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10 Essential Things to Think About for Portrait Photography

05 Sep

The post 10 Essential Things to Think About for Portrait Photography appeared first on Digital Photography School. It was authored by Darlene Hildebrandt.

10 essential things for portrait photography

Portrait photography isn’t easy, and in fact, there are many elements that go into a great portrait. You have to think about the technical stuff like exposure and focus, as well as the non-technical stuff like composition and working with a live subject.

If you’re just starting out with portrait shooting, all this can be pretty daunting. That’s why I’ve broken it down, piece by piece, into the 10 crucial elements you need to think about when doing portraits.

Starting with number one:

1. Lighting pattern

The lighting pattern refers to how the light falls on your subject’s face. Note that your lighting pattern will determine the mood of the final portrait and whether or not the subject is flattered. Therefore, it’s a critical piece of the portrait photography puzzle, one you must get right for impactful results.

There are four main types of lighting patterns:

  1. Split lighting
  2. Loop lighting
  3. Rembrandt lighting
  4. Butterfly lighting

And there are two lighting pattern styles:

  1. Short lighting
  2. Broad lighting

For a sense of what lighting can do, check out these examples:

Portrait tips lighting ratios

Left: Split lighting | Right: Loop lighting

Portrait tips lighting ratios

Left: Broad lighting | Right: Short lighting. Notice how different my subject looks in each image, particularly her nose!

So study different patterns. Test out different options. And note what works best in different situations!

2. Lighting ratio

A ratio is a comparison of one thing to another; here, the ratio compares the dark and light sides of your subject’s face. How much difference is there from the shadow to the highlight side?

Higher lighting ratios lead to greater contrast and increased moodiness. On the other hand, lower ratios lead to less contrast and will give your portraits a lighter, fresher feeling.

Look at the following examples:

Portrait tips lighting with reflectors

The ratio on the leftmost image is very strong, about 16:1 (four stops). The middle image ratio is about 4:1 (two stops), and the rightmost image ratio is almost 1:1 (even).

Note that, as I took these photos, the only difference from one to the next was a reflector (the more even the ratio, the more I included the reflector). And note how the mood and feel of the portrait changes as the contrast is adjusted.

3. Quality of light

Another aspect of lighting you need to think about when shooting? Whether you want your light to be hard or soft.

Hard light is produced by a small source and is characterized by high contrast, enhanced subject texture, added drama, and harsh, well-defined shadow edges. Examples of hard light sources are:

  • The sun (yes, it’s large, but it’s far enough way to be relatively small)
  • A bare light bulb
  • The small built-in flash on your camera
  • An unmodified speedlight

Here are two portraits with hard light. Which use of hard light is more appropriate for the subject?

hard light portrait

hard light portrait miner

Soft light is produced by a very large light source. It is low contrast (i.e., flat), less texture-enhancing, and is more forgiving and flattering for people photography. Examples of soft light sources are:

  • The sky on an overcast day
  • Large studio softboxes
  • A large reflector
  • An on-camera flash that has been bounced off a ceiling or wall

Here are two portraits done using soft light. Which use of soft light is more appropriate for the subject?

soft light portrait of a woman

soft light miner portrait

Along with the lighting ratio, the quality of light will have a major affect on the mood and feeling of your portrait. Choose soft light for flattering, beautiful portraits, and choose hard light for an edgier look with more grit and drama.

4. Lens selection

Your lens will change the appearance of both the subject and the background.

A wide-angle lens will introduce distortion and cause the subject’s face to look abnormal and stretched. It will also give you a large, sweeping view of the background.

wide-angle portrait of a woman in a classroom

Take a look at the example above. Notice how the shape of my subject’s face and her features are distorted by a 17mm lens? This is not an effect most folks will appreciate!

However, there may be instances when you want this look: a humorous portrait, kids having fun, or an editorial-style portrait of a street vendor at a market where you want to see both the subject and the environment.

wide-angle portrait of a man and a horse

The wide-angle view (17mm) adds to the comical nature of this portrait.

Telephoto lenses, on the other hand, compress perspective, which does two things:

First, it is usually more flattering to the subject because their facial features look less distorted.

Second, it simplifies the background – both by showing less and by defocusing background elements. This, in turn, puts more emphasis on the subject, which is what you want.

The image below was shot at 70mm. Compare it to the portrait at the start of this section, which portrays the same subject in the same setting but at 17mm. Do you see how the face is less distorted and the background is both out of focus and more compressed?

woman in a classroom

Here’s another portrait, this one shot at 105mm:

woman in a field

The long lens has compressed the background, and because it is so far away (on the other side of a river), the grass is really out of focus and provides a soft background that makes the subject stand out.

5. Background

One thing many photographers fail to think about is the background. It’s so easy to be focused on all the other stuff that you forget to even look at the background, which then ruins an otherwise great image.

Two questions you should ask yourself:

  1. Does the background make sense with the portrait?
  2. Does the background distract the viewer from the subject?

There are four background elements that can distract the viewer:

  1. Contrast
  2. Bright colors (warm tones are the worst, like red and yellow)
  3. Sharpness
  4. Bright areas

Watch for these in your viewfinder and adjust your camera position and composition accordingly. After all, the eye is attracted to the brightest and sharpest area of an image – so if you can keep the background dark, blurry, and low contrast, your subject will take center stage.

wedding couple with distracting background

See how the bright, high-contrast areas in the background draw your attention away from the wedding couple?

In other words: Get your portrait subject away from the background (far enough to get trees and grass out of focus), and watch for hot spots that grab the eye. Sometimes, simply moving your camera a foot or two to the left or right can eliminate trouble areas and give you a cleaner background that lets the subject shine:

wedding couple out of focus background

The background is now solid, out of focus, and does not take your eye away from the couple. Instead, it complements the portrait!

6. Exposure and metering

For a portrait of a still subject, I almost always use the following camera settings:

  • Manual mode
  • Single-shot drive mode (that is, I press the button to take a single image)
  • Single Point AF
  • One-Shot AF (i.e., AF-S focus mode) to focus and lock
  • Shade white balance (I am usually working in the shade, but if you’re in the bright sun, you might choose Direct Sunlight instead. Just pick one that matches your lighting condition and leave it.)
  • RAW format

Why do I like these settings? They give me the most control over one important thing: capturing a consistent exposure from one frame to the next. If you ever decide to do portraits for a friend or have paying clients, you want to be able to show images on the back of your camera without worrying about that random shot in the middle that was black because you forgot to adjust the exposure.

camera controls

(These settings also make editing much faster.)

So set your exposure, do a test shot (review it using the histogram), then don’t make adjustments unless you move to a new location or the light changes.

7. Focusing

I already mentioned my focusing settings above, but I’d like to recommend one more option:

Back-button focus, which lets you engage your camera’s focusing mechanism by pressing a button on the back of your camera, rather than the shutter button.

That way, you can lock focus on the subject – on their eye, if you’re close enough – then recompose the portrait and shoot away. Unless you or the subject move, there is no need to refocus.

Of course, if you’re shooting a moving target, like kids in action, you’ll want to choose different focus settings. Try continuous focusing (AI Servo/AF-C) plus your camera’s fastest burst mode.

8. Posing the subject

Getting your subject or model into a comfortable yet flattering pose can be tricky. People are generally nervous when being photographed and will look to you for guidance on how to stand, hold their body, turn their head, and adjust their hands. So you need to have a few posing ideas at the ready.

Here are some tips:

  • If it bends, bend it. In other words: Get your subject out of a stiff body position by bending one leg slightly, bend the elbows, and bend the wrists.
  • Ask your subject to shift their weight away from the camera for a more flattering pose.
  • Ask your subject to turn their body when standing. You can tell them to turn and point their feet (the body will follow naturally).
  • Turn your subject’s shoulders slightly to narrow the body width; this is flattering for most people.
  • Let your subject pose naturally at first, then make slight tweaks or adjustments. Watch how they move on their own so the final pose looks like them.
two different poses

Check out the images above. The left shot is stiff and boring – but the right shot has bent limbs, shifted shoulders, weight toward the back, and more.

9. Facial view and camera angle

How you position the subject’s face is another factor that determines the portrait’s beauty and mood. Some people look really great in full face view (facing the camera directly), but most benefit from turning slightly to one side, thus narrowing the face a little.

People cannot see their profile view in the mirror, so most subjects have no idea what they look like from the side. Only by trying it out can you determine whether it’s flattering for them.

The key to choosing the right face angle is to observe your subject. Do they tend to turn slightly when talking to you? Take note; that is probably the side they subconsciously prefer.

head anglesThe images above show three different views of the same woman’s face. She has a really gorgeous profile and a square jaw. I think the profile and last image (¾ face view) are the most flattering, but she looks great in any image.

You must help your subject look their best by doing comparisons and making choices, and if you’re in doubt, just shoot various poses and choose later (or let them pick).

As for the camera angle: This will determine what you emphasize on the subject. A low camera angle can show height and make someone look taller, but it also emphasizes the body more, which is not a good choice if someone wants to appear slimmer.

On the other hand, a slightly-above-eye-level angle will emphasize the face and minimize the body, a good choice for most people. It also makes kids look smaller and can be effective if that’s the look you’re after. A really high angle will make the forehead more prominent (perhaps not the best choice for subjects with a receding hairline).

Just know that where you place your camera will affect the final look of the portrait.

10. Expression

Okay, this is the thing you need to get right for great portraits. You can nail all nine points above, but if the subject has a bad expression, they will not like the image.

Here’s my big tip for getting the best expressions:

Talk to the subject and interact with them. That’s how I got this shot:

child with ultrasound

This little girl is holding a photo of her auntie’s ultrasound; I just asked her to show me her baby cousin, and she did this.

I’ve photographed Bob (below) many times. He is a volunteer at an old coal mine where I do a workshop twice a year. He was a miner way back in the day and is as spry in his 70s as many people in their 40s! He loves telling stories about the mine and ghosts, so I just get him talking and let him go. We have fun, he loves being my model for a day, and it shows in the images.

man in a mine

Pro tip: Instead of putting your camera to your eye, try talking to your subject with your camera on a tripod, then shoot with a remote trigger. That way, you can have eye contact, which will significantly enhance your subject’s expression!

Portrait photography essentials: putting it all together

Whew! See, I told you doing portraits comes with a lot to think about. But you can do it. You got this. Just take it one step at a time. If you aren’t at the stage of getting all 10 of these things right, just pick one and work on it. Choose patient models that will help you practice. The only way to get better is by doing!

Now over to you:

Which of these portrait photography essentials do you struggle with the most? Do you have any tips for improving portraits? Share your thoughts in the comments below!

woman intense portrait

Table of contents

Portrait Photography

  • GENERAL
    • 15 Common Portrait Mistakes to Avoid
    • 10 Ways to Direct a Portrait Shoot like a Pro
    • How to Photograph People: 7 Tips for Photographers Who Never Photograph People
    • 10 Crucial Things You Need to Think About for Portrait Photography

    • 5 Portrait Photography Rules You Should Probably Ignore
    • Five Budget Portrait Photography Hacks to Save You Money
    • 8 Lessons Learned from My First Attempt at Portrait Photography
    • How Self-Portraiture Makes You a Better Photographer
    • The Photo Critique: Portrait Edition
    • 10 Shots, 10 Portraits, 1 Focal Length: Take this Photography Challenge
    • How I Got The Shot: Portrait Style
  • PREPARATION
    • Tips for Preparing for a Portrait Session
    • 8 Tips to Help Make People Comfortable for Their Portrait Session
    • Clothing for Portraits – How to Tell your Subjects What to Wear
    • How to Plan a Successful Sunset Portrait Session
    • 5 Secrets for Finding Great Indoor Photoshoot Locations
    • 10 Christmas Portrait Locations (with Bonus Lighting and Composition Tips)
    • How to Build a Bench Prop for Great Portrait Photos
    • A Beginners Guide to Taking Portraits of Elderly Clients: Part 1 – Preparation and Rapport
    • How to Scout for Portrait Shooting Locations
    • The Importance of Location for Outdoor Portraits
    • How to Choose Urban Landscapes for Portrait Photography
  • SETTINGS
    • The Best Camera Settings for Portrait Photography
    • How to Achieve Blurred Backgrounds in Portrait Photography
    • How to Bypass the Portrait Mode on Your Digital Camera and Get Great Portraits
    • Understanding the Focus and Recompose Technique
    • Overcoming Depth of Field Problems in Portraits
    • 9 Ways to Ensure You Get Sharp Images When Photographing People
    • Stunning Portraits: Manipulating White Balance
    • Shooting for HDR Portraiture
    • How [Not] to Take a Self Timer Portrait
    • How Focal Length Changes the Shape of the Face in Portraiture
  • LIGHTING
    • 5 Tips How to Set Up a Home Studio for Dramatic Portraits
    • Simple Portrait Setups You Can Create on a Tight Budget
    • How to Eliminate Reflections in Glasses in Portraits
    • Portrait Photography: How to Photograph People in the Harsh Midday Sun
    • 4 Ways to Shoot Portraits in the Middle of the Day
    • 6 Portrait Lighting Patterns Every Photographer Should Know
    • 3 Lighting Setups for Photographing Headshots
    • 6 Ways of Using Reflector to Take Better Portraits
    • How to Create and Shoot Night Portraits
    • How to Make Beautiful Portraits Using Flash and High-Speed Sync
    • How to Make a Low Key Portrait (Step by Step)
    • Fill Flash Photography: How to Get Beautiful Portraits (Even in Bad Light)
    • A Lighting Ratios Guide: How to Make (or Break) Your Portraits
    • How to Mix Ambient Light and Fill-Flash for Outdoor Portraits
    • How to Photograph Fantastic Portraits with One Flash
    • DIY How to Build and Use a Reflector to Take Better Portraits
    • Understanding Light for Better Portrait Photography
    • Tips for Doing Natural Light Headshots and Portraits
    • 3 Reasons to do Headshots with Natural Light
    • A Beginners Guide to Taking Portraits of Elderly Clients: Part 2 – Lighting and Posing
    • How to Create Stunning Wide-Angle Portraits (Using an Off-Camera Flash)
    • Tips for Making the Most of Morning Light for Portraits
    • 5 Ways to Use a Beauty Dish Light for Portraits
    • Beginners Tips for Sunrise Portraits : Part I
    • Getting to Grips with Fill Light in Portrait Photography
    • How to Use Flash for Night Portraits
    • What Size Beauty Dish is Right For Your Portrait Photography?
    • How to Create Catch Lights in Your Natural Light Portraits
    • Tips for Using Golden Hour Light for Portraits
    • Side-by-side comparison between reflectors and diffusers for portraits
    • 6 Tips for Taking Better Natural Light Classic Portraits
    • How to Use a Small Softbox With Your Flash to Transform Your Portraits
    • Simple Tips for Positioning Your Portrait Subject to Leverage Natural Light
    • The Importance of Shadows in Portrait Photography
    • So You Have No Model? Here are Ways to Practice Your Portrait Lighting With Toys
    • How to use Colored Gels to Create Unique and Creative Portraits
    • 3 Steps to Professional Looking Headshots Using One Flash
    • How to Use Two LED Lights to Achieve Moody Portraits
    • Made in the Shade – Why Taking Portraits in the Shade Can be Ideal
    • What Is Good Light? (And How to Use It for Beautiful Portraits)
    • How to do Accent Lighting for Portraits
    • Tips For Great Indoor Portraits Using Natural Light
    • 5 Reasons for Doing Natural Light Portraits
    • Review of the Westcott Eyelighter for Headshots and Portraits
    • How to Use Angle of Light in People Photography for Added Punch
    • High Speed Sync Versus a Neutral Density Filter to Overcome Bright Sunlight in Portraits
    • 5 Creative Portrait Lighting Tricks Using Only Phone Light
    • How to Use Off-camera Flash to Fix Lighting Problems for Outdoor Portraits
    • How to Create Awesome Portrait Lighting with a Paper Bag an Elastic Band and a Chocolate Donut
    • Tips for Using Speedlights to Create the Right Lighting for Outdoor Portraits
    • How to use a Gobo to add Depth to Your Portraits with Subtractive Lighting
    • How to Use Hard Lighting to Create a Dramatic Portrait
    • Portrait Comparison – Flash Versus Natural Light
    • Stealing Light – Using Street Lights for Portraits
    • Five Places for Perfect Natural Portrait Lighting
    • How to See the Light for Portraits: A Quick Tip for Beginners
    • Shooting with Available Light – Lifestyle Portraiture
    • 5 Ways to Light Your Christmas Tree Portraits This Festive Season
    • A Simple Lighting Technique for Couples Portraits
    • Awash In Light: High Key Portraiture
    • A Portrait Lighting Project for a Rainy Day
    • Simple Portrait Lighting Setup: Gorgeous Result
    • How to Achieve Great Portraits with Window Light
    • A Simple Exercise on Working with Natural Light in Portraits
    • Small Flash Portraits on Location with Adorama TV
    • Portraits on an Overcast Day? Use a Reflector
    • Tips for Using Flash for Beach Portraits
    • How to Find and Use Natural Reflectors for Portraits
    • How to Create Dramatic Portraits with Shadow Photography
    • Tips for Portrait Photography in Overcast Weather
    • How to Photograph People Outdoors Without Using a Reflector
    • How To Use an Outdoor Studio for Natural Portraits
  • POSING
    • Female Poses: 21 Posing Ideas to Get You Started Photographing Women
    • Glamour Posing Guide: 21 Sample Poses to Get You Started
    • Posing Guide: 21 Sample Poses to Get You Started with Photographing Men
    • Good Crop Bad Crop – How to Crop Portraits
    • How to Pose and Angle the Body for Better Portraits
    • Posing Guide: 21 Sample Poses to Get You Started with Photographing Groups of People
    • Posing Guide: 21 Sample Poses to Get You Started with Photographing Couples
    • Your Guide to the Best Poses for Engagement Photos
    • How to do Gentle Posing: A Collection of Prompts to Get You Started
    • Tips for Posing Large Families and Groups
    • How to Pose People for Headshots
    • Tips for Posing People in Outdoor Portraits
    • 20 Tips for Getting People to Smile in Photos
    • How to Avoid Fake Smiles in Your People Photography
    • Tips for Posing Muscular Female Body Types
    • Your Posing Guide for Maternity Sessions
    • Handiwork: How to Pose Hands
    • Your Guide to Posing Bands in Photography
    • Posing Tip for Portraits – Which Way Should Your Subject Lean?
    • Posing Tips – Waistlines, Thighs and Bustlines
    • 3 Posing Tips for Young Siblings
    • What Everybody Ought to Know About Posing for Portraits
    • Poser: Achieve Perfect Portrait Expression
    • Capturing Better Portraits Between Poses
    • A Posing Technique from A Girl With a Pearl Earring
    • Tips for Posing Men
  • COMPOSITION
    • 6 Types of Portrait Backgrounds for Creative Images
    • 6 Tips for Perfect Composition in Portrait Photography
    • How to Find Great Backgrounds for Outdoor Portraits
    • How to Make Colors Pop in Your Portraits – Without Using Photoshop
    • How to Use Foreground Framing to Improve Your Portrait Photography
    • How to Use Negative Space in People Photography
    • 3 Simple Ways to Use Framing and Layering in Portraits
    • Is Portrait Formatting always best for Portraits?
    • Portrait Tip: Don't Fill the Frame
    • How to Use Portrait Angles More Creatively: A Visual Guide
    • How to Use Facial View and Camera Angle to take Flattering Portraits
  • GEAR
    • Comparing a 50mm Versus 85mm Lens for Photographing People
    • Comparing a 24mm Versus 50mm Lens for Photographing People
    • 3 Tips for Taking Portraits with a Kit Lens
    • Best Fujifilm X-Series Kit for Urban Portraits
    • 3 Ways to Get Killer Portraits Using a Tripod
    • Photographing Portraits with Classic Lenses (includes Example Images)
    • Portrait Photographers: Do You Really Need a 70-200mm Lens?
    • Essential Portrait Photography Gear You Need When Starting Out
    • Portable Portrait Studio in a Bag: Now You Can Take Portraits While on the Road
    • How to Choose the Perfect Portrait Lens
    • Which 50mm Lens is Best for Portraits?
  • ADVANCED GUIDES
    • 13 Tips for Improving Outdoor Portraits
    • Create Beautiful Indoor Portraits Without Flash (NSFW)
    • 10 Tips for Photographing Great Headshots
    • 3 Simple Ways to Create Stunning Eyes in Your Portrait Photography
    • 11 Tips for Photographing High School Senior Portraits
    • Tips for Doing Fall Portraits
    • 6 Tips for Photographing Large People
    • 7 Tips for Black and White Portrait Photography
    • How to Create Environmental Portraits (Tips and Examples)
    • Capturing Unenthusiastic Teens: Forget the Perfect Pose and Get Photos You Truly Love
    • Tips for Taking the Torture out of Extended Family Portrait Sessions
    • Self Portrait Photography Tips
    • What the Mona Lisa Can Teach You About Taking Great Portraits
    • 5 Tips for Musician Portraits (So You Can Hit All the Right Notes)
    • 5 Tips to Help You Take More Natural Looking Portraits
    • 15 Tips for More Powerful Portraits
    • How to Create Dramatic Portraits in Your Garage
    • 9 Tips that Make Couples Happy During a Portrait Session
    • 5 Tips for Taking Better Portraits in Nature
    • Snow Portrait: Behind the Scenes
    • Tips for Creating Dance Portraits
    • How to Take Better Beach Portraits at Any Time of Day
    • The Introverts Guide to Photographing People
    • 6 Ways to Take a Candid Portrait of Somebody You Know
    • 3 Body Language Hacks to Improve Your Portrait Photography
    • 5 More Tips for Making Better Black and White Portraits
    • Tips for Planning and Capturing a Creative Portrait
    • 5 Tips for Creating Romantic Portraits of Couples
    • 10 Tips to Create Emotive Portraits
    • 7 Tips for Photographing a Bridal Portrait Session
    • 3 Lessons I Learned by Doing a Self-Portrait Project
    • The Ultimate Guide to Photographing People for the Shy Photographer
    • Tips for Getting Yourself to Relax as a Photographer and Have More Successful Portrait Sessions
    • Tips for Taking More Natural Engagement Portraits
    • 6 Tips for Better Portraits on Location
    • 7 Ways to Take Advantage of Autumn in Your Portrait Photography
    • 7 Tips and Etiquette for Taking Portraits in Public
    • How to Make a Unique Portrait in the City at Night
    • 3 Tips for Creating Outstanding Portraits, Inspired by the work of Dutch Artist Van Gogh
    • 5 Keys to Taking Beautiful Maternity Portraits
    • Photographing People: To do Styled Portraits or Not?
    • 7 Steps to Capturing Truth in Your Portraiture
    • Engagement Portrait Shoots: 7 Professional Tips to take your Engagement Shoots to the Next Level
    • Personalities and Portraits – and Getting Them to Mix
    • 3 Reasons to Have Your Own Portrait Taken
    • 5 Tips for Photographing Portfolio-Worthy Costume Portraits
    • 3 Critical People Skills Portrait Photographers Need
    • The Essence of Masculinity – Portraits of Men
    • 5 Corporate-Style Portrait Techniques
    • 5 Tips for Doing Portrait Photography in Busy Locations
    • Tips for Great Beach Sunset Portraits
  • CREATIVE TECHNIQUES
    • How to Create Portraits with a Black Background
    • How Using Props in Portraits Can Make Your Photos More Interesting
    • How to Take Unique Crystal Ball Portraits
    • How to Create a Hollywood Film Noir Portrait
    • How to Create this “Fight Club” Inspired Portrait using One Light
    • Dragging the Shutter for Creative Portraits
    • 5 Secrets for Creating Perfect Silhouette Portrait Photography
    • How to do Tilt-Shift Portraits
    • Copper, Prisms, and Orbs, Oh My! – 3 Creative Techniques for People Photography
    • Portrait Tip: Add Interest and Movement into Your Shots with Wind
    • Glitter Portrait: How I Took It
    • How to Create a Unique Bokeh Portrait for Under $ 10
    • 5 Ways to Use a Piece of Glass for Unique Portraits
    • Room with a View: How to Create this Window with Blinds Portrait Anywhere
    • 7 Steps to Perfect White Portrait Backgrounds in the Studio
    • How to Make Unique Portraits Using Light Painting
  • POST-PROCESSING
    • 11 Steps for Basic Portrait Editing in Lightroom – A Beginner’s Guide
    • Five Common Portrait Retouching Mistakes to Avoid
    • How to Create a Dramatic Cinematic Style Portrait Using Photoshop Color Grading
    • How to Edit Corporate Headshots in Lightroom
    • How to Create a Dark and Moody Rembrandt-Style Portrait In Lightroom
    • How to Retouch a Portrait with the Adjustment Brush in Lightroom
    • Photoshop: Red Eye Fix for Difficult Cases in People and Pets
    • 3 Steps to Photoshop Retouching for Natural Looking Portraits
    • How to do Frequency Separation Portrait Retouching in Photoshop
    • Basic Portrait Post-Processing Workflow Tips to Help You Save Time and Stay Organized
    • How to Add a Grunge Effect to Your Portraits Using Lightroom
    • How to Create Twinkle Lights for Christmas Tree Portraits in Photoshop
    • How to Enhance Portraits Using Gray Layers to Dodge and Burn in Photoshop
    • How to Blur the Background of a Portrait Using the Magnetic Lasso Tool in Photoshop
    • How to Use Photoshop Blending Modes for Fine Art Portraiture
    • Stylized Techniques for Editing Portraits Using Lightroom
    • How to Make a Bubble Portrait using Photoshop CS3
    • Creating a Black and White High Contrast Portrait Edit in Lightroom
    • How to Create a “Soft Portrait” Preset in Lightroom 4
    • Basic Photoshop Tutorial – How to Add Creative Overlays to Your Portraits
    • 3 Essential Photoshop Tools for New Portrait Photographers
    • How to Make Creative Lightroom Develop Presets for Portraits
    • 5 Reasons to Use Lightroom for Portrait Retouching
    • Advanced Portrait Retouch on a Male Subject in Lightroom 4 – Part 1 of 3
    • 3 Ways to Make Selective Color Portraits Using Lightroom and Silver Efex Pro 2
    • Correcting For Under Exposure and Boosting Dynamic Range with an Environmental Portrait in Lightroom 4
    • How to do Portrait Retouching With Luminar
    • Tips for Portrait Processing with ON1 Photo RAW 2018.5
    • 5 Tips to Cut Your Portrait Editing Time in Half
  • BUSINESS
    • Portrait Consultations: Two Questions That Make A Big Difference
    • How to Shoot a Self Portrait to Support your Brand Identity
  • INSPIRATION
    • 5 Examples of Beautiful Simple Portraits
    • DISCUSS: When you Photograph People in Black and White, you Photograph their Souls
    • 21 Inspirational Natural Light Portraits
    • 24 Photos of Perfectly Posed Portraits
    • 19 More Creative Mirror Self Portraits
    • 18 Stunning Self Portraits
    • Interview with Fine Art Portrait Photographer Bill Gekas
    • 11 Influential Portrait Photographers you Need to Know
    • Black and White Portraits a Set of Images to Admire
    • Nadav Kander on Portrait Photography [VIDEO]
    • 21 Spooky Portraits
    • Inspiring Portraits of Women – a Collection of Images
    • 12.5 Years of Daily Self Portraits [VIDEO]
    • Interview with Self Portrait and 365 Photographer – Anna Gay
    • Triptych Portrait Series
    • 8 Striking Portraits from Photograph Einar Erici [Shot in 1930]
    • An Interview With Underwater Portrait Photographer Sacha Blue
    • Masters of Photography – Yousuf Karsh Portrait Photographer
    • 21 Fun Images of People Laughing
  • RESOURCES
    • Portrait Photography: Secrets of Posing & Lighting [Book Review]
    • The Luminous Portrait: Book Review
    • The Portrait Photography Course by Mark Jenkinson – Book Review
    • The Perfect Portrait Guide – How to Photograph People – Book Review
    • Improve Your Portraits with these Courses from Ed Verosky
    • People Photography and Portraits: Best Resources Toolbox

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The post 10 Essential Things to Think About for Portrait Photography appeared first on Digital Photography School. It was authored by Darlene Hildebrandt.


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Scoring explained: Why we think the Fujifilm GFX 100S’ peers are cameras half its price (NOT the Sony a1)

23 May
I’m, at best, a keen enthusiast photographer but the GFX 100S’ strengths are all in areas that benefit the kinds of photos I like to take (everyday scenes, landscape, portraiture), whereas the a1’s aren’t: its speed would be utterly wasted on me.

The GFX 100S is one of the highest-end cameras we’ve ever reviewed, which has the effect of making it a difficult camera to review. I wanted to write a little bit about that challenge, why we compared it with full-frame cameras, and yet didn’t compare it to others.

The main difficulty of reviewing a medium-format camera is that there’s a class of wildly expensive, essentially pro-only camera bodies beyond it, that we don’t cover. And, while Phase One has been kind enough to lend us some cameras and digital backs in the past, I wouldn’t claim to have used them enough to form an opinion worth publishing. It could be argued that without testing it in a series of studio shoots, it’s not really practical to form an opinion worth publishing.

The GFX 100S seems pricey when compared to most full-frame cameras but is comparatively affordable for something offering beyond full-frame image quality.

It’s a similar challenge with the more ambitious video gear we’re starting to encounter. Obviously the world of ALL CAPS cinema cameras from ARRI and RED exists beyond the more accessible likes of the Sony FX3 and Panasonic S1H, so how can we put the more affordable models in context? How can you review them properly?

The clue both for ‘affordable’ medium-format and video-focused hybrids, is that they’re at the upper extreme what we test. In other words, they’re the option you might reach for, if you go beyond the level of gear we usually cover. And, in turn, that explains why we tend to compare them to the level of gear below: because that’s the alternative you might otherwise settle for.

The comparative accessibility of the GFX 100S means it’s likely that some photographers who’d otherwise buy something like a Canon EOS R5, Sony a7R IV or Nikon Z7 II might consider stretching their budget to get one. At which point, it’s important that our review makes sense of the difference.

So why didn’t we compare it with the Sony a1 if we’re comparing it to full-frame cameras?

It’s understandable why some people draw parallels between the Fujifilm GFX 100S and the Sony a1. For a start, they were released at a similar time, so the earlier camera will have still been very fresh in the mind when the second was launched. Also, both cameras cost a similar amount of money. Finally, they’re both cameras that try to offer something beyond the latest fast-ish high resolution full-frame models. So why, if it makes sense to compare both with the likes of the Canon EOS R5, aren’t we comparing them to each other?

The Canon EOS R5 is high res, fast, and a pretty capable video camera. You have to spend a fair amount more money to get something significantly more capable. The Fujifilm and Sony offer very different types of ‘more.’

Quite simply because, while all the above is true, the comparison falls apart as soon as you look at precisely what they offer over high-res full-frame. The a1 offers speed (of both shooting and autofocus), along with 8K video and photojournalist-friendly communication options. The GFX 100S offers resolution and image quality in a way that is likely to delight landscape shooters and studio-based pros. There’s no real overlap in the things they offer over the more affordable cameras.

There’s no real overlap in the things they offer over the more affordable cameras.

The context for each camera is also rather different. Whereas $ 6500 is fairly typical for a flagship sports camera, it’s comparatively inexpensive for a medium-format camera offering a step up in image quality.

It’s easy to argue that the a1 is the more impressive technological achievement: its cutting-edge sensor raises the level of what mirrorless cameras can do (at least until we’ve seen what Nikon and Canon’s Stacked CMOS cameras are capable of). And it’s a project with no obvious corner cutting: none of the stripped-down video capabilities of the a9 series, for instance. By contrast, the GFX 100S has been reworked by the engineering and marketing departments to make the original GFX 100’s capabilities accessible to a wider audience.

In addition to speed of shooting, speed of AF and impressive video, the a1 offers a range of pro-friendly features, including an Ethernet connection.

Which is why, as hard as we’ve tried to make our scoring system coherent across categories, you can’t just look at the numbers and say ‘the Sony scored 3% more, and hence is better, without qualification, than the Fujifilm’. It’s a level of nuance that is never going to be conveyed by a single number (or a single number and an award).

Instead our reviews spell out the basis on which the conclusion was drawn. The ‘How it compares…’ section of our reviews lists what we believe a camera’s peers to be, and why. We then explicitly detail the pertinent real-world differences after the conclusion.

Reviewing always gets more difficult when it comes to extremes of price and performance, which is why we try to contextualize how these exotic outliers compare to the more affordable options. Because ultimately, our job is to provide a basis from which people can make informed decisions (whichever way they decide), not to award bragging rights.

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Why Your Kit Lens Is Better Than You Think (With 18-55mm Examples)

22 Mar

The post Why Your Kit Lens Is Better Than You Think (With 18-55mm Examples) appeared first on Digital Photography School. It was authored by Andrew S. Gibson.

why your kit lens is better than you think

If you’re like most photographers, your first “serious” camera came with a kit lens, probably a standard, 18-55mm option.

But is a kit lens worth keeping? Is it capable of taking great images? Or should you immediately upgrade to a more expensive option?

That’s what I aim to address in this article.

I’m going to show how a kit lens, despite its shortcomings, can get you stunning images (and I give plenty of examples along the way!). I’m also going to give you a few quick tips for working with an 18-55mm lens.

Let’s dive right in.

Is a kit lens bad for photography?

Most kit lenses are, by nature, inexpensive (a polite way of saying cheap).

And that’s understandable – manufacturers are in competition with one another and they keep the prices of their camera bundles down by creating inexpensive kit lenses. A kit lens will get you started, and you can buy other, better-quality lenses when you outgrow it.

But if kit lenses are cheap, does that mean you should go out and buy a better lens straight away?

No, it doesn’t. No matter what anyone says, or how much you lust after expensive glass, your kit lens is a great way to get started with serious photography. If you’re in a position where you can’t afford to buy another lens, or you simply just don’t know which lens to buy, don’t sweat it. You’ll be surprised by what you can do with your kit lens once you know how to get the best out of it.

Don’t believe me?

Then check out this blog post by Jingna Zhang – a professional fashion and editorial photographer. She’s good, and she got her start with an EOS 350D and the 18-55mm kit lens that came with it. The quality of images she created with that camera and kit lens is very high. Take a look, and you’ll see what I mean.

Her article resonated with me because I got started with the same camera and lens combination. I didn’t know what lenses to buy for my camera, so I decided to stick with a kit lens and took it with me on a trip to South America.

I soon realized the lens wasn’t a great one; thankfully, it has been discontinued, and Canon sells a much better kit lens with its entry-level cameras.

However, despite the relatively poor image quality, some of the photos I took with that lens were good enough for publication. I illustrated my first published article, a piece in Practical Photography, with photos taken using the kit lens:

Kit lens better than you think magazines

And several more of the photos were published in other photography magazines. My Canon 18-55mm wasn’t the world’s best lens, but it was good enough to get me started (and the Practical Photography article was a turning point for me because it helped me believe I could make it as a writer).

Getting the best out of your kit lens

So how do you get the best out of a kit lens? My approach is to think of it as two lenses in one.

If you have a kit lens that ranges from 18mm to 55mm (the standard kit lens focal length), then treat it as an 18mm lens and a 55mm lens in one body.

The 18mm is a moderate wide-angle lens that is great for landscapes, architecture, and environmental portraiture. The 55mm end makes for a short telephoto lens, ideal for compressing perspective when taking portraits or closing in on small details.

That doesn’t mean you can’t use the middle focal lengths, and there are times when you can’t avoid them. But by sticking with the short and long end of the lens, you will learn how those focal lengths behave.

After all, lenses are the “eye” of your camera system, and your photos will improve as you learn the characteristics of each focal length.

Some kit lenses also have another useful feature: image stabilization.

(Note that image stabilization is Canon’s term, while Nikon calls this vibration reduction.)

Image stabilization lets you take photos at slower shutter speeds than would otherwise be possible. So theoretically, you could hand-hold the camera, set the focal length of the lens to 18mm, drop the shutter speed, and take a photo without camera shake – even at 1/4s or even 1/2s.

That’s awesome for low-light shooting, and it lets you explore the creative potential of taking photos in the evening or at night.

Your kit lens as wide-angle glass (18mm)

The photos below were taken at the 18mm end of my kit lens.

You can see how I got in close to the subject, sometimes even tilting the lens backward to take advantage of the effect of the converging verticals.

statue photographed with a kit lens
geyser taken with a kit lens

Your kit lens as short telephoto glass (55mm)

These photos were all taken at the 55mm end of my kit lens.

They have a completely different quality, thanks to the compressed perspective and limited depth of field.

Kit lens better than you think mailboxes
Kit lens better than you think child portrait
Kit lens better than you think statue close up

Shortcomings of kit lenses

As you now know, your kit lens is probably a better lens than you originally thought.

That said, kit lenses aren’t incredible, and they do have several shortcomings. At some point, you will bump up against these limitations.

(Running into limitations is not a bad thing. It simply indicates that you’re at the stage where a different lens will help you take better photos.)

These are the main drawbacks of kit lenses:

Limited focal length: You may find that even the 18mm end of your kit lens is not wide enough for the photos you’re after. In that case, it’s time to start thinking about buying a new (even wider) wide-angle lens.

On the other hand, if you find that the 55mm end doesn’t get you as close as you would like to your subject, then you need a telephoto lens. This may happen if you’re interested in photographing wildlife or sports, for example.

Slow autofocus: The autofocus on kit lenses tends to be slower and noisier than autofocus on more expensive lenses. If the autofocus performance of your kit lens is holding you back, it may be time to upgrade.

Narrow maximum aperture: Kit lenses are slow lenses. In other words, they don’t have a wide maximum aperture. The reason is simple: the wider the maximum aperture, the larger the lens body and lens elements required, which pushes up manufacturing costs. So kit lenses are made with relatively small maximum apertures to keep the price down.

The maximum aperture at the 55mm end of most kit lenses is around f/5.6. If this isn’t wide enough, you can buy a zoom that covers the same focal length with a maximum aperture of f/4 or f/2.8, or a 50mm prime lens with a maximum aperture of f/1.8 or wider. The wider apertures on these lenses will help you take photos in low light or use a shallow depth of field creatively.

Subpar build quality: Kit lenses tend to be pretty plasticky, so if you often knock your camera around or shoot in bad weather, then you may need a better-built option. The top lenses in each manufacturer’s range have metal bodies, metal mounts, and weatherproofing.

Why your kit lens is better than you think: conclusion

Kit lens better than you think 18-55mm

Kit lenses have a bad reputation, but they’re actually pretty great for beginner photographers.

So don’t feel you need to upgrade the moment you purchase a camera. Recognize that your kit lens can take stunning photos – as long as you know how to use it well!

And just have fun playing with your kit lens and experimenting.

Now over to you:

Do you use a kit lens? If so, what do you think of it? Are you pleased with it? Do you plan to upgrade? Share your thoughts (and images) in the comments below!

The post Why Your Kit Lens Is Better Than You Think (With 18-55mm Examples) appeared first on Digital Photography School. It was authored by Andrew S. Gibson.


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I think most “creatives” can relate:

05 Jun

A great quote from Sebastian Marshall:

I don’t differentiate between work and play. I think my time is spent in either excellent, good, okay, or bad fashion. If too much of my time is just “okay” or “bad” – I’m doing something wrong

I think most freelance photographers, painters, writer, and pretty much anyone in a non-“standard” 9-5 job can relate.  Kinda reframes the whole “wasting time” thing – instead of trying to stop wasting time, just aim to increase the amount of time spent in excellent fashion!

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Panasonic interview: ‘If we stay united I think we will survive’

18 Feb

Yosuke Yamane, Director of Panasonic’s Imaging Business Division, pictured at the Consumer Electronics Show in Las Vegas, in January.

At last month’s Consumer Electronics Show in Las Vegas we sat down with Yosuke Yamane, Director of Panasonic’s Imaging Business Division, to discuss market reaction to the S1-series, full-frame strategy and the state of the L-mount alliance.


How have the S1 and S1R performed in the market?

It fluctuates month by month, but in the $ 3,000 / €3,000 price range, we have gained roughly a 10% market share, globally. That was the result we were hoping for.

With the S1 and especially the S1R we were targeting high-end customers in the full-frame market. Over the past eight months we’ve been able to penetrate that market and we are satisfied with the sales, so far.

We’ve had great reviews from magazines and websites, and we just won the Gold Award at the prestigious Camera Grand Prix, in Japan. Only one camera can be selected as best camera in a year, and we got the number one award. We’ve been in the industry for twenty years and this is the first time we won the Grand Prix award, so we’re very satisfied.

What kind of differences are you seeing between the kinds of people buying the S1 versus the S1R?

With the S1R, we were targeting high end stills photographers, whereas with the S1 we were targeting both video and stills customers. So-called ‘hybrid’ photographers. And the customers who are purchasing the S1R are mostly stills photographers, whereas S1 customers are shooting both video and stills.

These days a lot of professional photographers are stepping into the videography area, and we want to support those photographers with the S1.

Do you have any idea of how many S1 purchasers have paid for the SFU2 video firmware upgrade?

The S1 outsells the S1R, and roughly speaking, probably 20-30% of S1 customers are purchasing the SFU2 for the upgraded video customers.

The Panasonic Lumix S1 is a 24MP full-frame camera aimed at enthusiast photographers and videographers. Unsurprisingly, it has out-sold the more expensive S1R, but it’s interesting to learn that up to a third of buyers have paid for the SFU2 upgrade, which adds video features.

What kind of people are buying the S1H?

Videographers and cinematographers, as we expected.

Panasonic already has a range of high-end dedicated video cameras – what specific need was the S1H designed to meet?

These days, more and more filming is done using drones and gimbals. The S1H is designed to be more flexible for those [kinds of] unique requirements.

Where do you see the biggest opportunities for Panasonic, in the next few years?

We believe that our video features are one or two steps ahead of our competitors, and we have an advantage there. For example, with the S1H which we released a few months ago, the sales performance is exceeding our original expectations. But the video performance of the S1H was designed to meet the needs of high-end videographers and cinematographers, so for amateur or hobby videographers, the S1H may be over-specced.

Our video features are one or two steps ahead of our competitors

We believe that what the market is telling us is that in the near future, all those video features should be available from high-end to enthusiast-level videographers. That’s the demand that we need to meet.

Do you see more long-term opportunity in the full-frame market, compared to Micro Four Thirds?

One advantage of Micro Four Thirds is the deep depth of field. Which is also good for video. With that unique feature, we want to support both stills and video photographers. Whereas big sensor cameras have a shallower depth of field, which suits different requirements. Those two categories [of needs] are different, and we satisfy both.

We want to target different customers, and we will keep developing cameras for both categories – full-frame and Micro Four Thirds.

The S-system consists of some very high-quality cameras and lenses, but the current lineup includes some seriously chunky products – especially lenses. According to Mr Yamane, customers are asking for smaller products.

The fact is that the full-frame camera market in the US is expanding rapidly. But as you know, full-frame sensors are 4X bigger than Four Thirds, which means that the lenses also need to be big. Which means that [our] full-frame camera system, even though it’s mirrorless, is bigger than Micro Four Thirds. We believe that the two categories can co-exist. That’s why we keep pursuing both [product lines].

Some manufacturers, as you know, are making very small lenses, compatible with full-frame, but we think that to do this, they needed to sacrifice lens quality to a certain extent. That’s how they are able to make them so small. That means that those lenses are not fully utilizing the benefits of the full-frame sensor. When it comes to Micro Four Thirds, we can fully utilize the benefits of the sensor, and we believe that as a combination, the overall quality of Micro Four Thirds can be very good.

Which countries generates the biggest sales of full-frame, and Micro Four Thirds products respectively?

There’s not much difference, country by country, in terms of percentage of sales.

Panasonic now supports two interchangeable lens systems – Micro Four Thirds and L-mount – but they’re not directly cross-compatible. You’ve told me before that Panasonic will not create an APS-C lineup – is that still the case?

As of now, we have no plans to enter the APS-C market, because we know that Micro Four Thirds and full-frame can coexist without any cannibalization.

Promoting the L-mount alliance is very important for us because it gives our customers confidence in the [mount] over the coming years

If we moved into APS-C, there might be some overlap between Micro Four Thirds and APS-C, and between APS-C and full-frame, so I don’t think we’ll go in that direction.

What is your strategy to attract entry-level photographers to full-frame?

As you know, we have an alliance with Leica and Sigma. Between the three manufacturers, there are 47 lenses available. We think that with this combination of different cameras from the three manufacturers, and lenses, from the high-end to the mid-class, we are starting to satisfy entry-level to enthusiast users.

So you don’t mind if an entry-level customer comes into the L-mount via a Sigma or Leica camera?

Initially, we really wanted to appeal to high-end users, to show that we could make those high-end cameras. To prove the quality of our cameras. In the future, we’re going to introduce mid-class, and different ranges of cameras.

But those future cameras will still be full-frame?

Yes. Two different [L-mount systems] would be too much for us!

What are the most important priorities for evolving the S1 lineup, in the future?

Overall, we’ve had a lot of appreciative comments from high-end users. What’s hindering us in the lower-end segment is size, weight and price. So we need to understand those obstacles, and we’re considering the development of new products in order to penetrate into a wider market.

The S1 (left) has a sensor 4X larger than the GH5S (right). According to Mr Yamane, if the company expanded its lineup of L-mount cameras to include APS-C models, this might risk cannibalizing sales of its Micro Four Thirds bodies.

How has your relationship with Sigma and Leica evolved over the course of your alliance?

We meet periodically to [maintain] our relationship, and right now we’re discussing how to expand the L-mount system. We need some new ideas to expand the system to a wider variety of customers. We cannot disclose details, but [at the moment] we’re discussing changes to the communication protocol between the cameras and lenses.

The number of members of the L-mount alliance may increase in the future

Promoting the L-mount alliance is very important for us because it gives our customers confidence in the [mount] over the coming years. So for example, we’ll have joint booth areas at tradeshows, and maybe in stores we’ll have touch and try opportunities for consumers to try the products from all of the alliance members.

What has been the most important or valuable aspect of your collaboration with Sigma and Leica?

With Leica and Sigma, we [hope to be] offering L-mount cameras forever. If you purchase a camera from another brand, you have to rely [solely] on that brand. But we are three, and because of that we can give our users the assurance that the L-mount alliance is not going to disappear.

Is there a risk that some of your competitors might disappear?

It may be hard for some manufacturers to survive in this difficult industry, but we are a combined team, and if we stay united I think we will survive. Please understand that this is purely hypothetical, but the number of members of the L-mount alliance may increase in the future.

Is this something that has been discussed?

There are no concrete ideas, but we wouldn’t pass up such an opportunity.

Late last year, Panasonic teased an 8K camera, and hinted that this technology might make it into the Lumix line. That may yet happen, but according to Mr Yamane, it won’t be for a while.

Can you share any more details of the 8K camera that was talked about at IBC? There was a hint that this technology might start being included in Lumix cameras after the 2020 Olympics.

At this time, the only 8K camera we have planned is for the Olympic games, which is only a few months away. Our feeling is that the 8K era is a little bit delayed. But we want to catch that opportunity and we haven’t given up our pursuit of 8K cameras.

So there are no immediate plans to introduce 8K capture into the Lumix line?

We will be ready for 8K soon, but we can’t tell you the timing. We need a little bit longer before we can introduce 8K cameras. It won’t be [in the very near future].


Editor’s note: Barnaby Britton

I enjoy speaking to Mr. Yamane, whenever I get the opportunity. Like Mr. Yamaki of Sigma (the two are friends) he is reliably candid, and has a firm grasp of the many challenges and opportunities facing Panasonic. No executive can be expected to reveal concrete plans for future products or projects, but Mr. Yamane’s hints at more (and smaller) S-series products, and possible changes to the L-mount data protocol are intriguing.

Also intriguing (but understandably couched in purely hypothetical terms) was Mr. Yamane’s comment that the L-mount alliance might expand, to incorporate more than three members. With so much of the full-frame market still in the hands of just three manufacturers (Canon, Nikon and Sony) it’s interesting to imagine other players joining up to the L-mount, but hard to imagine who they might be.

Olympus has said (repeatedly, and recently) that it has no interest in full-frame, which really only leaves Fujifilm and Ricoh. I very much doubt that Fujifilm would see much potential benefit from supporting a third mount, incompatible with either of its existing XF and GF systems, and with potential overlap, but Ricoh? You never know.

Mr. Yamane’s claim of a 10% share of the €3,000+ market, globally, counts as strong performance

Away from hypotheticals, the S1 and S1R have been on the market for a while now: long enough for Panasonic to get an idea of how they’ve been received. Anecdotally, neither model seems to be selling in huge numbers (at least not in the US or UK: the two territories in which I’ve recently had the opportunity to speak to staff in specialist camera stores) but Mr. Yamane’s claim of a 10% share of the €3,000+ market, globally, counts as strong performance from a new line.

Of those sales, it seems that the S1 has the larger share. This is unsurprising since a) it’s cheaper, and b) it’s more versatile, with a deeper video feature set. Interestingly, up to a third of S1 buyers have opted to pay for a firmware upgrade which upgrades the camera’s video features even further. Meanwhile, the S1H is (no surprise) attracting the attention of dedicated filmmakers.

Panasonic knows how to make great video cameras, and the videography market is clearly of key importance to the company. What’s most encouraging from talking to Mr. Yamane is that he believes great video should be available throughout his company’s product lineup – not simply in the flagship products.

And 8K? Well, it looks like we’ll have to wait a little longer for that.

Click here to read more in-depth interviews

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Minimalist Photography: A Powerful Medium That’s Not as Easy as You Think

05 Jan

The post Minimalist Photography: A Powerful Medium That’s Not as Easy as You Think appeared first on Digital Photography School. It was authored by Ana Mireles.

powerful-minimalist-Photography

Do you want to make more powerful minimalist photography? Then this is the article for you. Here, I’ll clarify what minimalism is, and more importantly, what is not. I’ll also give you some tips and tricks to improve your own images and share some quotes and links from the masters on the subject to get you inspired.

What is minimalist photography?

I find that some people use the term minimalism to describe a kind of photography, for example, when they are replying to what type of photography they do. That’s why it’s important to clarify that minimalism is a style of photography that you can apply to any genre of photography from landscape through to food photography.

Powerful minimalist photography

1/1000, f8, ISO 200

Actually, minimalism is a style that not only exists in photography but in everything from paintings through to design. It is even a way of life that has recently become popular. The one thing that minimalism has in common, no matter where you use it, is the idea that less is more. Because of this, the details are very important.

Know-how

While minimalism is simplistic in it’s visual aesthetic, it is not always easy to achieve. In fact, it can be more difficult because there’s really no place to hide. If it’s not a good photo, it will be fairly evident. One of the first rules of powerful minimalist photography is to isolate the subject and let the background be just that, a background. You can achieve this by using neutral backdrops or a shallow depth of field.

Image: 1/320, f11, ISO 400

1/320, f11, ISO 400

An isolated subject on a neutral background is not yet enough to qualify as minimalist because this description could include product photography from an e-commerce site and, of course, we are not talking about that.

So to achieve minimalism, you also have to give a message or emotion. Michael Kena, the great minimalist photographer says: “For me, approaching subject matter to photograph is a bit like meeting a person and beginning a conversation“.

Composition

You can use composition to give more impact to your image. There aren’t many elements in a minimalist image, so you have to be sure they are well-positioned and distributed correctly. You want to use composition to create a harmonic image and emphasize the subject. Always keep in mind the message and not just the aesthetics.

Composition for minimalist photography

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Using composition rules can really help you to master minimalist photography. Once you’re comfortable with them, keep experimenting because breaking the rules can sometimes be equally helpful.

Colors, shapes, and textures

You can try using only one color to emphasize the message or create an atmosphere and a feeling. There’s a long history in the arts about the cultural meaning and the psychological impact different colors have on the viewer. Use this to your advantage when doing minimalist images.

Urban powerful minimalist photography

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You can also go the other way and use bold, contrasting colors to create more compelling photographs.

Lea De Meulenaere said in an interview that she lives in a place that is not very colorful, so she does more profound research to use other characteristics of the minimalist style. Keeping this in mind, you can also use shapes and textures.

Constructing images

Minimalism can be found during long walks in the city for urban photography or nature for landscapes, but you can also construct it in still-life, food photography, advertising and other genres.

Image: 1/60, f11, ISO 400

1/60, f11, ISO 400

Some big brands like Disney or LG are using minimalism for their printed advertising. You can follow the creators of such campaigns on Instagram for inspiration. I particularly like Anna Devis and Daniel Rueda under the account name anniset.

Why you should give it a try

  • Trying new things will keep your photography improving. Going minimal doesn’t require you to buy any new equipment. You have nothing to lose and much to gain.
  • It will exercise your mind and creative process to give a clear and concise message with your images.
  • There’s such a big variety of minimalism that you can find your own. You can go about it as a meditative state or as a fun creative project. The choice is yours.

In conclusion

It’s not by chance that advertising is using minimalism. An image that clearly communicates what you want is something that stands out in between all the images we see every day. To make powerful minimalist photography is a skill that can take your work to the next level.

Powerful Minimalist photography monochrome nature

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Try it, practice it and most of all, enjoy it. Share with us your results in the comments section to get other readers inspired!

Want to read more about minimalist photography?

See these articles:

  • Tips for Minimalist Photography in an Urban Environment
  • Minimalist Photography ~ 4 Tips To Keep It Simple With A Maximum Impact
  • 21 Simple Images That Exemplify Minimalism
  • 4 Tips for the Minimalist Photographer
  • The Minimalist Landscape Photographer: What do you really need?
  • 5 Guidelines of Minimalist Photography to Help Improve Your Work
  • How to Embrace MINIMALISM for IMPROVED Landscape Photos
  • Tips for Achieving Minimalism in Photography

 

 

The post Minimalist Photography: A Powerful Medium That’s Not as Easy as You Think appeared first on Digital Photography School. It was authored by Ana Mireles.


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Think Tank Photo releases Digital Holster 150, a waist holster for super-tele zooms

28 Jun

Think Tank Photo has released the Digital Holster 150, a top-loading waist holster designed specifically for use with super telephoto zoom lenses.

Think Tank Photo says the holster was built to replace a backpack for times when you’ll only be carrying around one super telephoto zoom lens and an attached camera body. Like Think Tank Photo’s other holsters, the Digital Holster 150 is designed to be used with a belt system, such as the Pro Speed Belt V3.0 or other belt system.

The holster features an integrated seam-sealed rain cover, a front pocket that’s large enough to hold a 150mm lens filter, an internal pocket for memory cards or lens cloths and an attachment point for monopods or other modular components. There’s also an additional divider included so you can pack another smaller lens or accessory if your camera setup doesn’t require all of the internal space.

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Think Tank Photo has provided two example setups that would fit inside the Digital Holster 150:

• Nikon D5 with 200–500mm F5.6 VR II attached
• Canon 7D Mark II with Sigma 150–600mm F5–6.3 Sport attached

The Digital Lens Holster 150 is available to purchase from Think Tank Photo for $ 109.75.

Articles: Digital Photography Review (dpreview.com)

 
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Video: The Asus ZenFone 6 flip-camera module is more durable than you might think

21 Jun

The Asus ZenFone 6 comes with a rotating camera module that does away with the display notch and means there is no requirement for a front camera, as the main module can simply be rotated to point towards the front when required.

Asus says the camera module housing is extremely durable and the flip mechanism has been tested for 100,000 actuations. It also closes automatically when a drop is detected.

If this still isn’t enough to convince you that there’s no need to worry about the camera module’s durability, watch the video above. Zack from Youtube channel JerryRigEverything demonstrates how much abuse the ZenFone 6, and specifically its camera, can take…and it’s a lot.

Be warned though, the video does not make for easy watching. Zack pushes and pulls the rotating module, twists the hinges and even sellotapes various items to it in order to see how much weight the motor can lift.

The good news is that the Asus withstands all the abuse without any issues and motor, gears and the entire flip-mechanism keep working perfectly. In the video, you can also see the display and housing scratched and heated but most of the camera torture happens right at the beginning and from 5:17 in the clip.

Articles: Digital Photography Review (dpreview.com)

 
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Think Tank Photo’s Stash Master 13L is a modular travel cube for your camera gear

03 May

Think Tank Photo has announced the release of the Stash Master 13L, a travel cube designed to safely store camera equipment in a package that can be used on its own or added to any large backpack to instantly turn it into a camera bag.

Think Tank Photo specifically designed the Stash Master 13L so it was large enough to fit the ‘holy trinity’ of lenses — a 70-200mm F2.8, a 24-70mm F2.8 and a 16-35mm F2.8 (or equivalents — alongside a gripped camera body. While the internal baffles can be customized, it should be good to go out of the box to fit all three lenses, a camera body and a decent selection of accessories.

The travel cube is constructed of a 100D rip-stop nylon and features DWR coating to keep moisture away from camera gear. It features YKK RC-Fuse zippers a tuck away front flap with foam panel that can be removed in the event you want to keep the gear more accessible when the cube is stored inside a backpack.

On both the top and bottom of the camera bag are a pair of carrying straps and the side features webbing loops so a shoulder strap can be attached, making for a modular sling-style bag. Think Tank Photo also notes the bag is a perfect match for its recently-released BackLight Elite 45L backpack, where it can be stored inside for back-panel access.

Below are a few gear setup examples Think Tank Photo has provided for what can fit inside:

• One gripped DSLR with lenses attached up to a 70-200mm f/2.8 plus, 2–3 standard zoom lenses and a flash.
• Two ungripped DSLRs with lenses attached up to a 70–200mm f/2.8 and 1–2 standard zoom lenses.
• Two gripped mirrorless bodies with lenses attached up to a 70–200mm f/2.8 plus 3–5 additional lenses.

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The external dimensions of the travel cube are 31cm x 31cm x 19cm (12.2in x 12.2in x 7.5in), its internal dimensions are 30cm x 30cm x 18cm (11.8in x 11.8in x 7.1in) and it weighs just 400g (0.9lbs). The Stash Master 13L is currently listed on Think Tank Photo’s website for $ 59.99, but is labeled as ‘Out of Stock’ at the time of posting this article.

Articles: Digital Photography Review (dpreview.com)

 
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Think Tank launches MindShift BackLight Elite 45L backpack for outdoor photographers

01 May

Think Tank Photo has launched the new MindShift BackLight Elite 45L backpack for outdoor photographers. As its name suggests, the new BackLight bag features a 45-liter capacity; there’s space for both camera gear and a 17″ laptop and 10″ tablet. The backpack’s exterior includes attachment points for additional gear, including axes, skis or a snowboard, tripod, and ropes.

The BackLight Elite 45L is constructed from 420D rip-stop nylon (external) and 200D polyester (internal), as well as high-performance Sailcloth, 350G and honeycomb airmesh, nylon webbing, YKK AquaGuard zippers, and more. Think Tank describes the backpack as ‘storm-resistant.’

Features include an internal aluminum frame, lumbar padding, waist belt, foam ventilation ridges, and a quick-dry back panel. The BackLight Elite likewise sports a waterproof heavy-duty tarpaulin base, space for a hydration reservoir, back and top panel access, two water bottle pockets, and front pockets offering a total of 17 liters of space.

The company provides the following examples of possible gear packs that the backpack can accommodate:

  • Nikon D3S attached to 70–200mm f/2.8, SB-910 Speedlight, 105mm f/2.8 Macro, Sigma 35mm f/1.4 ART, 50 f/1.4, Filter Nest Mini, 24–70mm f/2.8, 14–24mm f/2.8
  • Canon 1DX attached to 70–200mm f/2.8, GoPro Hero 5, DJI Mavic Pro, Mavic Controller, 24–70mm f/2.8, 16–35mm f/2.8, 90mm f/2.8 TS-E
  • Sony A7R II attached to 24–70mm f/2.8 GM, GoPro Hero 5, DJI Mavic Pro, Mavic Controller, Filter Nest Mini, A7R II attached to 16–35mm f/4
  • Holds a gripped Nikon DSLR and a 600mm f/4 FL ED VR 70–200mm f/2.8 GM, 90mm f/2.8 Macro
  • Canon 1DX attached to 24–70mm f/2.8, GoPro Hero 5, 85mm f/1.8, 90mm f/2.8 TS-E, 1DX attached to 16–35mm f/2.8, 70–200mm f/2.8, 2x Teleconverter
  • Nikon D3S attached to Sigma 150–600mm f/5-6.3 Sport, SB-910 Speedlight

The BackLight Elite 45L backpack is available from Think Tank Photo now for $ 399.99 USD.

Articles: Digital Photography Review (dpreview.com)

 
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