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Filling the Frame: 5 Simple Yet Powerful Ways to Improve Your Photos

20 Aug

The post Filling the Frame: 5 Simple Yet Powerful Ways to Improve Your Photos appeared first on Digital Photography School. It was authored by Anthony Epes.

ways-to-improve-your-photos

Successful photographs usually have one thing in common – an obvious point of focus or a subject that is the dominating element.

One of the main reasons a photograph falls flat is because there is no central or main feature to draw in the viewer’s attention.

One very easy way to combat boring, flat photos is to practice the simple idea of filling the frame.

Of course, you might say – I always fill the frame; it’s impossible not to!

ways-to-improve-your-photos

With this idea, though, you are working on being a lot more intentional about how you compose.

When we “fill the frame,” we are attempting to make a photo’s intention completely clear. The viewer should have no doubt as to what the photograph is about.

Instead of getting fixated on your subject, and focusing your attention almost totally on that (something I see people doing all the time on my workshops), we are considering every single part of the frame.

ways-to-improve-your-photos

We are looking at the corners. This is probably the most common thing many of my students don’t do – look at what’s in their corners.

Often there are things that don’t need to be there which you only realize afterward when studying your images.

We are considering what is running alongside the edges. What’s poking in that shouldn’t be there? It’s amazing how a stray branch or a bit of litter can make its way into your image without you noticing.

ways-to-improve-your-photos

We become aware of every part of the frame to make sure that every single element is working to complement our subject.

Now, this is key. Every single thing in your frame needs to be working with, or complementing your subject.

If it’s not, you need to move around and try to work the subject and surrounding elements into a better composition.

Filling the Frame: 5 Simple Yet Powerful Ways to Improve Your Photos

Sometimes a photographer will react too quickly. They make a photo from where they are standing instead of thinking about the most favorable position to be in and how it can greatly improve the image.

I mention position here because I believe it is the first option when it comes to filling the frame with a subject.

Usually, what happens when we do not fill the frame with our subject is we end up creating a lot of space in the photograph. This is all fine if you are using this space with intent. However, if you are not, then it just looks vast and empty, and your subject is competing with the “bad space.”

Filling the Frame: 5 Simple Yet Powerful Ways to Improve Your Photos

Changing your position and getting closer to your subject is your best first choice. Remove that unwanted space by physically moving closer or zoom in if you must. (I will always prefer moving to zooming).

Have a look at the photos of mine that I’ve included in this article. They are all images where everything in the frame is 100% relevant. Even with a complex image like this, I have considered every part of it:

Filling the Frame: 5 Simple Yet Powerful Ways to Improve Your Photos

5 Simple but Powerful Ways to Improve Your Photos

1. Always think about your position

In general, bad photographs have way too much wasted space. You can easily remedy this by thinking about your position relative to your subject.

Do you need to get closer to reduce wasted space around your subject? This also has the added benefit of making a photo more intimate when you get closer.

Filling the Frame: 5 Simple Yet Powerful Ways to Improve Your Photos

2. If moving is not an option, then consider switching lenses

If changing position is not possible, then now would be a good time to switch lenses. This method is not as good (I think) as changing your physical position, but it can allow you to fill the frame, drawing interest to your subject.

ways-to-improve-your-photos

3. Check the edges of the frame

This is a very common mistake for beginner-photographers.

Some do not put enough effort into looking at the entire frame and what lies on the edges of it. When you shoot this way, you find yourself cropping a lot more to remove those things you overlooked when shooting.

It is better to learn to see the whole frame than to get good at cropping because you didn’t see it in-camera.

Filling the Frame: 5 Simple Yet Powerful Ways to Improve Your Photos

4. Photography is a process of reduction

Let’s say you moved in closer to fill that frame. Now is a good time to ask yourself – is there anything else that does not need to be in the frame?

You can find the answer to this by asking if it is helping or hurting your subject. If you decide the element does not need to be there then take it out.

This usually requires a change of position or some movement from you!

5. Don’t fixate on your subject

If you are really dedicated to filling your frame and making better images, then my one ultimate piece of advice is to NOT fixate on your subject.

This is the #1 reason photographers are dissatisfied with their images later.

Sure, be in awe and wonder of what you are shooting, that’s part of the joy of doing photography. However, don’t lose yourself to the point your composition is not it’s very best.

ways-to-improve-your-photos

Conclusion

Remember to always shoot with intent.

I would love to know what you think of my tips and ideas about ways to improve your photos. Please let me know in the comments below.

Is this an idea you practice? Alternatively, is this new and you think you might use this in the future?

Thanks for reading.

The post Filling the Frame: 5 Simple Yet Powerful Ways to Improve Your Photos appeared first on Digital Photography School. It was authored by Anthony Epes.

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Ways to Modify Your Flash for More Controlled Lighting

13 Aug

The post Ways to Modify Your Flash for More Controlled Lighting appeared first on Digital Photography School. It was authored by Kevin Landwer-Johan.

Flash can be a confusing addition for many new photographers. But there’s really only one way to gain experience. Learning to use your flash well takes practice.

Using your flash without modifying its output often produces unsatisfactory results. These can be very discouraging. With little modification, you can achieve more acceptable results pretty easily. Controlling the output of your flash based on the style of light you want for your photos is not hard to do.

Ways to Modify Your Flash for More Controlled Lighting Northern Thai Sausage

Your unmodified flash is a small light source

The smaller your light source is in relation to your subject, the harder the light will be. An unmodified flash produces strong light and high contrast for most subjects. This creates a hard-edged shadow which is often undesirable. The only difference is with macro photography because the light source will be larger than the subject.

Modifying the output of your flash by using a diffuser softens the light which falls on your subject.

Using a diffuser does a couple of things. It subdues the output, so less light hits your subject. It also spreads the light, effectively making the active light source larger. The light falling on your subject will be softer. So will the shadows they create.

Ways to Modify Your Flash for More Controlled Lighting Young Woman in the Park

The benefits of using modified flash

Diffusing the light from your flash will produce more flattering results when taking portraits. Soft light falling on the skin reduces the appearance of texture and gives it a more even tone. There are a number of techniques and accessories you can employ to diffuse the light from your flash. I will discuss some of these in the next section.

Hard light from an unmodified flash is more likely to show up skin blemishes. It also produces unsightly hot spots.

These bright patches occur with all but the most light absorbent surfaces when using an undiffused light. The more reflective the surface, the more light from a small light source will reflect.

Using some method of scattering the light from your flash will help end these problems.

Another option to modify your flash is to do the opposite of spreading the light. Narrowing the dispersion of the light produces a completely different look. You can better control what area of your composition the light from your flash will affect. This is usually achieved by the use of a snoot or honeycomb grid.

Ways to Modify Your Flash for More Controlled Lighting Rabbit Time Costume

How to control your flash using modifiers

The most simple way to alter the light from your flash is to turn your flash head so it’s not pointing where your lens is focused. Indoors you can point it up to the ceiling. The light will reflect off the ceiling and scatter. You can alternatively point your flash towards a wall beside or behind you.

Ceilings are often white or light neutral colors, so your photo is not likely to be affected by an odd toning. Bouncing your flash off a colored wall or other surfaces can cause that color to affect the light.

Depending on how close your flash is to the surface you’re bouncing it off will determine how much it is diffused. The closer you are to the surface, the less diffusion there will be.

When you turn your flash head to bounce it off another surface, the light and shadows it creates will be softer. Shadows may still be evident. You need to be careful of shadows under people’s chins and around their eyes when you bounce your flash off a ceiling.

Using a piece of whiteboard, plastic or a fold-out reflector to bounce your flash off will give you more control. You can move your reflector further away or closer and determine the best position for it.

Ways to Modify Your Flash for More Controlled Lighting Young Woman in Red

Clip-on hard diffuser

Most flash units come with a clip-on hard plastic diffuser. This is a small attachment that fits over the front of the flash head. It scatters and softens the light when the flash is fired.

Because this attachment is small, about the same size as your flash lens, it will not do a lot to soften the light. It is often better than nothing if you have not other option and it is small and convenient.

ways-to-modify-your-flash-for-more-controlled-lighting-Clip-on-Diffuser

Flash with a clip-on diffuser © Kevin Landwer-Johan

Bounce cards and other compact modifiers

A white piece of cardboard about 20cm (8 in) square with a tab on one edge and a couple of good strong elastic bands. This was a standard kit for photographers when I worked in newspapers. It was back before the proliferation of flash modifiers were available to buy.

Adding a bounce card to a flash pointed at a ceiling or wall spreads and softens the light even more. This will help further reduce the strength of the shadows.

Nowadays there are so many types of bounce cards and other diffusers available. They’re all designed to modify your flash in slightly different ways. Kits of modifiers can include:

Softboxes,
Barn doors,
Snoots,
Honeycomb grids and all manner of variations.

ways-to-modify-your-flash-for-more-controlled-lighting-Bounce-Card

Flash with a bounce card © Kevin Landwer-Johan

Snoots and grids

Most accessories which modify flash output are designed to soften the light. Snoots and honeycomb grids are two pieces of kit which can help you control the direction of the light.

Each works to narrow the spread of light from your flash. This allows you to control which part of your composition is most affected.

Ways to Modify Your Flash for More Controlled Lighting Snoot Lighting

Gobos and colored gels

Two more accessories which modify flash output are gobos and gels.

A gobo is a stencil or template placed in front of your flash head to create a shadow of a shape or pattern.

Any color gel can be used to affect the color of light which emits from your flash. This can be used for creative effect or to balance your flash with the ambient light.

Electric light sources often emit a colored light that is not as white as the light from your flash. Tungsten light is a warm tone. Fluorescent is often quite cool. Using the correct color gel can produce the right color to balance with an existing light source.

Small flash softbox

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Small Softbox © Kevin Landwer-Johan

My favorite flash modifier is a small softbox. It’s not the smallest or most convenient, but it produces a soft, pleasant light.

Mine’s about 60cm (2 ft) square and has a bracket to mount the flash at the back. The biggest drawback in using it is that you need to place it on a stand or have someone hold it for you.

I find I like the results best when using it as a fill light.

Ways to Modify Your Flash for More Controlled Lighting Temple Tourist Sunset

Controlling the amount of light

Whichever method you use to you modify the light from your flash there will always be a reduced output. You must compensate for this.

Using the TTL setting your camera and flash should calculate the correct amount of light. This should also be true with the auto settings.

In some circumstances, you may notice not enough light from your flash is illuminating your subject. At these times, you must adjust your compensation. This can be done by opening your aperture more or increasing your ISO.

Ways to Modify Your Flash for More Controlled Lighting Rag Doll Girl

Conclusion

Unmodified flash is not often the best light source. Modification allows you to control its output to suit the style of photograph you are making.

Experimentation and practice are required to master the type of lighting you want.

A practical exercise to help you understand and see what you can achieve is worth spending some time with. Set up a still life composition or find a willing model to work with. In the same setting, take a series of photos using various modifiers so you can compare the way the light looks with each one.

The post Ways to Modify Your Flash for More Controlled Lighting appeared first on Digital Photography School. It was authored by Kevin Landwer-Johan.

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Get Moving – Four Ways to Create Abstract Light Trail Photography

08 Jul

The post Get Moving – Four Ways to Create Abstract Light Trail Photography appeared first on Digital Photography School. It was authored by Megan Kennedy.

Light trail photography is a unique facet of photography. By combining slow shutter speeds with light and camera movement, fascinating abstract photography can be made. Here are four abstract light trail photography techniques to experiment with in your own photographic practice.

What is abstraction?

Before we get started, let’s talk about abstraction. Abstract photography (often called non-objective, experimental or conceptual photography) is photography that does not have an immediate association with the visual world. Instead, abstract photography uses aspects like color, light, texture, shape, and form to evoke an emotional response from a viewer.

Often, in light trail photography, light trails complement a scene or subject. However, in abstract light trail photography, it’s the light trails themselves that are the sole conveyor of meaning. By erasing any other context, the viewer relies solely on the nature of light and photography to read a photograph. This creates intriguing photography that captures and holds the attention of the viewer as they visually unpack the image before them.

When to make abstract light trails

Although it can be done in daylight, abstract light trail photography is best carried out in the evening, at night, or in a dark room indoors. This is to minimize distraction and enhance the efficacy of our chosen light source/s.

What to photograph for abstract light trails

Traffic lights, building lights, car lights, phone light, glow sticks, torches, neon signage… there is an abundance of light sources available to photograph at night. With the right camera settings and technique, almost any point of light can be used to create an interesting light trail.

Camera tossing

Abstract light trail photography rests on the nature of the light source/s (brightness, movement, color etc) and the behavior of the camera (exposure settings, camera movement etc). For example, during a long enough exposure, a set of car lights will leave a trail as they pass by, whereas a stationary light source requires camera movement to activate an abstract light trail. Camera tossing predominantly involves the latter, physically moving the camera to achieve interesting abstract light trail results.

Taken over two seconds at f/4 and ISO 100, this tangle of lights demonstrates the path of the camera as it is tossed in the air.

A disclaimer…

Camera-tossed abstract light trails involve the tossing of a camera into the air during an exposure. Purists argue that a true camera toss means that the camera is tossed without the use of a guiding hand or camera strap. This is why for this method, I strongly advise you to use an old, cheap camera. A compact camera works well. You can even use a phone with a durable case.

I wouldn’t recommend taking your DSLR out for some air-time (although I must admit I did use my 5D MKII with a 50mm lens for some camera tossing sessions). If you aren’t keen on risking your camera, (which is totally understandable) skip forward to camera swinging and keep an eye out for old tossable cameras on sale or in local charity shops.

How to camera toss

The first step to camera tossing is to find somewhere safe to toss. Camera tossing in a quiet location, over grass or carpet is a good idea.

Once you’ve found a good spot with an interesting light source or two, it’s time to organize your camera settings. I went with a shutter speed of one or two seconds to allow the camera movement to really gain traction. I then set my aperture to f/4 and my ISO to 100.

Set your focus to manual. Aim your camera lens at the light source/s and adjust your focus. You can aim for the sharp rendering of the light source/s, or take intentionally unfocused shots for softer light trails.

Depress the shutter button and quickly toss the camera in the air (10-30 cm is high enough, though you can go higher if you’re game). Catch the camera as gently as possible and have a look at your results. Make any amendments to your exposure and have another go.

When you are happy with your exposure and focus, start introducing different throwing methods. Try spinning the camera as you flick it into the air, or throwing it carefully so that the lens is orientated at a particular angle for the duration of the exposure. The results between different throwing techniques can be quite pronounced, so take some time to experiment a little.

Taken at f/8 at 1/4th of a second, I left my lens unfocused to introduce a soft quality to the resulting photograph.

Camera swinging

A variation on camera tossing, camera swinging involves swinging your camera by your (firmly secured) camera strap.

Find a light source and take a few photographs to determine exposure and focus. Just like camera tossing, you want a longer shutter speed to give the camera movement time to take shape. For camera swinging, I started with an exposure of two seconds at f/4 with an ISO of 100.

Once you’ve settled on an exposure, make certain that your camera strap is fastened to your camera. Double-knot, even triple-knot your strap to hold it in place. You really don’t want your camera to go flying once you start swinging.

Two examples of camera swinging. Different light sources make varying light trails.

When you’re ready, depress the shutter button and have a go at gently swinging your camera back and forward like a pendulum. When the exposure finishes, check your results and make adjustments to your camera settings or technique as required.

The possibilities for camera-swung imagery are endless. Each swing creates unrepeatable paths of light from one image to the next, so again, don’t be afraid to experiment a little. Try jumping while swinging your camera or spinning around in a circle with your camera fastened to your wrist.

Moving your body

Not all abstract light trail photography is based around swinging and tossing your camera. Light trails can also be created by moving your body with a camera in hand.

Locate an interesting light source and figure out your exposure with a few test shots. I found that the combination of a one-second exposure at f/4 with an ISO of 100 was a good starting point.

Depress the shutter button and start moving. Ever seen those inflatable tube men, dancing around in the wind? Well, you don’t have to go THAT crazy, but shifting your arms up and down, twirling around, doing a little dance or moving from a sitting position to a standing position are great examples of camera-body movement.

As long as the shutter is open, and the lens is pointed toward a light source, the movements you make will be recorded in the image, creating kinetic abstract imagery.

Moving subjects

As an alternative to moving yourself around, photographing a moving light source can create dynamic light trail imagery too.

Star trail photography is the photography of stars as they appear to transit the night sky. Though it is us that is rotating on earth, the star trails illustrate our perception of the celestial sphere as a moving body.

Car trail photography records the movement of car lights in darkness, revealing trails that trace the routes of traffic in a given setting. For a more abstracted image, isolate the car trails from the surrounding landscape.

Physiography is a method of light painting that can be done in your darkened living room. Suspend a light source on a string and let it swing over your camera during a long exposure. The results are often surprising and intricate, documenting the path of the light source as it swings through the air with diminishing momentum.

This physiogram traces the path a moving light source has taken while suspended over a camera

Burning steel wool photography is another form of recording light trails. Though it can be a little hazardous, the results are quite spectacular.

Burning steel wool leaves golden trails of light not dissimilar to this example of camera movement.

Conclusion

When the day turns to night, many pack up their photography gear and head home. But night time doesn’t necessarily mean that photography is over for the day.

Creating abstract imagery with light is an intriguing aspect of photography. Through the use of camera and/or subject movement you can create fascinating imagery that engages and intrigues an audience.

Go out and try these techniques for yourself, and share your abstract light trail photography with us in the comments below.

The post Get Moving – Four Ways to Create Abstract Light Trail Photography appeared first on Digital Photography School. It was authored by Megan Kennedy.

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6 Ways to Make Your Photography Stand Out

20 Jun

The post 6 Ways to Make Your Photography Stand Out appeared first on Digital Photography School. It was authored by Karthika Gupta.

When was the last time you googled your city and your genre photographer? I tried this the other day, and I used ‘Chicago lifestyle’ and ‘travel photographer.’ The search results returned 18.5K results. Yes, that is ‘K’ as in thousands.

Photography is an extremely competitive field and it can be difficult to make your photography stand out. Low cost of entry in terms of gear, free online tutorials and a pool of clients who want everything for ‘free’ or ‘low budget’ means there is work for anyone who wants to get into the field. Sure, some genres are harder to get into than others, perhaps. But the reality is that if you want to get paid to take photos for someone else, chances are you will be able to do that relatively easily.

branding photoshoot of an artist Karthika Gupta

Now, I am not against any of this. We all start somewhere, and I had also done the ‘free’ photoshoot when I was starting to get my feet wet. I understand all that is needed to become a photographer.

But I quickly learned that the $ 50 or $ 100 photoshoots are not worth my time, effort, and talent. As a photographer, there are many expenses such as:

gear insurance
business registration
taxes
administrative overheads including website domain name and hosting
travel costs etc.,

I was effectively paying people to let me take their photo.

That math did not add up and made no sense what so ever.

If you want to make it long term in the photography industry, there are several things you need to do to get yourself on the right track and stand out from the rest of the crowd when it comes to your skill, your business practices and your presence – on and offline!

1. Consistency

Don’t be a one-hit wonder. Consistently create and produce new work. Even if that work is just for you, personal projects or collaborative projects.

If you have to do ‘free’ or ‘low budget’ shoots, have a plan on when, how, and what you are going to get and give from these shoots. Spending 6 months providing free shoots or low-cost shoots to build up your portfolio is okay, but taking 2 years to do so is a bit much.

Also, realize that free/low-cost shoots tend to look very different from clients who are willing to spend $ 1000 or more on a family photo shoot. So be practical with your goals.

Styled bridal photoshoot stand out from the crowd with your photography Karthika Gupta

It took me years of practice to find a style that I liked and that worked with my personal asthetic – a clean, bright style of imagery.

2. Authenticity

A lot of photographers offer styled photo shoots and portfolio-building photoshoots. This is where a bunch of photographers walk through a styled setup and create work that they can showcase on their portfolio. There is nothing wrong with this but only if you use this as a way to build your skill.

For example, you are editing clients of different skin tones, learning how to photograph in challenging light or how to pose and interact with clients. Don’t use these images as ‘your’ work. You are better off indicating images from a styled shoot as such than you are in showcasing work/styling that isnt your own.

I love 1:1 styled shoot because they give me creative freedom and a chance to create unique images.

Instead of consistently looking for styled shoots for building a portfolio, invest in one of your own. It doesn’t have to be elaborate or fancy. Loop in a few vendors and see if you can set something up that can fit your brand and theirs. This is a win-win for all involved. That way, you create unique images and also make friends in the industry.

3. Play well with others in this space

This relates to number 2. Make friends in the industry. I belong to many FB groups and Whatsapp groups for creatives and photographers. We meet, chat, connect over business issues as well as offer advice and help as needed. I also am a part of a group with many different kinds of entrepreneurs to build a community of like-minded people and professionals. I have gotten a lot of business from these groups but have also made some life long friends and mentors. People who are always there for me because I am always there for them.

A collaborative photoshoot with a fellow photographer to create portfolio and editorial photos. The image is a triple exposure on film.

No matter what level of business you are at or even if you are just a hobbyist, there are always people who are just like you and are looking for the same things as you – friendship, love for photography and camaraderie. Give out as much as you can, be helpful and uplift others who are on this journey with you. The more you put out there, the more you will receive from the universe.

4. Patience is key

Photography is a very competitive industry. At any given point in time, there are bound to be people who can do something better than you. And that is totally okay. Know where your strengths lie and use those to your advantage. Aim to be in it for the long haul and not just the short term gigs that are one and done deals. Build relationships with your clients so that they will refer you and come back time and time again for quality results.

Success doesn’t happen overnight. Be consistent and be patient, and things will happen in their own time.

5. Success your way

Whether you choose to be in business or not, be true to your art. Get inspiration from other photographers and daily life. There are many amazing things around us at any given point in time. Just because no-one else photographs it, does not make it boring. Similarly, think outside the box. Just because everyone photographs something a certain way, does not mean you have to follow the pack.

When you are starting out, don’t obsess over clients, getting work, and making money. Yes, they are absolutely important but take the time to perfect your art (to the point where you are confident charging money for your photography). Then, money and fame will follow.

6. Have a 360 approach to your career

When I used to work in Corporate America many many years ago, one of the companies I worked for had a 360-degree approach to annual performance evaluation. My performance was judged by how effective I was in four areas: my peers in my team and across teams, my managers, and those who worked for me. Apply this approach to your photography. No matter where you are committed to helping those just starting out, collaborate with your peers, learn from those who are where you want to be. This can be in terms of meetups, workshops, and conferences or even just meeting for a cup of coffee to connect with others.

I started teaching technique at conferences and love meeting and connecting with other photographers who have become good friends.

Your photography career and mindset around your work and your art will grow in leaps and bounds when you have a mindset of abundance instead of scarcity.

Conclusion

If you have read through this article in its entirety, you would have noticed that I talked nothing about camera brands, lens, lighting, models, posing etc.

In my opinion, the tips for making your photography stand out from the crowd focus on things that are more important. Your attitude towards yourself and others, your mindset, your willingness to get help and help others, and your long term vision for where you want to be, are far more important than your skill with the camera. After all, almost anyone can take a picture – simply point and shoot. It takes a lot more to become a successful photographer who consistently creates art.

The post 6 Ways to Make Your Photography Stand Out appeared first on Digital Photography School. It was authored by Karthika Gupta.

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6 Ways to Save Money on Camera Gear

16 Jun

The post 6 Ways to Save Money on Camera Gear appeared first on Digital Photography School. It was authored by Suzi Pratt.

It’s no secret that camera gear is expensive, but there are several very easy ways to save money on gear. So before you buy your next camera body or lens, read up on these money-saving tips.

save money camera gear

1. Look for discounts or deals

This one might seem like a no-brainer, but always be on the lookout for sales or discounts. Follow photography blogs or websites such as Canon Rumors or Nikon Rumors (or whichever Rumors sites corresponds to your camera brand of choice). They will often alert you of upcoming deals on camera gear and accessories. Another tip is to wait for holidays such as Black Friday, Cyber Monday, and Amazon Prime Day. These are holidays that almost always result in massive gear discounts.

2. Study camera product cycles and buy just before or after a new release.

Most camera manufacturers have a fairly regular product release cycle. For example, the Fujifilm X-T series releases every 2 years, the Canon 5D series every 4 years, and GoPro Hero every year. Purchasing a camera right after release to the public won’t save you money. However, you could look at buying the previous model since there are likely to be many camera owners selling theirs, or camera stores looking to empty their stock.

Depending on how well a new camera sells, you could wait six months to a year after its release and start to see deals come up. Not only will the camera price likely drop, but camera stores are also likely to add product bundles that throw in extra goodies such as Adobe Photoshop subscriptions, memory cards, camera bags, and more.

save money camera gear

3. Consider third-party options

This tip applies mostly to camera lenses and accessories since there aren’t many “third-party” camera body brands out there. For a long time, third-party lens options were looked down upon as inferior products. However, companies such as Sigma and Tamron have really upped their game and are producing high-quality lenses that are starting to rival the price and quality of those made by original camera companies. So the next time you’re looking for a new piece of glass for your camera, definitely consider any third-party options out there to save some money.

4. Buy used or refurbished

Cameras and lenses are made to last. As long as they have been cared for, they hold their value and can sell easily.

If you’re on the market for camera gear, definitely consider buying a used or refurbished product. This process can seem intimidating, and there are several ways to go about it with varying degrees of risk.

One option is to buy locally via an online marketplace such as Facebook or Craigslist. This is the riskiest option since you will have to evaluate the product in person and there’s often little chance of a refund if the product is defective. However, this method also gives you the most wiggle room for negotiating a lower price.

save money camera gear

Another way to buy used or refurbished is to do so via an official online store. Nearly all major online camera stores such as B&H Photo, Adorama, and Amazon have a Used section with discounted gear. There are also websites such as Keh.com that specialize in only buying and selling used gear.

The benefit of using a site like this is security. In most cases, your purchase is covered by the store, and you have some reassurance in terms of returning the item in case of a defect. However, there’s no room for negotiation, so the price you see is what you’ll have to pay.

5. Rent gear

Before you buy your next piece of camera gear, ask yourself, “do I really need to own that?”

If the answer is no, it could be more worth your while to rent the gear temporarily.

This is especially true for specialty lenses such as super telephoto zooms that retail for upwards of $ 10,000 to own.

Look around for your local camera store and see if they offer gear rental services. Or there is also Borrow Lenses, a website that specializes in renting out camera gear in addition to selling used gear.

save money camera gear

6. Use credit card rewards

If you’re diligent about paying off your credit card each month, consider getting a credit card with a good rewards system. There are camera-specific credit cards such as B&H’s Payboo that reimburses you for sales tax. Or there are more general credit cards that allow you to get points or money back on a wider variety of purchases.

Personally, I’m a fan of the Amazon Prime Store card that gives you 5% back on all purchases, plus the option to finance big purchases (ie. cameras!).

Either way, do your research to find a card that suits you and be sure to pay it off, otherwise, it’s no longer a money-saver.

Over to You

There you have it! Six ways to save some money on camera gear and accessories. Do you have any tips to add to the list? Let me know in the comments below.

The post 6 Ways to Save Money on Camera Gear appeared first on Digital Photography School. It was authored by Suzi Pratt.

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How to Use a Photography Ring Light in Unconventional Ways

03 Jun

The post How to Use a Photography Ring Light in Unconventional Ways appeared first on Digital Photography School. It was authored by John McIntire.

With a ton of options on the market, adding a ring light to your kit has never been cheaper.

Continuous photography ring lights seem to be everywhere nowadays. There are dozens of offerings from dozens of companies that you can choose from, and they are popular with photographers, make-up artists, and videographers. The main use of a ring light is on-axis lighting for an even, somewhat flat exposure.

However, what do you do if you don’t like that effect or the distinctive ring-shaped catchlight for that matter? Because these lights are continuous, and because of their size, they have more uses than ring flashes of the past. If you don’t like the straight-on effect, you don’t have to use a ring light in that way.

In normal use, you would place the light directly in front of your subject and shoot through the aperture of the light.

This article demonstrates six uses of a continuous ring light that isn’t their intended use. It will also (hopefully) show you that these relatively cheap and effective lights are useful to have for any photographer in the studio.

Normal use

While not to the taste of many photographers, ring lights can be used to create bold and vibrant images.

If you’re unfamiliar, a ring light is a circular, ring-shaped light with a large aperture designed to be placed directly in front of a subject. You then take your images by positioning your camera through the aperture of the ring.

Traditional ring flashes had the light attached to the camera. This front (on-axis) lighting provides an evenly lit image. This is one of those things that you either love or hate, but photographers who love it tend to really love it.

Versatility

With the continuous versions of these lights, you have a wealth of options with how to use a ring light. Because the light is always on, you can position it anywhere you want. With a lot of the options on the market, this gives you a high-powered, lightweight and versatile continuous light for around $ 100.

Because of the brightness of a continuous ring light, your subject’s pupils will be constricted, allowing you to see more of the color in their eyes.

Here’s a bonus if you’ve never used continuous lights before. Because the output is constant, your portrait subject’s pupils get constricted. This means you will see more of the color of their eyes in your photos.

Options

Below are five examples of ways you can use a continuous ring light to great effect without ever using it as a ring light.

1. As a normal light

Placed at a 45-degree angle and angled downwards, these ring lights work well as normal light source.

Despite its circular shape, ring lights are great when used as a normal light. Raise the light and angle it towards your subject to distort the effect the shape of the light has, and you can use it as a small softbox. You’re not limited to how you can light your subject this way, but I’ve found that all of the basic lighting patterns work well.

You are not limited to the shape of the ring. Use flags to block off portions of the light to shape it however you want.

If you have more than one ring light, you can use them together to create just about any two-light setup that you can imagine. If the ones you have have an adjustable output, managing your key to fill ratios should be pretty easy.

2. As a prop

Having your subject pose with the light itself can create some interesting and fun portraits. It can also help to lighten the mood during a session.

If you have an LED ring light, they don’t get very hot. Feel free to have your subject pose with the light itself for some very different images. The results will vary with ring lights of different sizes, and you have to worry about the plug and the cables, but it’s still a fun technique. Though you probably won’t use it very often thanks to its tendency towards uplighting.

3. As ambient fill

Modern ring lights are getting quite powerful and it is more than possible to use them as fill lighting in conjunction with studio flash.

You can mix any continuous light with studio flashes for some interesting effects. By using a strobe as your key light, you can then bring a ring light in for some gentle fill.

A couple of things that you will want to keep in mind is that your strobes are probably way more powerful than your ring light, so set the power accordingly. Also, you will probably want to have a ring light with an adjustable color temperature if you are going to be mixing light sources.

You could also reverse this and use the ring light as key and flash as fill. As before, make sure the power on your strobes goes down that far before committing to this.

4. As a compositional device

Putting the light behind your subject creates an interesting tool for composition. Also, it may just be me, but I love that rim light that it is producing.

In its normal use, I am a fan of creating a composition with the actual ring light framing the subject. I just like it for whatever reason. However, you are not limited to that. You can place the ring light anywhere in your frame for some cool effects. Try placing one behind your subject for a halo effect, or placing one at an angle just inside your frame for a curved band of light running through the composition.

5. Dragging the shutter

When you’re mixing a ring light with studio flash, it opens the door to some interesting techniques like dragging the shutter. Here, flash is acting as fill and the shutter speed is set to 1/15th of a second.

This is similar to using the ring light as ambient fill, but if you use your strobe normally, you can expose for the high-powered strobe and the low-powered ring light by dragging the shutter.

This technique is not for everyone, but it can produce some interesting results.

A little warning: if you’re a technically-minded photographer, you’re probably going to hate this technique, as the results tend to be a little soft. However, it can be used for some striking results. If you do like it, you still have to be careful with controlling the movement of your camera.

You do have to manage any movement in your camera while using this technique. If in doubt, use a tripod.

Because the power output on your flash is not in any way controlled by shutter speed, you can set your shutter speed as slow as you need to make this work. However, you may want to use a tripod for really slow shutter speeds. This technique can provide some cool effects in its own right, but no two attempts are going to be the same.

That’s it

There you have it. That’s six ways that you can use a continuous ring light without ever having to use it as a ring light. Considering how cheap these things are, they are a very useful tool for any photographer who wants to get into off-camera lighting but for some reason is put off by flash.

Do you have other ways that you use a ring light? Please share with us in the comments below.

The post How to Use a Photography Ring Light in Unconventional Ways appeared first on Digital Photography School. It was authored by John McIntire.

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8 Creative Ways to Photograph Trees

16 May

The post 8 Creative Ways to Photograph Trees appeared first on Digital Photography School. It was authored by Simon Bond.

A favorite subject for many photographers is the tree. Tree’s can be found everywhere, so wherever you are in the world, you’ll have a chance to photograph them. In this article, you’ll see how adding a tree to your composition can add oxygen to your photography! So take a deep breath and learn how inspiring tree photography can be by using these seven different approaches to photograph trees.

1. The lone tree

A lone tree frames a typical landscape scene in southern England.

The lone tree alone in a field or on the brow of a hill really is a photo for the ages. It’s as strong a main subject as you’ll ever take in landscape photography. Whether you position this tree in the center of your frame or the left or right third, the photo is likely to work. The main thing is to ensure the tree is truly isolated and doesn’t have other rival trees in the frame competing for attention. The challenge, of course, is to find such a tree. In some cases, these tree’s are famous like the one at Wanaka lake in New Zealand. The chances are you’ll find a tree near where you live though.

Lens choice

The choice of lens you use may well help you isolate that tree once you’ve found it.

Wide angle – This type of lens works well when you want to get close to the tree, yet want to show the tree in its entirety. Through the use of this lens you might be able to create a minimalist style photo containing just the tree, the sky, and some fields where the tree is located.
Telephoto – When that tree is a long distance away, and is perhaps inaccessible because it’s on private land, a telephoto lens could work.Of course, make sure you’re not impinging on someone’s privacy when taking that photo. You’ll also be able to zoom in to isolate a lone tree, which is perhaps near to other trees and removing those other trees from your composition.

2. The tree tunnel

Another popular type of photo is the tunnel. These contain a strong leading line and an infinity point. They’ll also work very nicely with portrait photos, where the model acts as a foreground element in front of this tunnel. When it comes to trees, you’ll find they’re naturally good at creating tunnels. This happens when a mature tree has an arching main trunk, and branches that hand down to the side of the tree. Another place you can see a tree tunnel is a path or road that has trees on both sides, where those trees form a roof of interlocking branches. Photos of tree tunnels like this are usually more dramatic taken at longer focal lengths, where the comprehension that gives will enhance the effect of the trees creating the tunnel.

Tree lines work very well in photography.

3. The change of seasons

As with all things in nature, they’ll change with the seasons. As long as you’re not in the tropics, you’ll be able to see the change in a tree throughout the year. The most powerful way to record this is to choose one composition and photograph it for each of the four seasons. Whether that composition is a single lone tree or a path with trees along it will be up to you.

You don’t necessarily need to make your seasonal set from the same location though. You could choose to show photos of trees in the country you’re from, with clear markers that you’re in a particular country from your photos. Each scene you show can show the different seasons, and show the trees of that country.

Autumn is one of the most popular times to take photos of trees, and with good reason.

4. Applying creative techniques

There are many photography techniques out there which you can try. A lot of these techniques are adaptable to use with tree photography. Here is a selection you could try the next time you photograph a tree:

Silhouette – This works great with trees, especially those trees with beautiful branches that show the detail of the tree when silhouetted. Silhouettes are relatively easy to achieve. Expose for the sky, and aim towards the sky. The tree should naturally silhouette as long as you’re photographing with the sun in front of you.
Refraction – Another classic for tree photography involves using a lensball. Here you’ll see an inverted image of the entire tree all captured with a small glass sphere.
Infrared – Choose a sunny day with some clouds in the sky. You’ll want to choose the summer as well, as this technique needs green leaves on the tree. These photos can be taken with infrared filters or repurposed cameras. You’ll need to adjust the white balance in post processing. Once done, you’ll produce a beautiful dreamscape image.
Long exposure – The tree itself won’t benefit from long exposure. However, on days when clouds are moving across the sky, this technique looks great. The static tree juxtaposed against blurred moving clouds will work very well.

This is a slightly different take on the lone tree photo, and uses a lensball to achieve it.

5. Details photos

Having taken plenty of photos of entire trees, it’s a good idea to balance this with some detail photos. You’re really spoiled for choice when it comes to the type of photos you take here. All areas of the tree offer potential.

The following ideas can guide you:

Leaves – Detail photos of leaves could take different forms. You could focus on a single leaf, and produce a bokeh background behind it. You might use a macro lens and focus on all the detail the veins of the leaf give you. Photographs of leaves work very well with the sun shining through the leaf from behind.
Bark – The texture of bark is a natural fit for a detail photo. Look to side light the bark to get maximum texture in your photo.
Trunk – The trunk is not just about the bark on the tree. Focus on the root system around the trunk, and all the patterns you can find at the foot of the tree.
Branches – Looking up works equally well. Interlocking branches make for great pattern photos, especially when silhouetted.

One of the best places to photograph trees is the jungle. This photo show the detail at the tree trunk.

6. Portrait work

The use of trees as backgrounds for portrait photos is a popular idea. There is a good reason for that; much of which is related to the points made earlier in this article. Tree’s have the potential to form natural frames, especially where branches arch back from the trunk towards the ground. A line of trees forms a leading line, one that can draw the eye towards your model.

In the summer months, you’ll find leaves are amazing for creating a natural bokeh background for your portrait. Your model will be able to interact with the tree, perhaps mimicking the shape of the branches. There are many ways trees can add to your portrait work. So using trees for portrait work is another way to use trees creatively.

In this photo the model stands under cherry blossom trees as the petals fall down.

7. Different perspectives to photograph trees

Another way to photograph trees more creatively is to change the perspective. There are lots of angles you can use, though you’ll need to be close to the tree to utilize some of these. Take a look at the angles you could be using, and see how you can apply them to your work.

Low angle – Either from a distance or closer to the tree, photographing from a low angle will give you a different perspective. Foreground elements will show up a lot more in the frame, so you could place flowers in the foreground with the tree in the background.
Worm’s eye view – Low to the floor, but now looking up at the sky. This is a great angle when there are several trees together, and you stand in the middle between them.
Bird’s eye view – Should you have a way of getting an overhead photo of the tree, or a canopy of trees, this is a great angle.
Framing – Look for ways to frame a tree, perhaps use another tree in the foreground to frame a tree in the background.

This photo uses the branch of one tree to frame another tree in the background.

8. Wildlife photography

It goes without saying that a tree is a living ecosystem. Many living things rely on trees for life, including humans. In terms of photography, you could start small by looking for beetles in the soil, or under the bark. Leaves will also be home to a lot of smaller life such as caterpillars. So you’ll be able to get your macro lens out and explore the world of insects.

Of course, larger creatures feed on these insects, and you’ll be able to photograph them as well. You’ll find lots of species of birds, squirrels, and other animals. Photographing these is trickier, and you’ll certainly need a longer focal length. The use of camouflage gear and bird-watching huts also enhance your chance of photographing life within a tree.

In some countries the wildlife in the trees is a little bigger than a squirrel.

Conclusion

A tree is an interesting subject for a photo and has been used by photographers many times to create photography projects. In this article, you’ll have seen several methods you could use to photograph a tree.

Are there any in this list that interest you? What other approaches to tree photography have you used that aren’t discussed here?

At Digital Photography School, we’d love to see examples of your tree photography, together with your thoughts about this article.

The post 8 Creative Ways to Photograph Trees appeared first on Digital Photography School. It was authored by Simon Bond.

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6 Ways to Plan a Photography Road Trip

01 May

The post 6 Ways to Plan a Photography Road Trip appeared first on Digital Photography School. It was authored by Jeremy Flint.

Monument Valley, USA

Going on a road trip can be an exciting prospect for any budding photographer. There is usually a great sense of anticipation and adventure associated with any road trips where you embark on a journey across familiar or unfamiliar lands.

If you are planning a road trip to a particular travel destination, here are 5 ways to help you plan your getaway.

1. Choose a destination

Arizona, USA

One of the first and most fundamental things to do is to decide where you want to go. You can choose a destination based on a photographic interest you may have such as landscapes or select a location based on somewhere you would like to visit. For example, the Scottish highlands in England are a great place to take a road trip where nature is bountiful and beautiful.

You may prefer a road trip that follows a famous route such as Route 66 in the USA.

2. Do your research

Planning your journey can be a challenging prospect if you have never been to the place you will be visiting. The fear of the unknown surrounding the location can hold you back and even put you off doing any groundwork.

I suggest to just choose a route, research it and go. Researching an area will help alleviate any anxieties about going to a new area. Then it’s simply a case of putting your plan into practice.

Arizona, USA

You need to decide if you will take your own vehicle or hire one depending on your budget and where you are planning to visit. Obviously, if you are going somewhere abroad that is too far away to take your own vehicle, consider which vehicle you will hire. A campervan may be a financially viable option if you would like wheels and accommodation in one.

Alternatively, you may opt to rent a car and stay in local accommodation at your chosen destinations The advantage of a campervan or car and tent is that you can stay overnight near to a place you want to photograph such as beside a river, lake or landscape.

3. Plan time for photography

Plan your trip for the time you have. Figure out which location you want to visit and factor in some time for picture taking. You will also want to allow some time for sightseeing and relaxation. Don’t forget to stop the car during your road adventure to soak in the views.

Namibia

4. Consider your travel partners

A key factor to consider when planning time for photography during your road trip is who you do your grand tour with. Consider who your travel partners will be whether you decide to go with a friend, your spouse or family. Make a clear plan to factor in some photography. Tell the people you are with that you intend to do some photography at a specific time and ask if they want to come with you on your photographic pursuits.

If they decide to join you, advise them to take to take a good book or puzzle to entertain them. These plans will help keep everyone happy and prevent you from falling out with your travel companions.

On the contrary, if your tour is a solo road trip, you will have all the time you need. It will just be a case of choosing where and when to go and which travel destinations to photograph.

5. Plan the gear to take with you

Bryce Canyon, USA

Have you ever been on a photography excursion only to find out when you get there that a vital piece of kit is missing? This could be anything from a piece of equipment to a lens cleaning cloth.

As simple as it may seem, I recommend making a list of things to take before you pack to ensure nothing is forgotten. Your packing list may include a camera, lenses, cleaning cloths, spare batteries and memory cards, tripod, waterproof coat, hat and gloves, walking shoes, map and a guidebook.

6. Consider electricity

Desert road, namibia

Charging your batteries is an essential part of your trip so make sure that wherever you are going has sufficient supplies to charge your batteries. Electricity points are available at most types of accommodation including hotels, B&B’s, hostels and even campsites.

If you’re traveling in a campervan or vehicle specifically set up for road trips, it may already be well equipped with electricity points for charging devices. A solar powered or fully-charged battery charging device will provide additional battery charge capabilities.

Conclusion

When embarking on a road trip, make sure to plan your trip well and be prepared for any potential photographic challenges such as lack of electricity when away from connectivity spots for a certain duration of time.

Choose and research your location. Plan time for photography and make a checklist of the gear you intend to take with you. That way, you ensure nothing is forgotten when packing for your adventure.

The post 6 Ways to Plan a Photography Road Trip appeared first on Digital Photography School. It was authored by Jeremy Flint.

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So You Have No Model? Here are Ways to Practice Your Portrait Lighting With Toys

01 Apr

The post So You Have No Model? Here are Ways to Practice Your Portrait Lighting With Toys appeared first on Digital Photography School. It was authored by Mat Coker.

Portrait lighting can be tricky to learn.

After reading articles and watching tutorials about light, you’ll excitedly look for a person to practice on. Although, once you finally have a person in front of your camera your mind goes blank and nothing is as easy as those tutorials made it seem. You forget all that information you’ve been overloaded with and feel foolish in front of your ‘model.’ Worst case scenario, you’ll become discouraged and give up.

Superman was always my favorite.

But there is a way to practice basic portrait lighting techniques and build your confidence before photographing people. You can practice portrait lighting with toys until you feel comfortable enough to experiment with people.

You’ll learn how to position your subject and light source without the stress of working with a real person.

Once you understand the basic principles of portrait lighting your confidence will grow and you can keep learning new techniques and refining your skills.

Also, who doesn’t want an excuse to play with toys again?

Choosing the right toy

Choose a toy with a human figure so that what you learn can transfer easily when you photograph real people. Try to find one with pronounced facial features so that there will be realistic shadows created.

Your toy should have some texture too. This is important because it helps you to see how the light affects your subject. As light skims across a textured surface, it will create highlights and shadows, which will help your portrait to pop. Everybody who sits in front of your camera will be textured (hair, skin, and clothes).

This Superman toy has lots of texture and muscular looking features. His face has pronounced features that mimic a real person’s face.

Using a flashlight (hard light source)

Quality of light refers to the hardness or softness of the light.

A general rule is that the smaller the light source, the harder the light will be. This means that there will be deep, crisp shadows. The larger the light source, the softer the light will be. The difference between the shadows and highlights will be much less intense.

I’ll begin by using a flashlight as a hard light source. The basic lighting patterns will be easier to see with hard light.

In each of these sample photos, we’ll focus on the direction of light and what happens as we move the light around.

Front
Rembrandt
Side/split
Edge
Back/silhouette
Uplighting

I kept my Superman figure in one place and simply moved the light around it.

The first image is the lighting set up and the second image is the portrait.

Front light

The light is placed directly in front of your subject. It’s a little higher than his eye level.

You can see that he is evenly lit with a crisp shadow under his neck created by his jawline.

Rembrandt light

This is a classic lighting pattern named after the painter, Rembrandt. Reposition the light so that it hits your subject on a 45-degree angle. It’s still a little above eye level.

The left side of his face becomes shadowy, but there is a triangle of light under his eye.

Side light/Split light

The light has now been positioned directly beside him.

The light now only illuminates one side of him. His face is split between shadow and highlight.

Edge light

Swing the light around so that it shines over his shoulder.

The only light that we can see now is the edge of his face, shoulder, and arm.

Backlight

Put the light right behind your subject.

This is similar to the edge light effect except that the light is directly behind him now. If the light source were larger (perhaps a sunset sky) there would be more of a silhouette effect. But the dark background has created a very mysterious look for this low key portrait.

This is the exact same lighting situation except that I increased my ISO to make a brighter exposure.

Uplight

To achieve this dramatic looking portrait I placed the light at his feet and shone it up toward his face. Uplighting is sometimes referred to as ‘monster lighting.’

Using a window (soft light source)

Now that we’ve seen how light can be used with a harsh source, let’s look at the same techniques with more subtle soft lighting.

In this case, we can’t move our light source, so we’ll have to move the subject in relation to the window.

We’ll cover:

Front
Rembrandt
Side/split
Edge
Back/silhouette

Front light

The window is right behind me, shining directly on Superman.

Rembrandt light

The window is beside him, but notice that I place him back from the window a bit.

The right side of his face becomes shadowy except for that triangular patch of light under his eye.

Side light

I’ve now moved him forward so that the window is directly beside him.

The light splits his face and body into a highlight on one side and shadow on the other.

Edge light

You can see the window behind him on the left side of the photo. It’s behind him but off to the side so that it illuminates the edge of his head, shoulder, and arm.

Backlight/silhouette

The window is directly behind him. Because it is such a large, bright light source the portrait has become a silhouette.

Creative

Because I wasn’t working with a real person, I felt comfortable experimenting with some creative lighting. The more I relaxed and the longer I practiced, the more I began to notice interesting lighting situations.

The glare on the table acted as a backlight source, creating a silhouette. The light from the window became an edge light source, tracing his upper body and making it stand out from the dark background.

This is the window edge light photo from above. I cropped the window out and used a radial filter in Lightroom to make that subtle burst of warm light in the top left corner of the photo.

Two light sources

Let’s look at a three-step progression from one light to two.

The glare on the desk is from a window in the background. It’s a backlight source that has created a silhouette.

I decided to set up my flashlight again to add some light on his face.

Finally, I turned his body more toward the flashlight to illuminate his chest but turned his face back toward the camera to create a split light effect across his face.

More advanced

The leap from practicing with toys to photographing real people may still be a little uncomfortable, but at least you’ll have some success behind you. Just focus on one thing at a time. Use a window to make a soft Rembrandt light portrait of a friend. Or try a dramatic split light photo using off-camera flash.

Once you feel comfortable with the basic lighting techniques we’ve covered you can practice these more advanced techniques using real people:

Clamshell
Butterfly, loop, Rembrandt
1, 2, 3, or 4 lights

And when you’re seriously ready to go pro with your lighting you’ll need to read, How to Create Awesome Portrait Lighting with a Paper Bag an Elastic Band and a Chocolate Donut.

The post So You Have No Model? Here are Ways to Practice Your Portrait Lighting With Toys appeared first on Digital Photography School. It was authored by Mat Coker.

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MIOPS Mobile RemotePlus Review – Taking Control of Your Camera in Ways a Cable Release Never Can

31 Mar

The post MIOPS Mobile RemotePlus Review – Taking Control of Your Camera in Ways a Cable Release Never Can appeared first on Digital Photography School. It was authored by Peter West Carey.

MIOPS Mobile RemotePlus is a handy device and app to help you take control of your camera in ways a simple cable release never can. Sleek and stylish, the unit sits on your camera’s hot shoe and can provide a variety of functions through the easy to configure app for iPhones or Android phones.

What is it?

The MIOPS Mobile RemotePlus has three main components:

The remote trigger that sits on your camera’s hot shoe
A release cable specific for your camera type
The MIOPS Mobile app

The app works with the unit via Bluetooth, sending and receiving information constantly while in use. It is important to note that the unit can continue on its own, after being sent a command, if you close the app or you lose connection. So if you start a 500 image time-lapse, you can effectively let the unit continue working without babysitting it.

The RemotePlus will set your shutter speed for the various modes explained below, but you will still be in charge of ISO, Aperture, White Balance and any other setting you choose. Some RemotePlus modes work better with Manual mode on your camera while others, such as the Long Exposure Timelapse, will need Bulb mode.

Getting Started

After unpacking the RemotePlus, you’ll need to connect it to your camera’s remote port. This process is different for each camera. Hook the other end of the cable into the side port on the RemotePlus, which has both a receptacle to attach to a camera hot shoe and a standard tripod threaded hole.

The app can be downloaded from either Google Play or Apple Store.

The app has a demonstration mode if you want to download it before you buy the unit to see how easy it is to use.

You will need to register your device with MIOPS if you want to upgrade your firmware. After signing on, you will see a screen like this one:

Choosing the MobileRemote and the app will scan for nearby remotes:

Clicking on the only unit available brings up a full menu of options:

Whoa now! There’s a lot there to parse through, so let’s take them bit by bit.

What can it do?

Cable Release Modes – 6 Varieties

Let’s start with the basics.

While connected to your camera and smartphone, the RemotePlus functions as a shutter release for your camera in six modes:

Cable Release

This mode is straightforward and perfect for those who don’t want to stand with their camera while taking a photo. Pressing the large button on the screen (see below) will trigger the shutter in whatever mode you have set on the camera. For instance, this mode is great for sitting at a campfire while your camera is set to take photos nearby.

Press & Hold

Press & Hold take things up a notch and is perfect to use when you are waiting for some action. It’s the same as pressing and holding the shutter release on your camera in Bulb mode. The longer you press, the longer the exposure.

Results will vary with duration and here is one simple example of eight seconds on a freeway overpass.

Press & Lock

Don’t want to bother holding the button on your screen while waiting? Press & Lock is where it’s at. Same as above, but now you have to tap the main button on the screen a second time to stop the exposure. There is a timer shown at the bottom of the screen for your convenience.

Timed Release

Going one step further, if you know you want a 10-minute exposure, Timed Release is the correct mode for you. Just enter in the appropriate shutter release time on the screen, set your camera to Bulb mode while adjusting the ISO and Aperture to your liking. Once you press start, it’s all taken care of for you.

On the display are places for hours, minutes, seconds and decimals of a second. In this example, I chose 12 seconds for another overpass shot.

Self Timer and Timed Release & Self Timer

The Self Timer mode is just like the self-timer on your camera, but you can set the delay, up to 99 hours in the future.

Lastly, the Timed Release & Self Timer combines the last two sections to allow for a delay and then a long exposure.

In each of these modes the command is sent from the app and then stored in the unit, so you don’t need to be present or within range for the unit to take action.

Timelapse – 4 Main Varieties

While the RemotePlus will not create the final video file for you, it will greatly simplify your ability to create fun and unique timelapses in a few different modes. More information on compiling the timelapse can be found here on DPS.

Basic Timelapse

The Basic Timelapse mode will take care of all your simple timelapse needs. It’s there for you to point, focus, and create with ease.

On the first screen you set the interval between photos, and on the second, you set the number of photos you want to take. It’s that easy! Press Start and away your camera goes.

The two screenshots above show the app screen while the camera shoots. The circle around the interval counts down until the next shot, while the current frame and remaining time display on the bottom. Up top are the overall settings.

The app has a nice feature to help reduce accidental stops; you have to press the lock button before you can click on STOP. It’s possible to still stop the app on accident, but the extra step helps.

It’s up to you to set your camera on your preferred mode. Manual Mode with the White Balance set often gives the best results for consistent image quality.

Long Exposure Timelapse

Long Exposure Timelapse is where things become more complex but also more exciting as far as the results. Here you will again set the interval between shots and the number of shots, but you will also set your camera to Bulb mode and set the shutter speed in the app.

After pressing Start the screen will change, as with the Basic Timelapse, but now two countdown circles will appear.

These circles will show you the amount of time left in each interval and exposure.

You can use the Long Exposure Timelapse for a variety of subjects. Below are two examples I shot of the same subject, but with slightly different settings for varied effects.

The first had settings of ISO 100, f/7.1 and 1/100th (Standard Timelapse Mode) while the second had settings of ISO 100, f/22 and 1/5th (Long Exposure Timelapse Mode). The difference is apparent in how blurred motion from the cars can impart more motion.

Here are three more tests at 1/10th second shutter speed, .6 seconds and 1.2 seconds. All timing set from the app in Bulb Mode.

Bulb Ramping Timelapse

Bulb ramping is a manner of shooting while the lighting changes. This is most often performed at sunrise or sunset and can cover an extended period, such as an hour. While the camera is in Bulb Mode, the shutter speed is gradually adjusted to keep the overall exposure consistent, so the timelapse does not change from very dark to very bright.

It’s important here to understand some limits and to plan for them with this mode.

Most cameras are limited to 1/30th of a second in Bulb mode with a cable release. Check with your owner’s manual to see what limits Bulb Mode and using a cable release may put on your photography.

This mode also requires planning ahead to know – or at least make a good guess – which exposure settings to use at the start and end of the ramp. The ramp is linear in its progression, so you will need to choose a time of gradually increasing or decreasing light. If the sun suddenly shines brightly on your scene once above the horizon, but then ducks behind some clouds, the effect might be rather jolting.

To use this mode:

The Bulb Ramping mode has four settings.

The first is the interval between shots. The example below shows 30 seconds.

The second screen sets the shutter speed of the first image. Because I am using a Canon, I set it to 1/30th of a second above (the fastest Bulb will handle, even though the screen shows a decimal of .01, or 1/100th of a second).

The next screen is the final shutter speed. This is where math, planning and scouting help. You will need to calculate how long you want your bulb ramp to run, from start to finish, and know what the lighting will be at the start and finish. In this case, I picked 20 seconds for an end shutter speed (left, below).

The last screen asks for the number of frames to shoot. Here, it will shoot 60 frames, one every 30 seconds.

That will make for a total time of 30 minutes from start to finish. It’s important to plan ahead to make sure these shutter speeds will work for the given lighting. While you can adjust aperture and ISO to help compensate, if the end time of your timelapse is too long, your images will become blown out. Too short and you’ll be left in the dark.

Planning is crucial to this mode.

HDR Timelapse

An HDR Timelapse is the same as a normal timelapse, but the mode does all the shooting for you if your camera doesn’t have this ability built in. It can shoot a sequence of 3, 5 or 7 shots, for each step of the timelapse, but it does have the limitation mentioned in Bulb Ramping above; that you can not shoot faster than 1/30th of a second on most cameras. This does limit its abilities.

The brackets are set around a central time setting, such as one second (in the example below). Below that the exposure shift, in terms of EVs, is set, followed by the number of frames. The unit will keep you in check if you pick settings that won’t work with Bulb mode, such as choosing 1/15th of a second, seven frames and 2-stops of EV shift in each image.

Lastly, set the Interval between shots and the number of frames. If you don’t know the number of frames you want to shoot, simply pick the infinity setting and stop the sequence when you have enough.

More information on using bracketing can be found in this DPS article.

Road Lapse, A Special Kind Of Timelapse

Road Lapse is a fun tool to use, not only while driving but also on a train, boat, hot air balloon or anywhere else you have a GPS signal. The app uses that signal then asks you how often you want to take a photo, be it in feet or meters. You also set the number of photos or just set it to infinity which allows you to stop the Road Lapse when you are finished.

What’s different about this mode as compared to a standard timelapse is there is no perceived slowing and speeding, such as when a car comes to a stop sign. Because the mode is distance-based, a rough calculation can be made with regard to timelapse length when the driving distance is known.

For instance, one mile is 5280ft. If you set the device to shoot every 40ft, that will net you 132 images. At 30 frames-per-second, the timelapse would turn out to be 4.4 seconds long. It won’t matter if it takes you 60 seconds or 15 minutes to travel that distance, the video will be the same length.

It does make things appear sped up. In the examples below, the first shows a regular timelapse in a car at night. The second video shows the Road Lapse. In the second video I stopped at four different stoplights, but you don’t even notice them. I think each mode has its strengths and weaknesses and it matters what you want to create.

For a unique test, I set my camera up on a Washington State Ferry, shooting off the back with the distance set to 40ft.

HDR Bracketing

HDR shooting uses the same functionality as mentioned above with HDR Timelapse. You can take a series of shots, offset by specific stops and then combine them in the computer later for an image with more dynamic range than a single image.

It has the same limitations mentioned above.

Sound

The Sound Mode is triggered by sound and you can choose the threshold via the app.

You will set your camera’s exposure either on Manual or another mode of your choice and leave shutter release up to the MIOPS trigger. I made some attempts at dropping (fake) ice into a glass to catch the splash. You can stop any action that makes a loud enough noise in motion with this mode.

The mode can be set to take just one photo or continuous photos until the sound drops below the threshold. You can also input a delay. Activation of the shutter will happen from 10 milliseconds to 99 hours.

A better example can be seen in Erik Lindegren’s photo, highlighted on Miops’ Instagram feed.

Vibration

Like Sound, Vibration relies on your phone to trigger the unit. And like Sound, you can set the sensitivity so small bumps won’t set off the unit, but large ones will.

Again, a delay can be set and continuous shooting can also be chosen.

Lightning

Most lightning photos in the past were taken by leaving the shutter open for a length of time, maybe 30 seconds. The overall exposure was balanced for this and fingers were crossed, hoping for great bolts.

The problem with this method is shots during the day were difficult with long exposures without the use of a neutral density filter. Even then, a vast multitude of images had to be taken, and the frame had to be clear of other moving objects (trees, for instance) or they could blur.

The Lightning trigger simplifies capturing images and can offer better exposures of daylight and dusk images. Your camera will need to be in Manual Mode where you can set the shutter speed, aperture, and ISO to your liking. Compose the shot with anticipation of where the lightning will strike.

You will set the sensitivity, and that’s it. A higher sensitivity number means any small flash will trigger the unit, while a lower number means much more light (larger bolts) is needed.

Then press the “Go” button and sit back to enjoy the show while your camera does all the work.

As luck would have it, a thunderstorm rolled by in the distance while I had the unit for testing. The lightning was about 10-12 miles away, and I ended up using a 10-22mm lens, with some cropping for the final images. All images shot at ISO 800, f/5, 1.3 second and 22mm.

TIP: If you are curious about where the lightning is striking and which way a storm is moving, check out Blitzortung.org for real-time updates. While watching this storm, I found the delay from the time of strike to it showing up on the map was about 5 seconds. Often the map would update before the thunder made it to me.

Motion

Switching to Motion requires the use of your phone as the ultimate trigger. You can make the settings for your camera manually, or in any mode you desire, while the shutter will trigger when the view from your phone’s camera notices motion.

The advantage here is that the phone can be set up remotely from the camera (within Bluetooth range, however) and made to cover a specific area.

In this example, I set my camera on a tripod with a long lens to capture birds coming to my bird feeder. I prefocused on the feeder and then moved the field of view just off to the side. I then switched to manual focus to lock focus.

I set the camera with a fast shutter speed and the ISO with a shallow aperture so I could capture the fast movement of the birds (ISO 1250, f/7.1, 1/1250th). I then set up my phone with an adjustable, gripping tripod, on top of the feeder, looking down. The field of view of the phone would cover the side of the feeder, where my camera was focused.

That’s the view on the phone screen while setting up the shot. As you can see, much like other modes, you can set a delay after the app notices movement (handy if you put the phone somewhere on the approach to your camera) and the number of frames the camera will snap each time.

Below the screen is the Accuracy Rating. Moving it left means any little movement will set off the unit while moving it right requires a lot of movement before triggering.

The results, as you can see, were easy to capture while I sat inside enjoying the action.

If the rains hadn’t started, I would have captured more. While I could have taken the shots above manually, more birds showed up when I went inside and let the camera do its thing. For skittish subjects, the RemotePlus is a definite benefit.

You can use Motion in this manner for any number of moving subjects where their path is predictable. It will be a drain on your phone’s battery, though, as the camera and screen are on the whole time.

Laser

The Laser trigger mode is handy if you have a laser and expect the beam to be broken at a precise location. You will need a laser source, but just about any constant-on laser can be used, such as a presentation pointer or even a laser level.

Point the laser at the sensor on the front of the RemotePlus, and set your camera’s focus and mode accordingly. It’s similar to the motion feature above, but a bit more specialized for more precision.

Conclusion

This review was harder than I believed it would be because of the number of features packed into the small unit. Also, during the review, I had access to MIOPS staff for questions and found them not only responsive to feedback but updating the app as I wrote. In a company and product, I like to see that nimbleness and desire to improve.

After the testing I put the Miops Mobile RemotePlus through, I would purchase one for my own photography. While it had some room for improvement (the manual sometimes lags behind the quick pace of upgrades, and the Motion feature does have a limit when it comes to Bluetooth connectivity, but that is inherent in the protocol.), I do enjoy updates of the unit, both software and firmware, regularly.

The two big plusses for me are the timelapse features (including the HDR one in specific cases) which add timing capabilities that my current Canon intervalometer lacks, and the lightning shooting, especially for daytime shots.

Disclaimer: MIOPS is a paid partner of dPS

The post MIOPS Mobile RemotePlus Review – Taking Control of Your Camera in Ways a Cable Release Never Can appeared first on Digital Photography School. It was authored by Peter West Carey.

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