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Best gifts for photographers in 2020

22 Nov

Best gifts for photographers in 2020

First, an acknowledgement: this holiday season is unusual. It’s been a grim year to say the least, and it might seem a little frivolous to be recommending gadgets and stocking stuffers when many people are struggling.

The counter-argument is that in these difficult times, creative pursuits are more important than ever. For many of us, photography is therapeutic – something that invigorates us when we’re feeling depleted. If we can assist you in helping the photographer in your life find a little calm in the storm that is 2020, then we’ve done our job.

So in light of all of this, most of the gifts in this guide are well under $ 100, and many of them are geared towards enabling and enriching the experience of photography, rather than just adding to the world’s landfill sites. If you’re looking for camera cufflinks – and we advise against gifting them – you’ll need to look elsewhere.

Jump to:
Outdoor enthusiasts | Indoor enthusiasts | Creatives | Travelers | Stocking stuffers

For outdoor enthusiasts

If you’re shopping for someone whose photography takes them out into the elements, you really can’t go wrong with hand warmers ($ 24 for 40 pairs). They’re a wintertime wildlife or landscape photographer’s best friend. Plus, they’ll be great for all of those chilly outdoor hangouts with your COVID pod squad.

Outdoorsy types also tend to be early risers, so it’s a good idea to make sure they’re equipped with an excellent coffee tumbler. The Yeti Rambler ($ 35) is vacuum insulated, dishwasher-safe and uses a magnetic latch for easy opening and closing.

Also consider a membership or annual pass to a nearby park or wildlife preserve. In the US, an America the Beautiful interagency pass ($ 80) is like a golden ticket – it gets you into federally-managed sites including all national parks and national forests for a year from the time of purchase. Access to some federally-owned land has been tricky this year, but hopefully 2021 will be different.

For indoor enthusiasts

It’s a safe bet that many of us will be spending a lot of time in the great indoors over the next six months. With than in mind, we’ve got some ideas for photo-centric gifts to help curb cabin fever.

This deck of photography-themed playing cards ($ 35) has a couple of tricks up its sleeve. For starters, they’re gorgeously designed. They also serve a dual purpose with photography tips and techniques printed on each card. And of course, they function as regular ol’ playing cards, which will come in handy when every jigsaw puzzle in the house has been assembled and disassembled again.

Henry Carroll’s Photographers on Photography ($ 20) is another good bet for photographers of all skill levels and disciplines. It’s a collection of images and reflections on the photo-making process from a wide range of established photographers. It’s more thought-provoking and inspiring, less a technical guide or how-to.

For the truly ambitious tinkerer, consider a Raspberry Pi computer ($ 35 and up) and interchangeable lens camera module ($ 50). A helpful companion guide ($ 14) coaches the user as they build a working camera from scratch. Python coding experience is helpful, but not absolutely necessary – just ask The Verge’s Becca Farsace. And don’t forget a lens: Raspberry Pi offers two compatible lenses to choose from ($ 30/60).

For creatives

We’ve recommended an Instax Share instant printer in our gift guides several years in a row now, and for good reason: it’s really good! You’ll find lots of cheaper non-Instax options if you go looking for an instant smartphone photo printer, but you won’t necessarily find the quality of of Fujifilm’s instant prints in the lower priced alternatives. The Instax Share SP-3 ($ 100) uses Fuji’s slightly larger, more Polaroid-esque square format film. It’s a truly delightful way to share photos.

Capturing great-looking video clips starts with stabilization. The DJI OM 4 ($ 150) is smartphone gimbal that produces amazing results right out of the box with very little setup (its predecessor, the Osmo Mobile 3 is $ 30 cheaper and also a good buy while it’s still available). The included tripod accessory will also make it possible to shoot timelapses with movement. For the photographer who’s curious about video, or just wants to try something new, it’s a great low-cost tool that works with the camera they already have in their pocket: their smartphone.

The Lensbaby Omni ($ 100) is a little sci-fi looking, but hear us out. It attaches to the front of a lens and provides adjustable, magnetic mounts that hold included pieces of glass and objects in front of the lens for creative effects. Resulting images will include dramatic flare and reflections of light in the scene, which make for interesting effects in portraits or landscapes. It’s a fun way to let loose a little more creative energy and capture familiar scenes in a different way. Be sure to purchase the right size Omni – the ‘small’ will fit most standard DSLR kit lenses.

For travelers

Fun trips to other parts of the world have been cancelled for the foreseeable future, but that doesn’t mean we have to stop planning or reminiscing about past trips – and that’s part of the fun. Moleskine’s travel journal ($ 30) is part planner, part memory keeper for short trips and long journeys alike. Sure, it’s a little twee in the year 2020, but sometimes it’s nice to do things with pen and paper and stop looking at screens for two seconds.

When it’s safe to hit the road again, a Tom Binh organizer ($ 30) is a great tool for packing all of the cords and chargers that keep smartphones and cameras powered. An organized carry-on is truly the gift that keeps on giving.

Stocking stuffers

If it’s that little extra something you’re after, here are a few inexpensive, useful items that you can’t go wrong with. For starters, extra micro fiber cleaning cloths ($ 10 for pack of two) are always welcome in a photographer’s life, and they’re especially nifty when they fold up into their own storage pouch.

Another helpful item is this photographer’s multi-tool ($ 10), with a 5/32″ (4mm) allen wrench on one end and a flat-head screwdriver on the other. Between the two, you should be able to tighten or loosen attachments on most camera supports, cages and tripod plates. This handy double-ended tool is attached to a key ring so it’s always close by. What could be handier than that?

Finally, for the family photographer a Shutter Hugger ($ 20) is a simple-yet-genius way to coax little ones into looking at the camera. These small stuffed animals fit around a camera lens and come in four adorable varieties: monkey, giraffe, dinosaur and Dalmatian. Cute, effective and inexpensive – a true triple threat.

Articles: Digital Photography Review (dpreview.com)

 
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Buying guide: The best gifts for film photographers in 2020

21 Nov

Introduction

Do you love film photography, or are you shopping for someone who does? Lucky you / them! Film photography is exploding in popularity and the folks in on the fun tend to be some the coolest cats in town: sorry, digital peeps.

Cool cats deserve cool gifts. And so we’ve combed the analog universe, searching high and low for the hottest gear to include in this guide. It’s filled with fun stuff that should please even the pickiest analog avenger, and most budgets. From funky film stocks, to home developing and digitizing solutions, these are the best film photography gifts in 2020.

Note: Gifts are listed in order from least to most expensive.

Fujifilm Neopan 100 Acros II – $ 12 a roll – A classic film stock, resurrected from the dead

Fujifilm’s beloved B&W film stock is back, baby! Discontinued in 2018, the Japanese film producer announced a new and improved Acros II in November of 2019, much to the delight of monochrome fanatics everywhere. Available in 35mm and 120 formats, Acros II offers silky smooth grain, excellent sharpness and lovely tonality; the perfect film for a nice sunny day.

It’s nostalgic, yet practical, and a film certainly worthy of a spin through any analog lovers’ camera, whether they shot the OG version or not.

See our Fujifilm Acros II sample gallery

The Solarcan – $ 20 – A cool recyclable pinhole camera

The Solarcan is a long exposure camera, which, you guessed it, is built from a can. The intended use is for documenting the path of the sun across a horizon over a long period of time – we’re talking weeks or months. Originally launched on Kickstarter back in 2017, this single-use pinhole camera is a fun project for any analog nerd also interested in astronomy. Plus, it’s recyclable!

Each Solarcan is preloaded with a piece of B&W photographic paper (Solarcan Color is coming soon) and includes instructions for use, mounting materials and a storage tube to keep it light tight until exposure time. The Solarcan is also available in a five-pack ($ 80), which we recommend for added experimentation. Note: this item ships from the United Kingdom.

Lomography Analogue Aqua camera – $ 40 – An inexpensive waterproof 35mm camera

I’m giddy with excitement just thinking about how fun Lomography’s reloadable waterproof cameras are. For folks in the Northern Hemisphere facing a dreary winter, summer swims may seem like a far-off memory. But sunny skies and COVID-free days will someday soon (hopefully) be back upon us. And when the time does come again to take the watery plunge, the film-lover in your life will have the perfect camera to document it.

The Analogue Aqua is basically one of Lomography’s $ 20 disposable cameras sandwiched into a watertight plastic case. There are two version of the camera, one with Lomo Color Negative 400 film and one with Lomochrome Purple film. But it’s worth noting, unlike a traditional ‘disposable’ camera, these ones are not sealed shut and Lomography intends for you to reload them them again and again.

Lomography Fantôme Kino B&W ISO 8 film – $ 45.50 (5-pack) – A cool and new 35mm film stock

Speaking of Lomography, another great idea for the celluloid celebrator is the gift of a new film stock to try. Lomo’s Fantôme Kino B&W ISO 8 – announced earlier this year – is not technically new, since it’s cut from German cine film stock, but it’s newly-available for stills shooters!

This incredibly-low ISO monochrome film is super contrasty and perfect for creating a film noir–style look. And for more B&W fun, we also recommend Lomography’s Babylon Kino B&W ISO 13 film. Unlike Fantôme, it offers subtle tonal changes and plenty of dynamic range. Both are only available in 35mm as of writing.

View our sample gallery: Lomo Fantôme Kino ISO 8 & Babylon Kino ISO 13

The Pixlatr – $ 55 – A better way to digitize negatives

One of the most annoying struggles faced by analog lovers is how to get high-resolution, high-quality digital versions of their negatives. One of the best non-scanning solutions is to photograph negatives using a digital camera and a macro lens. But how the heck do you hold them in place and ensure even lighting?

Thankfully our good pal and DPR’s Film Photography Talk forum moderator, Hamish Gill, invented a solution. The Pixlatr, originally launched on Kickstarter, is a modular film holder that works with most film formats (up to 4×5) and features a semi-translucent back to diffuse light. It’s a simple, versatile and effective solution for anyone who owns a macro lens, a digital camera and a tripod.

Another solution is the Nikon ES-2. It’s a little more straightforward to use than the Pixlatr – it attaches to the end of a lens – but is also nearly three times the cost ($ 145) and only works with 35mm format film.

Analogue Wonderland film subscription box – $ 65 every other month – A reoccurring 35mm film subscription box

Who doesn’t love getting a parcel filled with fun surprises in the mail on a reoccurring basis? UK-based Analog Wonderland is bringing the concept of the ‘curated subscription box’ to 35mm film lovers everywhere. Once signed up, subscribers will receive a box every other month (depending on the length of subscription). Each box contains six different rolls of 35mm film, curated from a selection of 100.

This is not only a fun way for film lovers to try new emulsions, but also a way to connect with other 35mm shooters. Each month all subscribers receive the same film stocks, and Analog Wonderland provides an online space for folks to both discuss their results and compete in friendly competitions.

Lomography HydroChrome Panoramic Camera – $ 80 – A wacky camera with a ‘water lens’

Bear with us on this one, because Lomography’s HydroChrome Panoramic camera is truly wild. Based off a mid-1800’s camera design, this inexpensive panorama camera is built around a 32mm equivalent water-filled lens. Yes, you read that correctly.

While the concept may sound gimmicky, the results are actually pretty compelling and cool. And the camera plays nice will all sorts of liquids, not just water (though we’d avoid anything sticky). For instance, simply adding food coloring, or watered-down coffee can change the results dramatically.

UN Twin Film Pocket & Rama Works Film Canister – $ 20 & $ 110 – A watertight film holder

Is the film shooter in your life also an adventure-seeker? If so, a water/light tight film holder may be the perfect gift, providing peace of mind. And we’ve got two models to choose from: one on the sensible side and one a little more swanky.

First, the sensible: The UN Twin Film Pocket is a straightforward product that will safely store two rolls of 35mm film. It’s built of plastic and features screw-down caps with rubber gaskets as well as a metal clip to attach to a camera or bag strap. These units can be a little tricky to hunt down stateside, but the product is carried by both European and Japanese distributors. That said, we’ve successfully had them sent to the USA, just plan for a little extra time in transit.

On the other end of the spectrum is the Rama Works Film Canister. Sure, it costs 5x as much as the UN Twin Film Pocket, but it is a beauty to behold: machined from a solid block of aluminum and anodized. Note: Only the 120 format version is currently available as the time of writing.

Rama Works Film Canister shown above.

Fujifilm SQ1 Instax Square camera – $ 120 – A larger format Instax Camera

Most folks are probably familiar with Fujifim’s Instax Mini format, but did you know there’s also an Instax Square format, which provides a larger image size? And the hottest new Instax Square model is the Fujifilm SQ1, which dropped earlier this year.

It’s a handsome-looking model that’s easy-to-use, comfortable and capable of excellent results. Available in three chic colors, it’s the perfect camera for documenting social outings, once we’re allowed to gather together again!

For even more Instax photography fun, we also recommend the Fujifilm Wide Instax 300 ($ 90). It’s a good bit chunkier than the SQ1, but makes use of the largest Instax format: Instax Wide. It also offers a bit more creative control than the SQ1.

Lab-Box Daylight Developing Tank – $ 160 – An easier way to develop film at home

Analog shooting and DIY often go hand-in-hand. And nothing beats the thrill of successfully developing your own images at home. But for those a little nervous to dip their toes in the unknown world of loading exposed film to reels in the dark, the Lab-Box Daylight Developing Tank is for you.

Because let’s face it, most home developing mistakes are a result of improperly loading film and/or accidentally exposing it in the process. Lab-Box removes this pain point, though there is a slight learning curve to using the device. But ultimately, once mastered, it should help speed up the workflow of any home developer while also cutting down on the number of botched rolls.


And there you have it, the best film photography gifts in 2020, sure to bring a smile to the faces of emulsive eccentrics everywhere! Happy holidays and happy shooting, from the analog nerds here at DPReview.

Articles: Digital Photography Review (dpreview.com)

 
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5 Must-Have Lenses for Wedding Photographers and Why

11 Oct

The post 5 Must-Have Lenses for Wedding Photographers and Why appeared first on Digital Photography School. It was authored by Lily Sawyer.

Have you ever wondered which lenses for wedding photographers are best?

There is a plethora of choice when it comes to lenses, and lens companies come up with new products all the time. Many photographers are attracted to these bright and shiny things and end up with a huge collection of lenses, many of which hardly see the light of day.

But if you have to pare back to the absolute necessities and are allowed five lenses in your wedding photography bag, these are the ones that I would recommend. I have been a professional wedding photographer for seven years now, and deciding on these five lenses took some time and serious consideration over the course of my career.

They are:

  1. The 70-200mm f/2.8
  2. The 24-70mm f/2.8
  3. The 85mm prime
  4. The 35mm prime
  5. A macro lens (105mm or 60mm for Nikon, 100mm or 60mm for Canon)

Let’s look at each lens individually to see why.

lenses for wedding photographers

1. 70-200mm f/2.8

It’s big, bulky, and heavy, but I wouldn’t do a wedding without this lens. The 70-200 f/2.8 is my workhorse when it comes to weddings. It is a versatile lens that gives you amazing sharpness at all focal lengths. The bokeh is beautiful, especially at 200mm and even with a stopped-down aperture (thanks to the compression created by the long focal length).

A 70-200mm f/2.8 makes a wedding photographer invisible. You don’t have to be close to people’s faces; you can capture candid expressions and serendipitous moments from a fair distance away. This lens is especially useful during the wedding ceremony, when you would rather be far away and out of sight or hidden behind a wall or door. It allows you to capture the exchange of rings, the vows, and the kiss discreetly.

lenses for wedding photographers example photo

If you require an even longer zoom while staying at the same distance, you can choose to photograph using Crop mode (if you shoot full-frame and your camera offers this option). This will generally give you a 1.5x crop factor (it only uses a portion of the image and enlarges it approximately 1.5x). If you do this, make sure that you have enough pixels for the crop in case you feel the need to straighten or change your composition in post-processing.

For example, if you are shooting with a 12 MP camera in its full-frame mode, when you convert to your Crop mode the camera becomes a 5 MP camera. This is below the minimum amount of pixels you need (generally around 6 MP) to enlarge prints to a decent size.

And if you have to crop in post-processing, 5 MP will not offer enough pixels to do so without compromising print output sizes.

lenses for wedding photographers wedding program

However, if you are photographing with a 36 MP camera in Crop mode, it drops to 15.3 MP. While this is a significant resolution reduction, it still leaves you enough wiggle room for minimal and sensible cropping if necessary.

If you use Crop mode, don’t forget that when photographing on a full-frame camera, or when using a lens designed for APS-C cameras, the camera only uses the center of the sensor. So if you forget to compose accordingly in-camera, you will get a nasty surprise after you have taken the image: cut off heads and limbs, and badly cropped compositions are two examples.

When using APS-C lenses on a full-frame body, the rest of the unused sensor area is blacked out. But when using full-frame lenses in Crop mode, this is not the default. You will still see the entire full-frame sensor if you don’t change your settings.

lenses for wedding photographers married couple

70-200mm is an excellent focal length for flattering portraits. When photographing at 200mm, I typically stop down to around f/4 or f/5.6 at a shutter speed of 1/200-1/400th, and the sharpness of the image is stunning against a creamy bokeh background. My 70-200mm f/2.8 lens also has a built-in lens collar you can use to steady your setup when hand-holding (and you also have the option to attach it to a tripod).

Without a tripod, you can steady yourself as much as possible by leaning against something strong like a wall or a stable surface such as a table. You can also keep your arms pinned against something sturdy to reduce camera shake, especially when using your lens for portrait work at the longer end of its focal length.

lenses for wedding photographers couple in golf cart

lenses for wedding photographers beautiful venue

There are also 70-200mm f/4 lenses, which you can purchase at vastly cheaper prices compared to the f/2.8. I personally do not have the f/4 version, but if you’re on a budget and you don’t mind not having the option to photograph at a wider aperture, then I see no reason why you should avoid the 70-200mm f/4. It is lighter and smaller (it has fewer glass elements compared to its more expensive counterpart) which lessens the weight you have to carry around at a wedding.

lenses for wedding photographers golf cart venue

lenses for wedding photographers just married sign

2. 24-70mm f/2.8

The 24-70mm f/2.8 offers the focal length versatility needed when you are photographing on the go, which is what wedding photographers require for most of the day. You can use this lens to capture wider location scenes, candid photos of people, guests arriving, people milling and chatting while waiting for the ceremony to start or during the wedding breakfast, some decorations and details, the first dance, and the leaving photos, to cite just a few.

lenses for wedding photographers 24-70 example

lenses for wedding photographers 24-70 example

I use this lens for photos that do not require close portrait work, although it can definitely be used for that type of image. The 50-70mm range will yield pleasing results, like the image directly below. However, my preference is to use prime lenses for portraits.

The 24-70mm lens sees a whole lot of action on the wedding day, and is definitely my other workhorse for capturing people, wider shots, and behind-the-scenes images.

lenses for wedding photographers girl with flowers

lenses for wedding photographers

Many photographers use a much wider lens for location photographs, such as a 14-24mm f/2.8. But while I would love to add this lens to my arsenal, this is not an absolute necessity. With the 24-70mm, you can photograph location scenes wide enough. And should you need to capture a wider scene, you could photograph a few images and stitch them together in Photoshop as a panorama. This is easy enough to do by making sure the exposure setting for the series of shots is the same, standing on a fixed point, then capturing a set of images while adjusting your composition slightly.

You can do the same for a photograph of all the guests, too. In fact, the two times mentioned above are the only times I need an ultra-wide lens for a wedding, so I cannot yet justify adding it to my list of must-haves.

lenses for wedding photographers people dancing

lenses for wedding photographers people dancing

3. 85mm prime

This is my all-time favorite lens, and the one I use for portraits of the bride and groom, bridesmaids and groomsmen, individual guests and small groups (the list goes on!).

As a fixed lens, an 85mm prime requires more work on your part; you have to zoom in and out with your feet. But the extra effort is worth it. The portraits are cleaner, the backgrounds are creamier, and it is a fabulous lens in very low-light conditions.

lenses for wedding photographers married couple

The best thing about this lens is that it is tack sharp from the sweet spot on. Accurate, light-sensitive, with great results; this is my go-to lens, and it never leaves my bag. As a prime lens, the 85mm is fast, small, and extremely reliable.

lenses for wedding photographers married couple silhouette

I have photographed an entire wedding of a relative (as a guest) using only an 85mm lens. I was asked on the day if I could cover the wedding and I agreed, with only the D700 and my 85mm lens in hand (I generally carry that combination with me for personal snapshots and photos of my family).

The photos from that wedding are published on one of the UK’s top wedding blogs, which is proof that you can photograph a wedding with what you have, given that you know your gear well enough.

lenses for wedding photographers

The 85mm for Nikon F-mount cameras comes in either as an f/1.8 version ($ 480 USD) or an f/1.4 version ($ 1597 USD), with a huge price difference between the two due to the glass elements and optics. You can also purchase the 85mm f/1.8 S for Nikon Z-mount cameras for just under $ 800 USD.

Canon has an 85mm f/1.2 available for $ 1999 USD, as well as an f/1.4 version ($ 1599 USD) and an f/1.8 version ($ 419 USD). For Canon mirrorless users, there’s the Canon RF 85mm f/1.2 (for an admittedly premium price). And Sony offers an 85mm f/1.8 for $ 598 USD and an 85mm f/1.4 for $ 1798 USD.

I have the Nikon 85mm f/1.8 and it has always performed marvelously for me. The f/1.4 has been on my lens list forever, and while I could buy it I have held off, given that I have never felt the need to upgrade.

lenses for wedding photographers

4. 35mm

One of my early serious lens investments was the amazing 35mm f/1.4. If there is a lens I can always rely on, it’s this one.

It’s an ultra-versatile lens that you can use to photograph the bride getting ready, which is the time when wedding photographers are usually under pressure to capture everything. This includes the location, the many accessories, any small details, candid shots, the dress, the natural interactions between the bride and her loved ones, and group portraits. Plus, you must do this in a very short amount of time, often in small spaces like cramped hotel rooms.

A 35mm lens is also perfect for photographing wider scenes, because you can get images without the exaggerated distortions caused by a wider focal length.

lenses for wedding photographers 35mm example

lenses for wedding photographers 35mm example

This lens is super fast and sharp. It has yet to fail me. With this lens, you can get close, which is very handy when you are in a crowded space.

As if that weren’t enough, my 35mm lens opens up to f/1.4, which allows you to photograph in extremely low light, especially if you are too pressed for time and space to use off-camera flashes.

Even though the 35mm focal length is already covered by the 24-70mm f/2.8 (discussed above), the difference between f/1.4 and f/2.8 (two extra stops for four times the light) cannot be underestimated.

lenses for wedding photographers

lenses for wedding photographers

The 35mm is also offered as an f/1.8 version by Nikon, but it’s a DX lens that you can purchase for cheap (under $ 200).

You may wonder about the astronomical difference in price compared to the professional f/1.4 counterpart. First of all, you cannot use the DX lens on a full-frame camera without losing pixels, and the lens becomes 52.5mm which can be very limiting in tight spaces.

Secondly, the 35mm view is close enough to what the eye naturally sees, and I like that view. It allows you to capture images that give the viewer the impression that they could have been there seeing the scene themselves. This is an important element in any wedding photography, specifically wedding photography with a documentary style.

lenses for wedding photographers

If you ever get to physically hold each lens in your hands at the same time, the enormous price difference between the f/1.4 version and the f/1.8 version won’t even be in question. The f/1.4 is considerably heavier and much bigger than the pocket-sized f/1.8. But don’t be fooled by appearances; the f/1.8 is also an outstanding lens with exceptional capabilities in its own right, and for crop-sensor cameras may be more than sufficient. It is definitely easy on the budget.
lenses for wedding photographers

lenses for wedding photographers

If you already have a 50mm lens and your budget is constrained, then a 50mm prime could replace the 35mm prime on this list. It is also an incredible lens.

Although a 50mm doesn’t give you as much room to maneuver in smaller spaces as a 35mm, the bokeh on the 50mm is stunning and it’s impressively sharp too, which is one of the top benefits of prime lenses. Like the 35mm lens, the 50mm is available as an f/1.8, f/1.4 or, for Canon cameras, an f/1.2 maximum aperture. The price difference is small between the f/1.8 and the f/1.4, but it jumps up to a huge number for the f/1.2.

lenses for wedding photographers details

lenses for wedding photographers church

5. 105mm (100mm) or 60mm macro lens

A macro lens is the last of my must-have lenses for wedding photographers. It’s absolutely key if you want to capture detailed images of rings. You can also use your macro lens for photographing jewelry and other accessories while the bride is getting ready.

If the bride’s dress is adorned with jewels, a macro lens would also be ideal for photographing the details.

In addition, macro lenses are also great for portraits if you do not require an aperture wider than f/2.8. This makes macro lenses versatile options to carry around, especially 60mm macro lenses, which look and feel minuscule compared to the 105mm options (100mm for Canon). These macro lenses can generally stop down to f/32, which is handy, especially when photographing location landscapes in extremely bright sunlight.

lenses for wedding photographers

lenses for wedding photographers rings

Some photographers even use the 105mm macro lens as a substitute for the 70-200mm lens if the latter is just too out of reach. You can use the 105mm in Crop mode, which gives you 157.5mm; this is long enough to still be very inconspicuous at a wedding. A 105mm lens is also smaller and lighter, and it opens up to f/2.8. Plus, it doubles as a macro lens.

lenses for wedding photographers details

lenses for wedding photographers

The post 5 Must-Have Lenses for Wedding Photographers and Why appeared first on Digital Photography School. It was authored by Lily Sawyer.


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Wedding Photography – 21 Tips for Amateur Wedding Photographers

03 Oct

The post Wedding Photography – 21 Tips for Amateur Wedding Photographers appeared first on Digital Photography School. It was authored by Darren Rowse.

Wedding Photography Tips

“Help me, I’m photographing my first wedding! Give me some wedding photography tips, please!”

It’s a question that photographers frequently ask. So while I’m not a pro wedding photographer, I thought it was time to share a few tips on the topic of wedding photography.

I’ll leave the technical tips for photographing a wedding to the pros. But, as someone who has been asked to photograph numerous friends’ and family’s weddings, here are a few suggestions.

1. Create a shot list

Wedding Photography Shot List

One of the most helpful tips I’ve been given regarding wedding photography is to get the couple to think ahead about the shots that they’d like you to capture on the day.

Then compile a list so that you can check each shot off. This is particularly helpful in family shots. There’s nothing worse than getting the photos back and realizing you didn’t photograph the happy couple with Grandma!

2. Wedding photography family photo coordinator

I find that the family photo part of the day can be quite stressful. People are going everywhere, you’re unaware of the different family dynamics at play, and people are in a “festive spirit” (and have often been drinking a few spirits) to the point that it can be quite chaotic.

Get the couple to nominate a family member (or one for each side of the family) who can be the “director” of the shoot. They can round everyone up, help get them in the shot, and keep things moving so that the couple can get back to the party.

Wedding Photography Tips

3. Scout the location

Visit the locations of the different places that you’ll be shooting before the big day.

While I’m sure most pros don’t do this, I find it really helpful to know where we’re going, to have an idea of a few positions for shots, and to know how the light might come into play. Before one or two weddings, I’ve even visited locations with the couples and took a few test shots (these made nice “engagement photos”).

4. In wedding photography, preparation is key

So much can go wrong on the day, so you need to be well-prepared. Have a backup plan (in case of bad weather), have batteries charged, memory cards blank, think about routes and times to get to places. Get an itinerary of the full day so you know what’s happening next. If you can, attend the rehearsal of the ceremony, where you’ll gather a lot of great information about possible positions to shoot from, the lighting, the order of the ceremony, etc.

5. Set expectations with the couple

Show the couple your work/style. Find out what they want to achieve, how many shots they want, what key things they want to be recorded, how the shots will be used (for prints, etc.). If you’re charging them for the event, make sure you have the agreement of price in place upfront.

6. Turn off the sound on your camera

Beeps during speeches, the kiss, and vows don’t add to the event. Switch off your camera sounds beforehand and keep them off.

Wedding Photography

7. Shoot the small details

Photograph rings, backs of dresses, shoes, flowers, table settings, menus, etc. These help give the end album an extra dimension. Flick through a wedding magazine at a newsstand for a little inspiration.

8. Use two cameras

Beg, borrow, hire, or steal an extra camera for the day, and set it up with a different lens. I try to shoot with one wide-angle lens (great for candid shots and in tight spaces, particularly before the ceremony in the preparation stage of the day) and one longer lens (it can be handy to have something as large as 200mm if you can get your hands on one; I use a 70-200mm).

9. Consider a second wedding photographer

Having a second photographer can be a great strategy. It means less moving around during ceremony and speeches, and it allows for one photographer to capture the formal shots while the other gets candid shots. It also takes a little pressure off you as “the one” who has to get every shot!

10. Be bold but not obtrusive

Wedding Photography Tutorial

Timidity won’t get you “the shot,” so sometimes you need to be bold to capture a moment.

However, timing is everything, and thinking ahead to get in the right position for key moments is important so as not to disrupt the event.

In a ceremony, I try to move around at least 4-5 times, but I try to time my move to coincide with songs, sermons, or longer readings. During the formal shots, be bold, know what you want, and ask for it from the couple and their party. You’re driving the show at this point of the day and need to keep things moving.

11. Learn how to use diffused light

The ability to bounce a flash or to diffuse it is key. You’ll find in many churches that light is very low. If you’re allowed to use a flash (and some churches don’t allow it), think about whether bouncing the flash will work (remember that if you bounce your flash off a colored surface it will add a color cast to the picture), or whether you might want to buy a flash diffuser to soften the light.

If you can’t use a flash, you’ll need to use a fast lens at wide apertures and/or bump up the ISO. A lens with image stabilization might also help. Learn more about using flash diffusers and reflectors.

12. Shoot in RAW

I know that many readers feel that they don’t have the time for shooting in RAW (due to extra processing), but a wedding is one time that it can be particularly useful, as RAW gives so much more flexibility to manipulate shots after taking them. Weddings can present photographers with tricky lighting that results in the need to manipulate exposure and white balance after the fact, and RAW will help with this considerably.

Wedding Photography

13. Display your shots at the reception

One of the great things about digital photography is the immediacy of it as a medium. One of the fun things I’ve seen more and more photographers doing recently is taking a computer to the reception, uploading shots taken earlier in the day, and letting them rotate as a slideshow during the evening. This adds a fun element to the night.

14. Consider your backgrounds

One of the challenges of weddings is that there are often people going everywhere, including the backgrounds of your shots. Particularly with the formal shots, scope out the area where they’ll be taken ahead of time and look for good backgrounds.

Ideally, you’ll want uncluttered areas and shaded spots out of direct sunlight where there’s unlikely to be a great aunt wandering into the back of the shot. Read more on getting backgrounds right.

15. Don’t discard your “mistakes”

The temptation with digital is to check images as you go and to delete those that don’t work immediately. The problem with this is that you might just be getting rid of some of the more interesting and useable images. Keep in mind that images can be cropped or manipulated later to give you some more artsy/abstract looking shots that can add real interest to the end album.

Wedding Photography picture

16. Change your perspective

Get a little creative with your shots. While the majority of the images in the end album will probably be fairly “normal” or formal poses, make sure you mix things up a little by taking shots from down low, up high, at a wide angle, etc.

17. Wedding group shots

One thing I’ve done at every wedding I’ve photographed is attempted to photograph everyone who is in attendance in one shot. The way I’ve done this is to arrange for a place that I can get up high above everyone straight after the ceremony. This might mean getting a tall ladder, using a balcony, or even climbing on a roof. The beauty of getting up high is that you include everyone’s face, and you can fit a lot of people in a single shot.

The key is to quickly be able to get everyone to the place you want them to stand, and to be ready to get the shot without having everyone stand around for too long. I’ve found that the best way to get everyone to the spot is to get the bride and groom there and to have a couple of helpers herd everyone in that direction. Read more on how to take group photos.

18. Fill flash

When shooting outside after a ceremony or during the posed shots, you’ll probably want to keep your flash attached to give a little fill flash. I tend to dial the flash back a little (a stop or two) so that shots are not blown out. But, particularly in backlit or midday shooting conditions where there can be a lot of shadow, fill flash is a must. Read more about using fill flash.

19. Continuous shooting mode

Having the ability to shoot a lot of images fast is very handy on a wedding day, so switch your camera to its continuous shooting mode and use it. Sometimes it’s the shot you take a second after the formal or posed shot when everyone is relaxing that really captures the moment!

Wedding Photography Rain

20. Expect the unexpected

One more piece of advice that someone gave me on my own wedding day: “Things will go wrong, but they can be the best parts of the day.”

In every wedding that I’ve participated in, something tends to go wrong with the day. The best man can’t find the ring, the rain pours down just as the ceremony ends, the groom forgets to do up his fly, the flower girl decides to sit down in the middle of the aisle, or the bride can’t remember her vows.

These moments can feel a little panicky at the time. But it’s these moments that can actually make a day and give the bride and groom memories. Attempt to capture them, and you could end up with some fun images that sum up the day really well.

I still remember the first wedding I photographed, where the bride and groom’s car crashed into a tram on the way to the park where we were going to take photos. The bride was in tears, the groom stressed out. But after we’d all calmed down, people began to see some of the funny side of the moment, and we even took a couple of shots before driving on to the park. They were among everyone’s favorites.

21. Have fun

Weddings are about celebrating; they should be fun. The more fun you have as the photographer, the more relaxed those you are photographing will be. Perhaps the best way to loosen people up is to smile as the photographer (warning: I always come home from photographing weddings with sore jaws and cheeks because of my smiling strategy).

The post Wedding Photography – 21 Tips for Amateur Wedding Photographers appeared first on Digital Photography School. It was authored by Darren Rowse.


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Facebook Rights Manager updated to give photographers more control over their images

23 Sep

Facebook has announced a new rights management feature designed to give creators more control over their images. On Monday, Facebook product manager of the creator and publisher experience Dave Axelgard said, ‘We want to ensure Facebook is a safe and valuable place for creators to share their content.’ Key to that goal is the newly announced Rights Manager for Images.

Instagram is the dominant image-based social network at the moment, making it a valuable platform for creators…but it’s not without its controversy in the industry. Parent company Facebook is taking steps to address some of the criticism with its new Rights Manager for Images, which builds upon the existing Rights Manager to give photographers control over where their images appear on the social platform.

Rights Manager is a customizable tool found within the Facebook Creator Studio platform, which is built for creators to give them an element of control over their content across both Facebook and Instagram. The tool works by enabling users to add their content, after which Facebook will scan the two social platforms to find the content if it is posted on either.

Reposted content found on another user’s Page or profile can be removed or, in cases where it may be beneficial to the creator, the owner can either add an ownership link to the content or simply monitor the repost going forward. Creators have the option of adding exemptions for partners who have permission to share the content so that it isn’t flagged by the Rights Manager tool.

The newly announced Rights Manager for Images is described by Axelgard as a new version of the tool that is designed to offer management of photos ‘at scale.’ As with the original version of Rights Manager, Facebook requires creators to submit an application to get access to the tool.

The application includes selecting which Pages the user may want to protect, what type of rights owner they are (individual, publisher, etc.), the type of content that needs protected and similar details.

Facebook notes that this Rights Manager tool exists in addition to a number of other options creators have, including what it refers to as a ‘fast and effective’ intellectual property reporting system, as well as a policy for dealing with repeat copyright offenders and more. The tool ultimately gives creators the ability to prevent unauthorized sharing of copyrighted content, potentially bringing an end to reposts on Instagram.

It’s unclear how many creators have access to the Rights Manager, which addresses only one aspect of copyright issues on social media. Facebook has been criticized for failing to give Instagram users the ability to limit the sharing of public posts, something that was recently brought to public attention due to a couple of lawsuits earlier this year.

Facebook indicated earlier this summer that it may give Instagram users the ability to disable sharing or embedding posts, which would, for example, prevent media companies from embedding images to get around paying the photographer a licensing fee. The social media company complicated the matter in June when it clarified that its terms of service does not include sublicensing embedded content.

Though this may give creators more control over where their images are embedded, critics have said that it still places the burden on creators to find and police the use of their images due to Instagram’s readily available sharing and embedding tools. As well, the presence of these tools implies to users that they are allowed to embed public content on other websites without getting permission from the photographer first, potentially putting them at risk of unwittingly violating a photographer’s copyright.

Instagram told Ars Technica back in June that it was ‘exploring the possibility’ of offering users the option of disabling the embed tool. Such a feature remains unavailable at this time, however, meaning that Instagram users must make their images private if they don’t want users to have the option of sharing them.

Articles: Digital Photography Review (dpreview.com)

 
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Best video cameras for photographers

13 Sep

Most modern cameras will shoot video to one degree or another, but these are the ones we’d look at if you plan to shoot some video alongside your photos. We’ve chosen cameras that can take great photos and make it easy to get great looking video, rather than being the ones you’d choose as a committed videographer.


Focused on photos: Nikon Z6

The Nikon Z6 is an excellent stills camera that also does a good job of shooting video. The Sony a7 III is also a credible contender and has a bigger battery, but we tend to find the Nikon’s autofocus performs slightly better in video mode and that it offers better separation between stills and video settings, making it easier to jump back and forth between the two styles of shooting.

Another camera worth considering is the Canon EOS R6, which has great image and video quality, an excellent image stabilization system and very good ergonomics. Rolling shutter can be an issue though, and video record times can be unpredictable if you’re shooting stills as well.

A balance of both: Fujifilm X-T4

The Fujifilm X-T4 has a smaller sensor than the Nikon but offers a more extensive set of video features, if you’re equally interested in both disciplines. It can capture 10-bit video internally in a choice of modes including Log, HLG or the attractive and flexible ‘Eterna’ color profile. Built-in image stabilization and the option to totally de-couple stills and video settings make the X-T4 a great lightweight stills and video package.


We considered the cameras below when picking our winner, and even though we think the Nikon Z6 and Fujifilm X-T4 are the best choices overall, the cameras on our short list are also worth considering.

  • Focused on photos: Nikon Z6
  • A balance of both: Fujifilm X-T4

Also consider:

  • Canon EOS M6 II
  • Canon EOS R6
  • Olympus OM-D E-M5 III
  • Panasonic Lumix DC-G9
  • Sony a7 III
  • Sony a6600
  • Sony Cyber-shot DSC-RX10 IV
  • Sony Cyber-shot DSC-RX100 VII

Articles: Digital Photography Review (dpreview.com)

 
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Canon EOS R6 Review: not the hybrid king, but a great photographers’ camera

27 Aug

Introduction

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All product photography by Dan Bracaglia

Gold Award

90%
Overall score

The Canon EOS R6 is a 20MP full-frame mirrorless camera aimed at enthusiast photographers and videographers. It sits below the R5 much as the EOS 6Ds did beneath the 5D DSLRs, and offers a well-rounded combination of features for both disciplines.

It’s also one of the first enthusiast-level cameras to shoot both stills and video that can exploit the capabilities of the latest high-dynamic range displays. However its tendency to hit its temperature limits take the edge off its video capabilities.

Key specifications:

  • 20MP Dual Pixel CMOS Sensor
  • In-body stabilization rated at up to 8EV of correction
  • Dual Pixel AF II with AI-trained subject tracking and 100% AF coverage
  • 20 fps shooting with e-shutter, 12 fps mechanical
  • UHD 4K shooting at up to 60p, 1080 at up to 120p
  • 10-bit 4:2:2 internal recording in either C-Log or HDR PQ
  • 10-bit HDR photos in HEIF format
  • 3.68M dot EVF
  • 1.62M dot fully-articulated rear touchscreen
  • New battery rated at around 380 shots per charge (EVF)

The R6 is available with a recommended price of $ 2499, body-only. It can also be bought in a kit with the 24-105mm F4L for around $ 3599 or with the 24-105mm F4-7.1 STM IS for approximately $ 2899.


What’s new and how it compares

The EOS R6 can’t boast 8K video but it’s got a solid feature set nonetheless, including the same IS and AF as its big brother.

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Body, controls and handling

The R6 has elements of the original EOS R to its design but it also gains a fair amount from Canon’s DSLR range. We think the combination works nicely.

Initial impressions

We’ve been shooting with the EOS R6 and think Canon users (and, in particular, Canon DSLR users) will find a lot to like about the camera.

Image Quality

The 20MP sensor, combined with Canon’s JPEG color does a great job, despite having fewer pixels than its peers.

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Dynamic Range

The EOS R6’s files prove very flexible, but that performance is aided by noise reduction you can’t turn off.

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Autofocus

The EOS R6 offers at least the performance that the EOS-1D X III does in live view mode. It’s powerful, customizable yet often very easy-to-use.

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Video

The EOS R6 can shoot some very attractive 4K footage, but despite a well thought-out interface, its propensity for hitting its thermal cut-off means it’s not as good a stills/video hybrid as the specs make out.

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Conclusion

The EOS R6 has a lot going for it: it offers excellent image quality, shoots at high speeds and includes impressive image stabilization. It’s not the best stills-and-video option but it’s a superb photographer’s camera.

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Sample gallery

We’ve put together a gallery from the EOS R6, to show what its image quality looks like.

See more

Articles: Digital Photography Review (dpreview.com)

 
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Study: smartphone camera use on the rise among pro photographers

02 Aug

Your average consumers use — almost exclusively — the cameras inside their smartphones for picture taking these days. Professionals use big black cameras with even bigger lenses. Or, at least that’s the perception most us have when thinking about camera use. But is this actually true?

The analysts at Suite48Analytics have conducted a survey among a total of 881 professional photographers from North America and Europe to find out and published the results in a report titled Pro Photographers and their Camera Use’.

The report covers camera use in general but puts some emphasis on ‘stand-alone cameras’ versus smartphones. The results aren’t entirely surprising. Most photographs for business purposes are still captured with a dedicated camera of some sorts. However, 11 percent of the surveyed photographers use a smartphone camera for approximately 50 percent of their pro images. Smartphone use for professional images is also on the rise, with 31 percent saying they use the smartphone more now than they did 12 months ago.

As one would assume, smartphone use is higher for personal photography. 29 percent take 50 percent of their non-work photos with a smartphone. 36 percent take even more than half of their personal pictures with a phone.

Despite Android phone makers putting a lot of emphasis on their devices’ camera capabilities, the iPhone is still the clear favorite among pro professionals, with 86 percent using an Apple model.

So for what type of work do pro photographers use their smartphone camera? Interestingly smartphones are mostly used in situations that don’t involve a client present at the scene. 58 percent use the smartphone to take photos that support their own business, for example, website photos or social media posts. 20 percent use phones for behind the scenes type of work.

In those situations when professional photographers do use a dedicated camera the trusty DSLR is still the most popular choice with 53 percent, but at 30 percent mirrorless full-frame cameras are getting closer. Medium format cameras get some use, too, but all other types of cameras are represented in a fairly minor way.

Professionals who use smartphones do so predominantly because they have less gear to carry and the phone allows you to ‘catch moments’ because it is always within reach. On the other hand, phone use is still much lower than it could otherwise be because professional photographers have concerns about the optical quality of smartphone cameras, even those on high-end models, but also client perception. It seems in some people’s minds it’s still the camera that makes the pro and that also has an impact on gear choice among professionals.

You can find a summary and the full (paid) report for download on the Suite48Analytics website.

Articles: Digital Photography Review (dpreview.com)

 
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10,000 Headshots initiative saw 200 photographers give free headshots to unemployed workers

28 Jul

Photographers from across the United States joined together on July 22 to participate in the ‘10,000 Headshots’ initiative, a group effort that involved offering free professional headshots to unemployed workers with the goal of helping them secure new jobs. The initiative was coordinated by Headshot Booker, which explains on its website that these sessions were offered to anyone who was unemployed as of July 22 when the sessions took place.

The initiative was a success, according to Headshot Booker. Participants interested in getting headshots were required to pre-register for a 10-minute session and each location was limited to 50 total appointments. More than 200 photographers participated across 50 states and used Brookfield Properties retail locations with pop-ups as their studios.

The agency notes that every location used proper social distancing and safety measures to keep everyone safe, including contactless delivery of images and having photographers wear masks.

Headshots are an important aspect of finding work, the agency points out. Career-centric social platform LinkedIn claims that profiles featuring professional headshots are nine times as likely as other accounts to receive connection requests. Paying for a headshot while unemployed is particularly difficult, however, making it harder for those in need of a job to find one.

Professional photographer and Headshot Booker co-founder Peter Hurley explained:

Unfortunately, many job seekers underestimate the value of a professional headshot, instead opting for a snapshot taken by a friend or even worse a selfie. The headshot has become the cornerstone of one’s digital brand identity and we want to empower people as they go through the process of procuring a new job and getting back into the workforce.

The initiative was launched in partnership with Canon, MySpotPhotos and several other companies. Ultimately, every registered participant left the pop-up studios with a professional headshot for their resumes. Headshot Booker says this was the ‘largest, single-day photo initiative’ of its kind, one that comes amid widespread unemployment caused by the pandemic.

Articles: Digital Photography Review (dpreview.com)

 
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A Photographer’s Guide to Selling

18 Jun

Before you invest in an expensive degree in Photography or a related program, read this guide. There are countless methods for lucrative photography sales. That’s because today, more people are purchasing art and printed photography than ever before. Continue reading for a comprehensive guide on selling photography. A photographer’s guide to selling will cover: Why You Should Sell Your Photography Continue Reading

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