for Lightroom alone is 31 pages tells you what level of customization is possible.

Image: To get started with Loupedeck+ you need to download the software from the Loupedeck website....

To get started with Loupedeck+ you need to download the software from the Loupedeck website. Once installed, choose your software and away you go.

The learning curve

The learning curve is in two parts; getting used to the Loupedeck from your usual editing routine, and how Loupedeck reduces the learning curve of the software.

To test this, I got my wife to use Loupedeck to work on a wedding we had recently shot. She normally helps make picks, but she has very limited editing experience. She can just about manage to tweak exposure a little, but that’s it.

I put her at the Loupedeck and asked her to try and edit images she thought needed work. After about 2 minutes of me explaining the device, she started. Two more minutes passed before she explained how brilliant it was.

By removing the need to search through the menus (of Capture One in our case), she was able to edit photos easily and without needing constant reminders of the locations of buttons or sliders. It made her experiment more, and within an hour, she felt completely confident using the Loupedeck.

For beginners, this will make the process of learning to edit (especially in Lightroom) so much easier. Everything is at hand, and the layout makes it simpler for beginners to experiment. They can use more of the features of the program without the need to remember the locations in the menus.

For me, as a power user of Capture One, the learning curve was a little steeper. I’ve put this down to Capture One currently being in Beta testing. There are some quirks I needed to get used to when editing, such as using the color balance tool.

There is also the fact that when you use the software every day, you acquire muscle memory from the keyboard shortcuts you use most often. Moving to dials does take a while to get used to.

I do feel that even for Lightroom users (whom this deck was designed for), the change to Loupedeck will mean your editing is slower until you get up to speed. However, I am talking only hours here, not days.

Loupedeck+ and Lightroom

Obviously I wanted to start this test with Lightroom as this is really the program the device is designed for. Now I am not a Lightroom user, so having me use this is more like an inexperienced Lightroom editor versus someone who uses it every day.

I loaded up a selection of images into a catalog and began editing. Using the Loupedeck was completely intuitive. I simply started to edit images without the need to try and remember control locations. It was as easy as twisting the dials with the required name on them. In my experience, the Loupdeck+ and Lightroom work flawlessly together. There is no lag, and the degree of control with each twist feels perfect. Everything is at hand, and if you do find yourself needing something that is not here, you can customize the software until your heart’s content.

It made the process of editing in Lightroom a pleasure and, as a hardcore Capture One user, that is the highest praise I can give it.

dps-loupedeck+-review

It is easy to see that the Loupedeck+ is designed with Lightroom users in mind.

Loupedeck+ and Capture One Pro

Because I’m not a Lightroom user, I went down the road that is Beta testing to put the Loupedeck in my day-to-day editing software. 

Now compared to Lightroom, I found editing in Capture One Pro to be a more clunky affair. The problem is that in its current Beta state, the Loupedeck doesn’t offer the same level of functionality. This is something that Loupedeck are working on and are currently looking for feedback from any Capture One users to help improve the experience.

The basic adjustments work perfectly well in Capture One. To adjust white balance and exposure is just as good as Lightroom. However, there are elements, such as resetting adjustments, that are not there.

The issue here is that the Loupedeck was designed with Lightroom in mind and Capture One works differently. The most obvious example of this is the P1-P8 buttons. In Lightroom, these assign to presets; however, in Capture One, they are simply not set up.

Shooting Fuji, I would love to map this to my film curves, where it would be great to choose the look of my image. However, at present, this is not possible. For more advanced editing, it can be frustrating, and I find myself reaching for the mouse and keyboard more often than I would like.

It’s not perfect by any means, and it does sound a little doom and gloom, but in terms of basic edits, it really did speed up my workflow. I have now edited two weddings with the Loupedeck, and it has definitely saved me some time. Also being super simple for basic adjustments, it really has allowed my wife to do basic edits for things such as exposure.
When editing a wedding, I reach for it straight away. It really is something that after using it, I wouldn’t be without.

The best thing about using Loupedeck+ with Capture One is that I know it can only get better from here. Once there are some more options added, and a few things ironed out from the beta testing, I feel this will be a powerful editing tool.

Loupedeck+ and Photoshop

This is where things start to feel like I was using the Loupedeck for the sake of it. When editing a RAW file, it was great, but after that, I really felt no benefit from using it. When editing in Photoshop, you tend to use your mouse or tablet much more.

You can use it for working with curves, but you need to work with the mouse too, and I found it just too clunky. Other things like zoom in and out, which are mapped to knobs, simply do not work as well as using the middle mouse button.

Unlike using it in Lightroom and Capture One, when working in Photoshop, I found myself using it for the sake of it, rather than reaping any real benefit. I do feel that the Loupedeck+ working with more software is good. However, I feel that, in some cases, it just feels like it is added for marketing over actual functionality. 

Loupedeck+ and Premiere

The ability for Loupedeck to work with Premiere was something that I found myself excited to try. I am by no means a power user, but I know my way around Premiere and edit with it enough to consider myself proficient.

Using Loupedeck with Premiere, though, is where things go a little too far for me. When using it to edit a video, it was just too hard for me to remember what all the functions did. It could be due to my lack of time spent in Premiere, but I think it’s more than that. When photo editing, things like exposure, and contrast are the same no matter which program you use. Video editing, however, uses a completely different language.

It is not that you can’t learn how to use Loupedeck with Premiere. I think once you got used to what each button and dial was mapped to, it would really speed things up. However, as someone who uses the software occasionally, I would find it hard to remember the settings for Premiere.

I think the best way to sum it up is that if you are buying a Loupdeck+ solely for Premiere use, you may face a steep learning curve. For me, to have it as a bonus is nice, even though I can’t really see myself using it.

loupedeck+-review

As you can see from the layout above, Loupedeck is not as intuitive in Premiere.

Conclusion

It’s hard to sum up the Loupedeck+.

Some may see this as a gimmick you will buy, only to put it in the cupboard after a few months to gather dust. But that really isn’t how it is. It’s a well-made, high-quality device that really is a time-saver, especially in basic edits.

I use the Loupedeck+ on every edit now. That must say something. It has sped up my editing (it needs to, I am currently behind on editing a wedding and am writing this article rather than doing that). However, I do still find myself reaching for the keyboard or mouse quite often. I think the best way is to give three different outcomes, depending on what software you use.

If you’re a Capture One user like me, you may find it frustrating. It is almost there, close to being great, but then there are silly little things that are really annoying! However, this is in beta testing, which means things are still ironing out. I am sure this is going to improve moving forward. It’s just a question of whether you are willing to pay for something that doesn’t quite work as you would like it to.

If you’re using this on Premiere or Final Cut, you will need to spend some serious time with the manual. It really is not intuitive in the same way it is for photo editing. If you are willing to put in the time, I am sure it will speed up your workflow. I do question how long it would take to get to this point though.

Lastly, Lightroom. This is still what they designed the Loupedeck for. If you are a Lightroom user, I would definitely suggest getting your hands on a Loupedeck+ – It really does make editing much faster. It worked incredibly well in use, and I enjoyed editing in Lightroom. This really is the highest praise I can give it.

However, where this console really shines is for new users. If you are new to editing, I cannot recommend this enough. I wish something like this had existed when I started editing. It makes the process of understanding how tools work so much more organic. Beginners will get a lot out of using a device like this – It just makes editing more intuitive. My wife managed to edit much better than ever before in minutes.

Moving forward, I will continue to use a Loupedeck+ to edit. Maybe it’s just my old ways. Maybe it means I get to pretend I am in a film studio editing suite. Or maybe, it’s something that I never really thought I would want, but now don’t want to stop using.

In all honesty, I think it’s all three.

 

loupedeck+-review

The post Loupedeck+ Review – the Perfect Editing Companion for Lightroom and Premiere? appeared first on Digital Photography School. It was authored by Carl Spring.


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A Step-by-Step Guide to Achieving the Perfect Starburst Effect

04 Sep

The post A Step-by-Step Guide to Achieving the Perfect Starburst Effect appeared first on Digital Photography School. It was authored by Simon Ringsmuth.

Adding a starburst effect to your images is a great way to spice things up and really grab the attention of your viewers.

Seeing rays of light slice through your photo is one of the most enjoyable tricks to pull off, especially if you haven’t really done this sort of thing before. While some software programs let you do this on your computer, the real magic comes when you do it by knowing how to use your camera.

starburst on building

Step 1: Find a light source

Creating the starburst effect isn’t difficult. But it does require a bit of training and practice to pull off. You’ll need a few basics to get started:

First, you’ll need a bright source of light, such as the sun. A street lamp or really powerful flashlight will work too, but the sun is nice because it’s always available and doesn’t cost money to use.

If you don’t mind shooting pictures at night, you can get a starburst effect quite easily with a street lamp or other source of light. However, night photos might not look as interesting or visually compelling as shots of the sun.

Ironically, you also need something to block most of the sun. This is because the sun itself is too large and bright to give you good starburst shots; just a sliver of its light is all you need. Buildings and trees work great, but whatever you use can’t be too far away. If the thing blocking the sun is separated from you by too great a distance, you won’t get the starburst effect.

starburst effect on a building roof

The effect isn’t as pronounced in this image, but it’s definitely there. Using a structure to block most of the sun is a great way to help you achieve a good starburst.

Step 2: Choose a small aperture

As far as your camera goes, the one setting that really matters is your aperture.

To get a good starburst, your aperture should be small, such as f/11 or f/16. This means you will need a camera with aperture control, such as a DSLR or mirrorless system. Nearly all mobile phones use wide apertures and very few of them allow you to have any control over the aperture at all.

So if you want to pull off a cool starburst effect in-camera, you’re going to need a dedicated camera and not just a phone.

Step 3: Set up for your starburst shot

The basic setup for a starburst effect photo is also fairly simple and works best when the sun is lower on the horizon during the morning or late afternoon. You can do it at other times of day, but it’s a little more difficult to find objects that obscure the sun when it’s directly overhead.

starburst on a clock

To achieve the starburst effect, position yourself so that the sun is off in the distance and the object obscuring it is not too close and not too far. Then set your aperture to f/11, point your camera in the direction of the light, and take a picture.

Take care to not point your camera directly at the full sun, as it could damage your sensor or your eyes. Just a sliver of the sun and a small aperture is all you need.

Step 4: Experiment with different setups

If the object you use to block most of the sun is too far away, the starburst effect will be much more difficult to achieve. In the shot below, you can just barely see the points of light emanating from where the sun is peeking over the clouds. It’s subtle and can work if it suits your compositional goals for the image, but I don’t find shots like this to be nearly as fun as other starburst images.

A Step-by-Step Guide to Achieving the Perfect Starburst Effect

There’s a lot of creative things you can do when you start experimenting with starbursts. In the picture below, the sun was obscured just a bit too much by the tree branch. The cicada exoskeleton looks fine, but the photo lacks something in the way of a visual spark.

A Step-by-Step Guide to Achieving the Perfect Starburst Effect

I adjusted the position of my camera by mere millimeters so as to get the tiniest bit of the sun poking out below the branch. The result is a much more compelling photo:

cicada with starburst

The addition of a starburst adds a whole new dimension to the photograph and elevates it to a whole new level.

Note: How aperture alters the starburst effect

To see why a small aperture is important, look at the following photos, which were taken just a few seconds apart. The first used a large f/1.8 aperture, and as a result, the sun is a large yellow blob in the sky and not all that interesting. This is similar to the type of picture you could take on a mobile phone since most of those have large apertures ranging from f/1.8 to f/2.8.

Image: I took this photo with an f/1.8 aperture at 50mm.

I took this photo with an f/1.8 aperture at 50mm.

Stopping down to f/11 changes the image dramatically. Not only is the foreground and background in focus, but the sun is now a brilliant star pattern. This is a direct result of the smaller aperture.

fountain with starburst

I took this photo with an f/11 aperture at 50mm.

A similar effect is seen in the two photos below. Taken at different locations, they illustrate the effect quite clearly. The first shows a row of lights fading into the distance, and because I shot it at f/1.8, they appear as blurry orbs. This isn’t a bad thing, as my intent was for the viewer to focus on the light in the foreground.

row of lights without starburst

I took this photo with an f/1.8 aperture at 50mm.

The next image shows a similar row of street lights, but the small aperture I used caused every point of light in the image to appear as a starburst.

streetlights with starburst

I took this photo with an f/13 aperture at 50mm.

Even the green traffic lights far in the distance are starbursts. You can see how this dramatically alters the overall effect of the picture. If I had used a larger aperture, it would be an entirely different image.

Conclusion

My favorite part of shooting starburst photos is how easy it is once you get the hang of it. It’s also rather gratifying to know you can do it just by manipulating your camera.

starburst at night

Have you tried using the starburst effect in your images? What tips or tricks do you have for the DPS community, or for others who might not have done this type of photography before? Leave your thoughts in the comments below!

 

perfect-starburst-effect-in-photography

The post A Step-by-Step Guide to Achieving the Perfect Starburst Effect appeared first on Digital Photography School. It was authored by Simon Ringsmuth.


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How to Choose the Perfect Photography Background

28 Aug

The post How to Choose the Perfect Photography Background appeared first on Digital Photography School. It was authored by Kevin Landwer-Johan.

Choosing the perfect photography background is as important as choosing your subject. A background is usually best if it helps enhance your main subject and complements it.

First, you need to consider your subject and your intent for taking photos of it. Then, consider how your subject works with the background. Are your subject and background conflicting? If they are, you must then use some method of controlling the background.

How to Choose the Perfect Photography Background Pink Dahlia

© Kevin Landwer-Johan

Some subjects will look great in a photograph against their natural backdrop. A pink flower against foliage, for example. Others you’ll have to work with to make them stand out or to better relate to their surroundings. This depends on your intent.

What’s your intent for the subject?

Do you want your main subject to be the focus of the viewer’s attention? If so, you must manage your technique in making the photograph so that your subject is most obvious.

Isolating your subject can be achieved in many ways. Some of the main ways to accomplish this are:

  • Place it against a plain background
  • Make sure there’s enough tonal or color contrast between your subject and the background
  • Use a shallow depth of field to blur your background
How to Choose the Perfect Photography Background Used Coffee Cups

© Kevin Landwer-Johan

In this example, the coffee cups are on a plain black background. Lack of detail and high contrast ensures the main subject stands out.

Alternatively, you may decide to incorporate your background into the meaning of your photographs. Placing your main subject in context with its surroundings can often add depth of meaning.

A typical example of this is an environmental portrait. This style of photography uses the background and surroundings to add narrative to the image.

how-to-choose-the-perfect-photography-background

© Kevin Landwer-Johan

In this portrait of a copper craftsman working on his art, the environment helps build a story. His father looking on, the tools and other items on the shelves behind, are all an essential part of the portrait.

My intent was to tell a story illustrating his occupation. If I’d photographed him against a plain background, the photograph would contain very little narrative.

How point of view determines background

Naturally, where you choose to stand will determine what is behind your main subject.

When you find an interesting subject, don’t only photograph it from one perspective. Move around it. See how it looks if you stand on the other side. The background may be completely different.

Even a slight change in your position can alter what will be visible in the background. Move to your left or right. Shift your view up or down a little. How does this change the relationship between your subject and background?

Image: © Kevin Landwer-Johan

© Kevin Landwer-Johan

Coming at a low angle to make this landscape, I’ve included the ice boulders, mountains, and glacier in the background. The composition gives context to the ice in the foreground. If I had stood in the same place, looking down at the ice boulders, there would have only been rocks in the background.

Moving closer or further away from your subject also determines what’s in view behind your subject. Changing your lens focal length does too but in different ways. Moving closer with a wide-angle lens has a very different result than standing in the same spot and zooming in.

Always experiment to see what will be included and excluded.

How contrast determines background

If your main subject is darker or lighter than the background, this can determine the significance of the composition.

A dark subject against a light background looks very different than a lighter subject against a dark background. Generally, a dark background helps isolate a subject. It can also allow for more detail to be visible in the subject.

Image: © Kevin Landwer-Johan

© Kevin Landwer-Johan

how-to-choose-the-perfect-photography-background

© Kevin Landwer-Johan

Choice of exposure can affect this, as in the photos above of the tree. Both were taken a few minutes apart. All I did was to expose for the tree in the first image and let the sky become overexposed.

In the second photo, I exposed for the sky to show the detail in the clouds. In both images, the tree is isolated, but the feel of the photos is very different.

Controlling depth of field to determine background

Depth of field control is a good way to manage your background. Choosing how much or how little is in focus allows you to manage your intention.

By completely blurring a background, you effectively isolate your subject. Partially blurring the background leaves some idea of what’s in the background. But it doesn’t have to be distracting.

how-to-choose-the-perfect-photography-background

© Kevin Landwer-Johan

In this close up of the detail on an old bicycle, I waited until the person on the other bike rode past. My settings were such that it’s obvious it’s a bike in the background.

If I’d chosen to take the photo with a shallower depth of field, the passing bike might have blurred completely. Then it would not have added anything to the photo. If I’d had everything in sharp focus, the passing bike would have been distracting.

Learn to control how much or how little of your composition is in focus. This is an essential tool in determining your background.

Image: © Kevin Landwer-Johan

© Kevin Landwer-Johan

Conclusion

Making intentional choices about the background is essential to making strong photographs. I am often surprised when I’m teaching photography workshops how little attention people pay to the background.

It’s easy to become transfixed on a wonderful subject. Focusing on other aspects of photography like exposure, you must remember to look at the background as well.

Be intentional. Include only what you want to see. Limit or exaggerate the amount of background detail depending on what you want. The amount of control you have over the background will determine the strength of your photographs.

Do you have any other tips for choosing the perfect photography background? Share with us in the comments!

 

how-to-choose-the-perfect-photography-background

The post How to Choose the Perfect Photography Background appeared first on Digital Photography School. It was authored by Kevin Landwer-Johan.


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