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Perspective in Photography: 4 Vantage Points for Unique Compositions

18 Aug

The post Perspective in Photography: 4 Vantage Points for Unique Compositions appeared first on Digital Photography School. It was authored by Katie McEnaney.

perspective in photography: 4 different vantage points to try

As photographers, we often fall into the bad habit of shooting everything we see from eye level.

We walk around, something catches our attention, and we take a picture – right from where we are standing, without bending down, moving to the side, getting up high, etc.

(Sound familiar?)

But if you want to create stunning, eye-catching, original compositions, you need to get out of your eye-level (or tripod-level) rut. You need a change in perspective.

And that’s what this article is all about. I’m going to give you several easy tips for working with perspective in photography. By the time you’re done, you’ll be ready to bend, climb, move, and contort like a pro.

Let’s get started.

1. Get low

The easiest way to change your perspective for dramatic impact?

Get down low.

I use this all the time in my own photos, and it’s a favorite trick of many professional shooters. A low angle presents the world from a completely different point of view, one where the viewer feels small and the rest of the world looms large:

wide-angle leaves from low down perspective

So get your camera down toward ground level, and see how it impacts your perspective. Don’t be afraid to lie flat in the grass, soil, or mud; you might get dirty, but it’ll be worth it!

Also, quick tip: Getting down low allows you to emphasize the foreground of your composition. You can use a wide-angle lens to feature foreground elements, which will then pull the viewer right into the image. Take another look at the shot above; do you see how the leaves act as a foreground anchor, guiding the viewer into the image and toward the background tree?

A low perspective can also change the way your viewer feels about or reacts to your subject. Getting low can make your subject appear taller or more imposing. Subjects viewed from below can look commanding and powerful. Even a simple sunflower can seem to tower above its surroundings:

Plus, a low angle can completely disorient your viewer. This near water-level shot (below) becomes a study in color and texture, as the water and the fallen autumn leaves interact with each other. From eye level, this would simply have been a photograph looking down into a storm gutter. But getting low simplified the composition, providing the viewer with a startlingly unique perspective.

2. Get up high (and shoot downward)

Shooting from up high does the opposite of getting down low. Instead of making the viewer feel small and the subject loom large, a high perspective makes the viewer feel huge and the subject look tiny:

tourists looking at an iceberg from a ship

Notice how the high vantage point gives the photo a sort of “giant looking down into a toy world” perspective? Photographers love to use this angle when shooting objects that are actually very large (e.g., mountains, icebergs, trees). It creates an interesting juxtaposition between what the viewer believes about the subject (i.e., that it’s huge) and what the viewer actually sees (i.e., it’s tiny).

Getting up high is also a great way to emphasize geometry – the lines, circles, squares, and dots that make up the scene. So if your subject is very graphic, with lots of obvious lines and curves, try a high vantage point; it’ll likely work well.

Unfortunately, a high perspective comes with a major issue:

Getting above a subject is not an easy task. It often requires a lot of creativity, and there are times when it just won’t work. Here are a few methods of getting up high (but be mindful of the appropriateness of each method given the situation):

Climb stairs
Climb on a roof
Shoot from a window
Shoot from atop a parking garage
Use a drone
Hold your camera as high as possible

Obviously, some high perspectives are easier to manage than others. If you want to shoot from above a building, you’ll probably need a parking garage or a drone – but if you want to shoot a flower from above, you simply need to stand tall and point your camera downward.

Make sense?

3. Shoot upward

This perspective is similar to getting low, as discussed above – except rather than shooting directly at your subject from the ground, you shoot up. It’ll emphasize the height of your subject and can often evoke a sense of wonder and awe:

The classic “up high” subject is trees, but you can shoot upward at plenty of subjects, including:

Birds
Planes
Architecture
Clouds
Flowers
Power lines

Note that some of these suggested subjects aren’t actually tall; instead, you just have to creatively work your angles by getting down on the ground and pointing your camera upward.

Pro tip: If you plan to shoot a lot of photos from below, bring a camera with a tilting screen. Constantly shooting upward can really hurt your neck – so a tilting LCD will prevent a lot of pain.

4. Go for the lateral

Low angles and high vantage points can be awestriking, but don’t forget to think laterally, too.

In other words: Before hitting the shutter button, walk a few steps to the right and left. It may not seem like a big deal, but a few feet can make a huge difference to the final photo. For one, you’ll get a different view of your subject. You’ll also get a different foreground and a different background, both of which can make or break a composition.

Personally, the first view and the first angle I try is often not the best available. It takes a bit of work – moving right and left, trying out different foregrounds and backgrounds – before I get the shot I want. Sometimes, it even pays to walk completely around the subject (and you can take a few test shots along the way). That’s what I did for this shot of the Chicago skyline:

I also positioned the spray from the fountain directly in front of a building to make it more visible. You see, in addition to changing the foreground and background, moving your feet can change the way different objects in your photograph interact with each other.

Take a look at the two shots below. While the top photograph looks nice, moving just a few feet to the right and squatting down allowed me to feature the foreground lights with the actual Capitol building in the background. This juxtaposition of elements improved the storytelling ability of the photograph:

Christmas lights Capitol building with actual Capitol building in the background

Photography perspective: final words

Hopefully, you now feel equipped to revolutionize your compositions (just by moving your camera and your feet!).

Do not fall into the trap of shooting everything you see at eye level. Instead, take the time to explore your subject and consider changing your perspective. Get low and see what changes, get up high and explore a new view, or move laterally and watch different interactions occur and disappear between objects.

Now over to you:

What is your favorite photographic perspective? Do you have any tips for great results? Share your thoughts in the comments below!

low down perspective in photography road stretching into the distance

The post Perspective in Photography: 4 Vantage Points for Unique Compositions appeared first on Digital Photography School. It was authored by Katie McEnaney.

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13 Creative Food Photography Ideas (For Unique Results!)

04 Mar

The post 13 Creative Food Photography Ideas (For Unique Results!) appeared first on Digital Photography School. It was authored by Simon Bond.

If you’re looking for creative food photography ideas, then you’ve come to the right place.

Because in this article, I’m going to give you 13 fun ideas to take your food photography to the next level.

So if you’re ready to move beyond basic food photos, and if you want to start creating compelling artistic images with your food…

…then let’s dive right in!

creative food photography ideas food as a map of the world — Food photos can have a message and a concept.

1. Try different points of view

Here’s a simple yet effective food photography idea:

Change your perspective.

You see, most people view their food from a sitting position. And that’s how many casual food photographers approach their food.

But if you adjust your angle, you’ll capture food in a very different way.

Here are some perspectives you could try:

Bird’s-eye view: Aim your camera directly down at the food from above.
Plate level: Get down on the same level as your plate and photograph across it.
Wider scene: It’s tempting to focus only on the food. Instead, use a wider lens to show the scene around the food (plus the food itself, of course!).

shooting a plate from above — The bird’s-eye view angle is an effective one! Here, some food styling adds to the overall look.

2. Experiment with the white balance

Food is often photographed with an off-camera flash, which opens up a lot of creative possibilities.

One trick:

Put a gel on your flash (such as a blue gel or an orange gel). Then adjust the white balance of your camera to compensate for this color shift. Finally, fire your flash at the subject (while aiming to keep the background untouched by artificial light).

If you’ve done your work carefully, you’ll end up with a colorful background (a color opposite that of the flash gel), but neutral food!

3. Use a food artist

Getting someone to professionally style your food before shooting will give your photos a more creative feel.

As a photographer, you’ll be leaning on the creativity of your stylist here; your job will be to compose and light your image in a professional way.

close-ups are an artistic creative food photography idea — Detail photos can create an unusual narrative. This is a close-up of a Korean kimbap slice.

4. Try out some light painting

Food photography is, in essence, a form of still life (though one that needs to be carried out while the food still looks fresh!).

As with most still life photography, you can use light painting to give your images a more dynamic look.

Here’s how it works:

First, set up your food and determine your composition.

Set your exposure, making sure the shutter speed lasts 10 seconds or more.

Then fire off a shot and use some form of light to “paint” your food.

(Anything that emits light could be used, from a smartphone to a programmable LED light stick.)

If all goes well, you’ll end up with a very pro-looking image!

light painted pastry — Light painting with food photography is fun! I used a smartphone to create an artistic background.

5. Think about the background

If your photograph includes a background, you’ll need to use it in an aesthetically pleasing way.

Because the background matters – almost as much as the foreground, in fact!

Fortunately, there are a few easy strategies you can use to create a stunning backdrop:

Bokeh: Use a large aperture, focus on your main subject, and blur the background. Add some lights in the background for beautiful bokeh light balls.
Plain: Stick colorful paper or a painting behind your subject for a more standard, plain look.
Show a scene: Include the wider scene to give your food some context. (This could even include the restaurant where the food has been served!)

bowls with background bokeh — A large aperture blurs the background into beautiful bokeh.

6. Reflect your food

Here’s a creative food photography idea that makes for very modern, sleek images:

Reflect your food in glass for a double image.

Simply set up your food on a glass panel. Then lower your camera angle until you get a nice reflection in the glass.

You’ll want to make sure your food is well-lit – but be sure to avoid obvious balls of light bouncing off the surface of your glass.

cake reflection with bokeh in background — Here, a cake is reflected on a sheet of glass.

7. Tell the story

Cooking and preparing food is a process.

So every dish goes through a journey before it gets plated and put on a table.

Try to document that journey! Look to take photos of food at various points along the way to the table, so you can create a complete picture of the food.

Here are a few times when you might want to photograph food:

When it’s growing. Food needs to be produced, and photographing it during this phase can help you tell a story, especially if you’re creating a series of images.
When it’s sold. A visit to the market is a fantastic opportunity for food photography because vendors often display their food in an interesting way.
When it’s cooked. If possible, photograph the chef as they prepare the food. Pro tip: If you can capture the chef adding the finishing touches to a dish, you’ll get an especially satisfying shot.
On the table. The majority of food photos are of the plated meal. There’s nothing wrong with photographing food at this point; just aim to use some of these ideas to capture more creatively plated food photos.

a chef framed by rice paper — A chef creates a fresh spring roll with rice paper (and he’s framed by rice paper, too!).

8. Create some detail photos

Get out that macro lens, and get in close to your food!

First, this will offer some interesting, never-before-seen perspectives.

Plus, focusing on the detail or shape of food just makes for some very cool photography!

Try focusing on a single item of food. Then switch it up, and capture lots of the same food repeating throughout your photo.

food framed with key objects is one example of a creative food photography idea — An off-camera flash captures the steam coming off the noodles.

9. Frame your food

Food photographers rarely frame food with important contextual elements.

But if you can find ways to create an interesting frame, you’ll end up with a much stronger composition.

For instance, you might try surrounding the main food item with items that relate to it, as I did in the photo below:

strawberries framing the food in the center — Here, the strawberries frame the main subject and add narrative to the photo.

Or you can use plates or cutlery to frame the food.

Really, the sky is the limit!

10. Try lensball food photography

Lensball photography is a fun technique that uses a crystal ball to create unique photos. Like this:

sushi in a lensball — A lensball can provide a different perspective for food photos.

And they’re easy to use, too!

Just place your lensball close to the food…

…and you’ll get a very cool result.

11. Shoot food floating in midair

If you want to get a bit wild with your food photography, then try some midair shots!

For instance, you might show a banana floating off the ground, or a carrot suspended against a dark backdrop.

And if you want to take this a step further, you can try cutting up the food – so you get a set of suspended food slices smack-dab in the middle of your photo.

Of course, you’ll need to build some type of stand for your food (or use a technique like this one here), and you’ll need Photoshop to complete the effect.

But if you’re willing to put in the work, the results will be worth it!

12. Create a splash!

You can use water (or other liquids) to give your food a fresh feel – especially if you’re willing to get the food wet.

Now, there are a couple of different approaches to this. Both use flash to get that moment of capture.

Splash: Drop liquid-like milk, water, or juice onto food to create a splash.
Food into water: Drop food into a tank of water. Then photograph the food as it creates bubbles and splashes. Of course, this works best with fruit and vegetables; cake will likely be a bit messy!

13. Freeze your food

Here’s your final creative food photography idea:

Put your food in a tub of water, then stick it in the freezer.

Check back in a bit, and you’ll have a block of ice – with the food encased inside it!

Take out the block and photograph through the ice. You’ll end up with some unique images, like this one:

frozen fish in ice — I froze these fish in a block of ice.

While you can try this technique on many different types of food, I like to use it for fish photography. It can even look like the fish are swimming in the water!

Creative food photography ideas: final words

Now that you’ve finished this article, you know plenty of creative food photography ideas.

And you’re well on your way to capturing some unique photos.

So take your camera, find some food, and have fun!

Now over to you:

What food do you plan to photograph? Which of these creative ideas do you plan to use first? Share your thoughts (and images!) in the comments below.

The post 13 Creative Food Photography Ideas (For Unique Results!) appeared first on Digital Photography School. It was authored by Simon Bond.

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Kickstarter: Compact Reveni Labs Spot Meter uses unique two-eye aiming method

08 Feb

While digital photography is popular, film photography still has a dedicated following and beginner film photographers are popping up regularly. New products for analog photographers are popping up regularly to meet experienced and novice film photographers’ needs. Reveni Labs has launched a new Kickstarter campaign, which was funded within two hours, to deliver an extremely compact spot meter to film photographers.

A spot meter is a light meter designed to precisely measure only a small portion of the image area. Photographers can use a spot meter to check metering in different areas of the frame, especially one with a wide range of brightness, and make an informed decision about the exposure.

The Reveni Labs Spot Meter being used by creator Matt Bechberger. An electronics engineer, inventor and self-professed film camera nerd, Bechberger started Reveni Labs in March 2020 when launching the Reveni Labs Light Meter on Kickstarter. A few months later, he quit his job to run Reveni Labs full time.

Vintage spot meters can be challenging to find, and new spot meters can be expensive. Reveni Labs hopes to ‘find the middle ground with its spot meter to provide a spot meter that meets the needs of modern film camera users, with a lower price point and relevant feature set.’ To Reveni Labs, there are three major issues with the currently-available spot meters: They’re large and heavy, they’re complex, and they are expensive.

To help solve these issues, the Reveni Labs Spot Meter is very small and lightweight. It weighs 1.25 oz. (about 35g). The Spot Meter is 2.8″ (71mm) long, 1.2″ (30.5mm) wide, and 1.5″ (38mm) in height.

The Reveni Labs Spot Meter is also designed to be easy to use. It has a two-eye aiming method, features simple controls and an easy-to-use menu, and offers straightforward modes, including aperture or shutter priority modes. Further, the Spot Meter includes a bright internal OLED display.

The external design (left) of the Reveni Labs Spot Meter. On the right, you can see the internal display. Image credit: Reveni Labs on Kickstarter

The Spot Meter has a shutter speed range of 1 hour to 1/8,000s in one-stop increments. The aperture range is F0.7 to F1024, also in one-stop increments. The ISO range is 1-12,800. Reveni Labs states that the EV range is 2-20 in 0.1EV increments (at ISO 100). The spot meter is about a 1.5° (6″/15cm) circle at 20′ (6m).

On the top of the Reveni Labs Spot Meter are four buttons: right and left directional buttons, a menu/compare button, and the power/sample button. Beneath the sensing lens on the front of the spot meter is the battery compartment, which holds a pair of LR44 alkaline batteries to power the device. Through the viewing lens at the back, you see the OLED display, which shows shutter speed, current state, EV value, ISO, rounding remainder, aperture, and driving value arrow surrounding the central aiming reticle.

Reveni Labs Spot Meter optical design. Image credit: Reveni Labs on Kickstarter

The Reveni Labs Spot Meter utilizes a two-eye aiming method. One eye views the data in the spot meter while the other eye surveys the subject area. There is a close-focus rear lens in front of the OLED display inside the meter to allow the user to focus on the scene and display simultaneously. The internal components are aligned on a central axis.

This design is significantly different from a more typical spot meter. A traditional spot meter uses a viewing lens and requires the user to view the scene solely through the spot meter, closing their second eye. The Reveni Labs Spot Meter doesn’t have a viewing lens; the inside is just a dark screen, which is why it’s a binocular vision spot meter and why it’s possible for it to be so compact. You can see how the Reveni Labs Spot Meter varies from a typical spot meter in the hands-on video below, published by Mat Marrash.

You can see another review of the device from Todd Korol in his video below.

The Reveni Labs Spot Meter looks like an exciting product for film photographers. If you would like to back the project, you can do so for $ 225 CAD, which is a little under $ 180 USD at current currency conversion rates. The Reveni Labs Spot Meter comes with the meter, a neck lanyard, storage pouch and four LR44 batteries. Shipping is expected to commence in August. For more information and to back the project, visit Kickstarter.

Disclaimer: Remember to do your research with any crowdfunding project. DPReview does its best to share only the projects that look legitimate and come from reliable creators. Still, as with any crowdfunded campaign, there’s always the risk of the product or service never coming to fruition.

Articles: Digital Photography Review (dpreview.com)

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Mobile by Peak Design is a new line of smartphone cases and accessories with unique ‘SlimLock’ design

20 Oct

Peak Design is back with its latest crowdfunding campaign. This time, the San Francisco-based accessory manufacturer has found a way to put a unique spin on a new line of cases and accessories for smartphones.

The legs of the tripod accessory fold out wide to create a sturdy base. If you’re using larger, heavier devices, the case even has a built-in hex tool for tightening the joints of the ball mount and legs.

The new Mobile by Peak Design lineup consists of smartphone cases and universal mounts that use Peak Design’s ‘SlimLink’ hardware to easily connect an ecosystem of accessories, including an ultra-compact tripod, various magnetic and locking mounts, a wallet and even wireless charging mounts.

The tripod accessory is tapered and easily snaps into place on the rear of the case or universal mount.

What makes the SlimLink connection on each of the cases and adapters unique is its ability to work with both hard-locking (mechanical) and soft-locking (magnetic) mounts. This means some of the accessories, such as the mobile tripod, can connect with a quick snap of the built-in magnets, while mounts that need a more secure hold, such as the bike and moto mounts, can lock into place for a more secure hold.

A close-up shot of the proprietary SlimLock system.

The SlimLink connection is made of ceramic-zirconium, meaning it will still allow Qi charging to work through the case. At launch, the Mobile by Peak Design lineup will offer dedicated Peak Design Everyday Cases for the following devices (other phones will work using the universal adapter):

iPhone 12 (6.1” + 5.4”), Pro Max, Pro
iPhone SE2
iPhone 11, Pro, Pro Max
Samsung S20, S20 Ultra, S20 +

The universal mount ensures nearly any older device—even those with cases—should be able to be adapted to work with the Mobile by Peak Design system.

Peak Design is also supporting cross-compatibility between its mounting system and the new MagSafe connection found in Apple’s latest iPhone 12 devices. Specifically, Peak Design says its soft-locking mounts and accessories (tripod, wallet, charging stand, wall mount and car mounts) will work with Apple’s MagSafe phones and cases. Peak Design also says iPhone 12 devices in the Peak Design Everyday Case will work with Apple’s MagSafe charger and notes Apple’s MagSafe accessories, such as their wallet, will be able to be connected to a Peak Design Case, but it doesn’t specify how exactly that will be achieved.

As of the announcement of the Kickstarter campaign, Peak Design lists four different cases or adapters and eleven different accessories. An infographic overview of the ecosystem is shared below:

You can find out more information on the Mobile by Peak Design lineup by heading over to the Kickstarter campaign. Below is an infographic with a pricing breakdown for the various accessories, adapters and cases. As with all of Peak Design’s other products, all cases and accessories are individually serialized and guaranteed for life.

This is Peak Design’s 10th Kickstarter campaign and should, if it reaches its goal, ensure Peak Design surpasses smartwatch manufacturer Pebble for the all-time most money raised through Kickstarter campaigns — $ 43.4M.

After a successful funding and launch on Kickstarter, the Mobile by Peak Design system will be available to purchased through Peak Design’s online shops as well as partnered retailers in Spring 2021.

Disclaimer: Remember to do your research with any crowdfunding project. DPReview does its best to share only the projects that look legitimate and come from reliable creators, but as with any crowdfunded campaign, there’s always the risk of the product or service never coming to fruition.

Articles: Digital Photography Review (dpreview.com)

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Video: A look at Yasuhara’s unique Nanoha macro lens with built-in LEDs

02 Sep

Photographer and YouTuber Arthur Reutov has published a new video showcasing the Nanoha Super Macro lens from Japanese company Yasuhara, which claims this product is the only microscopic lens available for cameras. The Nanoha is, as Reutov notes, quite unique in that not only is it a powerful macro lens, but it also features built-in LEDs for illuminating the subject.

The Yasuhara Nanoha is a 5x magnification macro lens designed for use with mirrorless cameras. The company says its lens is capable of microscopic imagery, enabling photographers to get unique up-close shots without using a microscope. The Nanoha name is inspired by the word nanometer, referencing the lens capabilities.

According to Yasuhara, the effective F-number for its Nanoha lens at 5x magnification is F11. The company says that its macro lens exceeds the brightness of the Canon MP-E65mm F2.8 macro lens, which has a magnification range from 1x to 5x. With Nanoha, the lens must be around 11mm (0.4in) from the subject in order to focus.

The most notable aspect of the lens is its integrated lighting system, which includes a battery, multiple LEDs, and a USB connector for recharging the battery. The inclusion of this lens light eliminates the need to use an external light, which could introduce shadows that are difficult to get around with such a minuscule focus distance.

Yasuhara provides a gallery of sample images captured with Nanoha, showing off what its lens is capable of. Here to provide a better look at the offering is Reutov, however, who presents the model, details its build quality and quickly goes through the lens features.

‘This is super crazy, unique, it is a lens unlike any I’ve ever used,’ Reutov said, demonstrating how he captures images with the Nanoha. The shallow focus distance means the lens must be placed flat on a surface above the subject in most cases, which is where the plastic housing and integrated LEDs come in.

Ultimately, Reutov notes that the macro lens won’t work for every photographer, pointing out that capturing live insects, for example, would be essentially impossible with Nanoha due to the focus sensitivity and need for, in some cases, focus stacking. Ultimately, though, Reutov notes that Yasuhara’s offering is ‘a very fun lens to use … it’s pretty cool to see how much it magnifies. It’s like having a microscope attached to your camera.’

The Yasuhara Nanoha Macro lens is available now in Sony E, Canon EF-M and MFT mounts from Yasuhara and B&H Photo for $ 399.99.

Articles: Digital Photography Review (dpreview.com)

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Interview: Photographer Cath Simard talks about developing your own unique style

10 Aug

Introduction

Above: El Chaltén, located in the Argentine side of Patagonia, is known as the National Capital of trekking.

I first stumbled across Cath Simard’s work on Instagram and was instantly mesmerized by its beauty. Not only does the Canadian photographer capture stunning and unsullied locations around the globe, she’s developed a distinctive style. Every photographer serious about making a living with their work especially needs to focus on creating an aesthetic that makes them instantly recognizable.

Simard’s humble, down-to-earth demeanor and grace dealing with the occasional critic is also refreshing. I got a chance to catch up with the former model and find out how she got into photography, why she’s passionate about teaching others her methods, and how traveling solo altered her outlook.

What inspired you to get into photography?

Above: This campsite, located at an altitude well above 4,000 meters, was the perfect site to capture the night sky against the Andes Mountains in Peru.

I started in the creative industry as a model when I was 15 years old. I modeled for ten years and worked as an Art Director and fashion stylist for four years. I’ve always been attracted to the visual arts but I would have never thought I’d be a photographer one day. Then, back in 2014, I got tired of the fashion industry. I decided to sell all my belongings and buy a one-way ticket to Australia with very little money in the bank.

I did farm work for two years over there, documenting my journey with my iPhone. I was approached by an Australian bandana company to take photos of their products. I said yes, immediately, even if I had no experience using a camera or in professional shooting. I decided to purchase a Sony a6000 with a 35mm F1.8 lens and started photographing people wearing bandanas doing outdoor activities.

Why did you gravitate toward nature?

Above: After a long evening hike, the best was made of a foggy morning in the mountains of Peru.

After completing my farm work, I decided to go on a three-month solo trip covering Indonesia, Hawaii, and Western Canada. Never before had I seen such huge mountains as when arriving in Alberta. The feeling I got when I saw them for the first time is indescribable. It was in Alberta I discovered my passion for hiking and I was introduced to scrambling, which allowed me to access more remote areas and reach viewpoints that have never been photographed before.

I started to document my adventures and fell in love with photographing the mountains, specifically. It was the first time in my life I found something that made me feel whole and brought me so much joy and energy.

How were you inspired to grow into offering workshops?

Above: Here are the Cerro Yerupajá and Siula Grande mountains, in Peru, amongst other giants, captured between 2:00 and 3:00 am.

Three years ago, a company from Quebec (my hometown) asked me if I would be interested in teaching photography to a group of 10 people for one day. It was something I have never done before and I was curious to find out if it is something I’d enjoy, so I said ‘yes.’ That day was quite a revelation for me – the amount of excitement, satisfaction, and the feeling of accomplishment I got from teaching each student was indescribable. A new passion was born.

After this experience, I decided to combine my passion for teaching, hiking and traveling into unique international photography workshops for people to learn photography while completely immersing themselves in nature. I highly enjoy spending time with people that have similar interests, sharing my knowledge, and giving as much insight as possible so they can return home with images they are proud of.

Which photo are you most proud of and why?

Above: My favorite photo to date was captured at Jasper National Park in the Alberta province of Canada.

I don’t have one in particular but, in general, the images I’m the proudest of are the ones where I followed my own personal creative vision. They often involve a lot of physical work and perseverance. Being unique is also something I value and prioritize a lot, so I’d say that my favorite images usually have a unique and original compositional component or mood along with a great story behind them.

What gear are you using lately?

Above: I wanted to capture this ice cave in Iceland at night. Although I didn’t get Northern Lights when I took this particular image, I decided to composite it with a night sky I captured a couple of days before.

I use the Sony a7R III + 16-34mm F2.8 lens for 80% of my images. I also love the Sony 100-400mm F4.5-5.8 lens for tighter shots of mountain peaks and compression.

What is your favorite photo editing software?

Above: This image was taken with a drone at El Chaltén National Park. It’s important to note that you need a permit to fly inside the borders of a National Park, or you need to take off outside the border.

I used to say Lightroom Classic CC, but I’ve been experimenting much more with Photoshop over the last year. I like to combine both software programs for my editing.

You’ve traveled extensively. Do you have a favorite place? If so, why?

Above: My favorite image from 2019 was taken at Torres del Paine National Park in Chile’s Patagonia region.

I simply cannot choose between Patagonia and Peru. I love the variety in landscape and wilderness that Patagonia offers and the remoteness and untouched beauty of Peru. Both places demand that you put work into creating great images – especially Peru, since you need to trek in high altitude for many days to reach interesting viewpoints.

Any destinations you wish to visit?

Above: Also captured in El Chaltén, I challenged myself to get out of my comfort zone by creating something interesting out of an average foreground and backdrop.

I would love to explore Alaska – especially its giant snow-covered peaks, glaciers, lakes, and ice caves. It seems this part of the world has it all!

What grounds you and keeps you inspired?

Above: I spent all night photographing the Andes Mountains in Peru. Obviously the Milky Way doesn’t bend in an arch but I had some fun with compositing to create this effect.

Traveling solo multiple times allowed me to do discover hidden parts of myself through self-reflection and introspection. I think that introspection is essential for becoming a better person and it is the single most powerful tool for internal self-awareness and how to find true happiness.

When you take the time to become an expert, you make better decisions, you are more confident, you learn to respect your limits which all brings you closer to live the life you want. You worry less about what other people think of you, you become more empathic to others, and have a more positive attitude towards life.

This is definitely easier said than done. You need to find a time and space for this, and to me this happens whenever I’m alone hiking in the mountains. It’s like a meditation that grounds me and helps me get back to what’s important in life.

Other tools that help are self improvement books such as How to Win Friends and Influence People by Dale Carnegie and What to Say When You Talk to Yourself by Dr. Shad Helmstetter, to name a few.

What advice do you have for someone looking to develop their own style?

Above: A final perspective of El Chaltén, located in Patagonia.

Pick three photographers that inspire you and analyze their images. Why do they speak to you? Try to identify the elements that you like in their photos and look for them when you are shooting or editing. I do believe that imitating – not copying – is a great way to learn and find your own personal style.

Another thing is to listen and trust your creative instinct. For example, I started creating composites at a very early stage of my learning process. Compositing has always been a creative way for me to express myself but it has always attracted negative comments. I’ve often been told that my images were too contrasting, too blue or too Photoshopped.

If I would have left these comments get to me and influence the way I create, I would never be where I am today as an artist. The moral of the story for me is to ignore negative comments and only take constructive criticism from people you trust and who you know truly believe in you.

Lastly, developing your style takes time. A lot of a time. So be patient, learn new techniques and practice as much as you can.

Catherine Simard is a Canadian-born self-taught travel/landscape photographer and digital artist with a passion for the outdoors and the wilderness. She is a Sony Artisan of Imagery. Simard will be resuming workshops at various international destinations in 2021.

Articles: Digital Photography Review (dpreview.com)

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Acer ConceptD Ezel laptops feature a unique five-mode hinge and Wacom pen support

16 Jan

During CES 2020, Acer introduced its ConceptD 7 Ezel and Ezel Pro laptops with a hinge offering five different usage modes. The laptops are designed for creators in need of powerful graphics performance and a high level of color accuracy. The models are joined by the ConceptD 700 workstation for filmmakers and animators.

The Acer ConceptD laptops feature a unique Ezel hinge that enables users to position the screen in unique positions that aren’t possible with an ordinary notebook, including Floating Mode, Sharing Mode and Display Mode. The company describes its new laptop models as ideal for users who want to create, finalize and present their content from the same device.

The Acer ConceptD 7 Ezel laptops are NVIDIA RTX Studio certified with up to 10th-gen Intel Core H processors, NVIDIA GeForce RTX graphics, 32GB of RAM and 2TB SSD storage. The ConceptD Ezel Pro is a more powerful alternative with up to an Intel Xeon processor and Quadro RTX graphics. Both models include the Wacom EMR pen.

In addition, the models feature a 4K IPS display with a 3840 x 2160 resolution, 400 nits brightness, built-in color correction technology, 100% Adobe RGB color gamut and Delta E <2 color accuracy. The screen is protected with Gorilla Glass 6, plus it features an anti-glare coating. Other features include an SD card slot, dual Thunderbolt 3 ports, DisplayPort 1.4 and HDMI 2.0.

The ConceptD 7 Ezel will be available in North America, Europe and China with prices starting at $ 2,699 / €2,499 / 19,999 RMB. The ConceptD Ezel Pro model will have a higher starting price at $ 3,099 / €2,999 / 21,999 RMB.

Articles: Digital Photography Review (dpreview.com)

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Leica CL ‘Edition Paul Smith’ brings a unique colorful style to 900 limited-edition sets

15 Nov

Leica is back with another special edition product, this one featuring its Leica CL model launched in collaboration with British designer Paul Smith. The new Leica CL ‘Edition Paul Smith’ model’s tech specs are identical to that of the regular production model. Unique to the special edition, however, are ‘one-of-a-kind’ design elements inspired by Smith’s work.

According to Leica, this is the second special edition camera launched in collaboration with Smith. The designer’s handwriting is used as the font for the phrase ‘Look and see’ located on the back of the special edition camera, joining a ‘bold blue’ top plate and the use of ‘vibrant accent colors’ on the top buttons.

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Rounding out the special design is a large eye illustration on the viewfinder and stripes along the camera’s bottom edge. Leica has limited the production of its Edition Paul Smith variant to 900 sets globally; they’re shipped with the Elmarit-TL 18mm F2.8 ASPH lens and a neon rope strap featuring both Leica and Smith branding.

The Leica CL ‘Edition Paul Smith’ set can be purchased from Paul Smith retailers, Leica Stores, and Boutiques for $ 3,995 USD.

Articles: Digital Photography Review (dpreview.com)

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Video: 10 in-camera tricks for capturing unique images without Photoshop

01 Nov

Jordi.Koalitic, a creative photography project from photographers Jordi and Arnau Puig, has published a video detailing 10 ways photographers can add interesting effects to their images without using editing software. These in-camera tricks include spraypainting alphabet pasta to simulate letters falling on a book, gluing dirt inside a pot to imitate shooting through a hole in the ground and more.

Other effects detailed in the video include simulating action shots involving fruit, marbles, and a tennis ball, using a mirror to creatively capture a subject from a unique angle, using a slinky toy to create a swirly effect extending from the camera to subject and using glass to safety shoot water being thrown at the camera. The video includes sample images and the camera settings used to capture them.

Additional images can be viewed at the team’s Jordi.Koalitic Instagram account.

Articles: Digital Photography Review (dpreview.com)

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3 Tips for Becoming a Unique and Successful Photographer

02 Sep

The post 3 Tips for Becoming a Unique and Successful Photographer appeared first on Digital Photography School. It was authored by Kevin Landwer-Johan.

If you want to become a successful photographer, then there are a few things you absolutely must know.

That’s what you’re going to learn in this article:

Three key tips for becoming a truly masterful photographer.

successful photographer two people with bright clothing

Will it be a fast journey? Probably not.

But it doesn’t have to be difficult, either. If you enjoy photography, then you’ll have a ton of fun!

So if you’re ready to become a unique and successful photographer…

…then let’s get started.

Tip 1: Don’t get hung up on what you ‘should’ do

Many photographers read tutorials and watch videos. Then they try to mimic exactly what is being taught. They try to create the same photos the instructor is telling them to.

But if you learn photography this way, you’ll end up having photos that look like everyone else’s. You won’t discover a unique style of your own.

Sure, it’s good to study and learn from those who have more skill and understanding. But there is no formula for perfect photography. There is no absolutely correct way to make a picture.

Whether you’re taking a senior portrait or photographing products for a catalog, there are no hard and fast rules. There are guidelines. If you follow some of them you’ll make sharp, well-exposed photos that are well-composed. But if you try to rigidly stick to a method, you will not make creative photos.

Every scene you photograph is different. Even if you photograph the same garden or building every day, things will change. The light will be different. It may be sunny one day and raining the next. Your subject may change over time.

So you must take what you’ve learned and adapt it to the situation. Apply photography techniques that best suit your subject and the current circumstances.

Obtain the skills and learn the rules. Know these things well, so your thoughts aren’t consumed by them each time you want to take a photograph.

But don’t apply a set of rules to your photography. Doing this may bring technically correct results. But often photography which is only technically correct is rather dull and boring.

You can find examples of very similar sets of images posted on social media and photo-sharing sites, and in all manner of ‘how to’ photography books. They all look repetitively similar because the photographer has only followed the rules.

Instead, apply your own creative thinking. Consider the rules, but don’t apply them unless they enhance your photo the way you want them to.

Tip 2: Put feeling into your photography for masterful images

If you want to be a truly great photographer, learn how to infuse your photography with feeling. Put something of yourself into your pictures.

This is what will make your photos unique. Nobody else has the same worldview you do.

This is not an easy concept for many photographers to grasp, but all you need to do is look at some of the best photos. The ones which attract you the most.

Ask yourself why you like them so much. Look at the greats. Admire the work of Irving Penn, Ansel Adams, Henri Cartier-Bresson, and the like. What is it about the way they have seen the world and photographed it that makes their photographs special?

Look at favorite photos you have taken. What’s special about them? Are they only technically correct, or is there more to them? Do they capture a unique moment? Do they include feeling?

Photos which embody emotion are more powerful. Capturing the moment that conveys emotion, regardless of technical considerations, often results in the most compelling photographs.

Technical imperfection can even enhance the feeling in a photograph. A moment of laughter mistakenly overexposed can add to the spirited feeling. An underexposed photo of someone feeling sad will add to the expression of their despair.

Here’s the bottom line:

If you can include feeling in your photos, if you can communicate something to viewers about your perspective, then you’ll be well on your way to being a truly successful photographer.

Tip 3: Study your craft and photograph often

Here’s the great thing about photography:

The more you pick up your camera, the faster you will develop as a photographer.

Your technical skills will improve, and your ability to see what makes a great photo will improve, too.

cultural abstract

I suggest you commit yourself to learning a new photography technique every month, or even every week. Get the new technique ingrained into your subconscious mind so you don’t have to concentrate on what camera settings to use. Then the settings will come to you automatically, even when you do choose to use Manual mode.

Reaching a high level of ability takes time. Like any artist, you have to start by mastering the essentials. Once you have, you will be free to express yourself.

Learning to play the piano or to dance well involves hours and hours of patient, determined practice. Photography is the same! The more you study and practice with your camera, the more expressive you will become with it. The less you have to think about the adjustments you need to make, the more focus you can give to being creative.

So engross yourself in your favorite genres of photography. Photograph often and with the desire to make improvements each time you do.

Over time your photographic skills will advance.

And, pretty soon, you’ll be a successful photographer.

Conclusion

I believe we are all inherently creative. We are created to be creative.

This means that every one of us has the potential to be a great photographer.

You just have to work hard at your photography.

Eventually, you’ll be creating stunning, unique photos.

How to become a Unique and Successful Photographer Iron Bridge in Chiang Mai

The post 3 Tips for Becoming a Unique and Successful Photographer appeared first on Digital Photography School. It was authored by Kevin Landwer-Johan.

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