Category: Photography

Lightroom Super Resolution Explained (The Essential Guide)

The post Lightroom Super Resolution Explained (The Essential Guide) appeared first on Digital Photography School. It was authored by Simon Ringsmuth.

One of the most exciting new Lightroom features is Super Resolution, which offers the type of image processing that previously existed only in science-fiction movies and TV shows.

Put simply, Super Resolution quadruples the resolution of your photos and turns low-megapixel images into high-resolution works of art. You can also use Super Resolution to crop in – way in – without losing details or turning your images into a blurry mess. It’s available for Lightroom and Lightroom Classic and it’s a tool that could quickly become central to your photo-editing workflow.

In this article, I’ll explain everything you need to know about Super Resolution, including how it works and how to use it to enlarge your images.

So if you’re looking to improve image resolution in Lightroom, or you’re simply hoping to understand this interesting new post-processing feature, then read on!

Nikon D500 | 50mm f/1.8G | f/2.4 | 1/320s | ISO 280

What is Super Resolution in Lightroom, and how does it work?

In the words of scientist and author Arthur C. Clarke, “Any sufficiently advanced technology is indistinguishable from magic” – and that definitely feels like the case with Super Resolution. In reality, Super Resolution is a matter of advanced image processing and years of technological development as opposed to wands and spells, but the end result does feel a bit otherworldly.

Super Resolution works by effectively doubling the horizontal and vertical pixels in an image while filling in the extra space with data based on algorithms and machine learning. A photo with 6000 by 4000 pixels is 24 megapixels (because 6000 x 4000=24,000,000 pixels). But when processed with Super Resolution, that same image essentially becomes 12000 by 8000, or 96,000,000 pixels.

Yes, you read that right: Super Resolution transforms a 24-megapixel image into a whopping 96-megapixel image.

Super Resolution works best on RAW files because there is much more data to work with, but you can also use it on JPEGs and other files such as TIFFs. It’s built on a technology Adobe introduced in Photoshop called Enhance Details, but Super Resolution goes a step further by giving you many more pixels to work with, whereas Enhance Details was a way of sharpening image details without actually quadrupling the resolution.

Nikon D500 | 70-200mm f/2.8G ED VR II | 200mm | f/2.8 | 1/1000s | ISO 100

How to use Super Resolution: step by step

One key benefit of Super Resolution is that it’s very easy to use. It’s not buried in menus or complicated toolbars, and there aren’t many parameters you can configure, so it’s difficult to mess up. And because edits are nondestructive there is zero downside to trying it, though beware that quadrupling the resolution of an image also means you’ll need a lot of storage space. For that reason, I like to use it on a case-by-case basis rather than on an entire batch of photos, but if you have access to a vast amount of disk space then you might choose differently.

Step 1: Pick an image for enhancement

To use Super Resolution, start by selecting an image in the Develop module. While you can use the technology on any picture, I like to choose photos that were taken with old cameras such as my 10-megapixel Nikon D200, or on photos where extreme cropping was required, and as a result, some detail was lost.

For this example, I’m going to use a JPEG photo of a sunflower I shot with my D200 several years ago. It’s good in terms of composition and color, but the central part of the sunflower is somewhat blocky and pixelated if you look closely. Not to worry, though: Super Resolution is here to save the day!

Nikon D200 | 50mm f/1.8G | f/2.4 | 1/80s | ISO 100
This isn’t a bad image, but it starts to fall apart when viewed up close.

A close-up view of the sunflower reveals a muddled mess in the middle.

Step 2: Open the Super Resolution interface

After picking an image in the Develop module, hit Photos>Enhance in the top menu bar:

Alternatively, you can right-click (or Option-click on a Mac) on the image and select Enhance from the pop-up menu. You can also use the Ctrl+Alt+I keyboard shortcut (Ctrl+Option+I on a Mac) if you prefer to keep your fingers on the keyboard.

The Super Resolution interface is fairly straightforward:

The preview window on the left shows a close-up view of what the Enhanced image will look like.

If you are using a RAW file, the Raw Details option will be checked, but this obviously does not work on JPEG files. (The note about Bayer and X-Trans files applies to Fuji RAW files, which often have strange, worm-like artifacts, especially in photos of nature like grass or trees.)

Note that, after the process is finished, the original image file remains untouched, and a new DNG file is created of the upscaled photo. The Create Stack option shows both images in Lightroom as a single Stack, but if you want to keep the original and the Super Resolution version separate, you can leave this un-checked.

My favorite part about using the Super Resolution process is clicking on the image preview on the left side of the window. When clicking, you see the original image; when you release the mouse button, Lightroom shows the Enhanced version. You can click and drag to view this process at various portions of the image, and you can click the magnifying glass in the corner to see the whole image instead of a close-up preview. This click-and-release process reveals the astonishing power of Super Resolution, and gives you an idea of how impressive this process really is.

Click and hold to see a comparison to the original image; click and drag to move view different portions of the image.

Step 3: Add detail to the photo!

Finally, when you are ready to create the Super Resolution image, click Enhance.

It will take a few seconds to perform the process, and Lightroom does give you an “Estimated Time” within the Enhance dialog box. The resulting image is just what it sounds like: a high-resolution version of the original, all thanks to the magic of modern computing. Any edits you made to the original are transferred to the enhanced version, and your edits remain non-destructive so you can adjust color settings, cropping, and other parameters without worry.

A close-up view of the sunflower, enhanced with Super Resolution. The center is much more clean and crisp thanks to the Super Resolution improvements.

How well does Super Resolution perform?

Any time you’re dealing with transformative technologies such as Super Resolution, it’s important to manage expectations. It’s great but not perfect, and while there are times when it makes sense to use it, there are other times when it’s best to hold off. I find that Super Resolution performs best with nature subjects: flowers, animals, landscapes, horizons, and the like. You will also get the best results if you work with RAW files and not JPEGs.

To offer another illustration of how useful Super Resolution is and how well it performs, here is a shot I took of a prairie dog with my 10-megapixel Nikon D200. This is from the unedited RAW file, straight out of the camera:

Nikon D200 | 50mm f/1.8G | f/2.8 | 1/500s | ISO 100
This photo needs to be cropped, but that means a loss of detail. Or, rather, that any details not captured originally will be much more visible when the cropped image is enlarged.

The original file is 3872 x 2592 pixels, so when I crop in to show just the prairie dog, the resulting image is a paltry 1900 x 1272, or 2.4 megapixels. That might be fine for Instagram, but it would look pretty bad as a 4K computer desktop background or printed and hung on a wall.

Cropping the image down to just the prairie dog results in a low-resolution image with plenty of pixellated artifacts in the finer details, especially on the fur and hair on its face.

The Enhance dialog shows just how much this image will be improved by Adobe’s special algorithms:

Without the Super Resolution enhancements, the fur is a pixelated mess of brown and yellow.

The dialog box shows a preview of the Enhanced image:

The preview window shows the dramatic improvement that Super Resolution will have on this image. Individual hairs are now visible, and the image has a much cleaner, crisper look to it.

The resulting image is now double the resolution on both the horizontal and vertical axes, with final pixel dimensions of 3800 x 2544. Super Resolution has transformed this into a 9.6-megapixel masterpiece, ideal for printing and framing or showing on a giant 4K monitor:

A web-sized version of the Enhanced prairie dog image. It might not look like much when viewed on a small screen, but the finished file is dramatically improved in sharpness and clarity.

That said, there are some situations where Super Resolution doesn’t work as well as you might want, and it’s important to remember that, at the end of the day, this is math and not magic. Adobe’s algorithms do an amazing job of essentially creating pixels out of thin air where none existed before, but there are times when it’s best to leave well enough alone and stick with the original.

The image below is a portrait I shot with my 10-megapixel Nikon D200. While it certainly includes enough detail for printing and framing, Super Resolution might help squeeze even more out of this shot, which would certainly be good for keeping clients happy.

Nikon D200 | 50mm f/1.8G | f/2.8 | 1/350s | ISO 200

Super Resolution would help this photo in a lot of ways, especially by bringing out some of the texture and details in the fabric. However, one way it would not help and could actually hurt is right where I would want it most: the eyes.

A close-up view of the infant’s eyes shows that there might be some room for improvement.

The Super Resolution algorithm does a good job of clearing up the reflection of the sky in the child’s eye, but it has the opposite effect on the eyelashes. The Enhanced version looks blurrier and less sharp compared to the original:

The iris is improved, but the eyelashes are more blurry. Also, some of the subtle texture in the baby’s skin has disappeared.

Lightroom Super Resolution works wonders, but Adobe can’t perform miracles and it won’t automatically improve every single image. Even so, I am thoroughly impressed by what the technology can do and I highly recommend trying it to see the results for yourself.

Downsides to using Super Resolution

As with most things in life, Super Resolution comes with some tradeoffs. So before you rush out and convert your entire image library, there are some caveats and drawbacks you may want to consider.

For one, Super Resolution files are huge. Massive. Enormous. So big, in fact, that you could quickly run out of disk space if you use Super Resolution too much. For example, a 10-megapixel RAW file from my Nikon D200 clocks in at about 9 megabytes of space. Naturally, one might expect that a Super Resolution version would be four times as large, but that’s not the case at all. In fact, a Super Resolution file is over 144 megabytes—sixteen times larger than the original file! You’re going to need a lot of disk space if you use Super Resolution frequently, especially if you apply it to higher-megapixel files from modern cameras.

Super Resolution files are absolutely massive. Be prepared to buy lots of additional storage space if you use this feature a lot.

Another drawback to Super Resolution is the time it takes to render, especially when working with a batch of files. Lightroom will need anywhere from 10-20 seconds per image to perform the enhancement algorithm, and that time can really add up. It might not seem like much, but three images will add one minute to your workflow. Ten images could easily add five minutes, depending on the size of the originals are and how fast your computer is. This added time is not necessarily a deal-breaker, but it is something to keep in mind.

Finally, Super Resolution cannot fix an out-of-focus image. Yes, it will make an already-sharp image look even better, but it cannot create sharpness where there was none to begin with. If you are expecting Super Resolution to save the day when you don’t nail the focus, you will be sorely disappointed.

Nikon D500 | 50mm f/1.8G | f/2.8 | 1/350s | ISO 100
Super Resolution, as King Theoden of Rohan might say, has no power here. This out-of-focus photo is destined for the digital dustbin.

When should you use Super Resolution?

Despite the drawbacks, there are two key areas where Super Resolution absolutely shines and I can strongly recommend using it: for extreme cropping and low-megapixel originals.

If you like to crop your images, either to focus attention on one key area or simply because your lens wasn’t zoomed in close enough, Super Resolution can work wonders. It can bring out detail in key portions of your photos and transform images from rejects to portfolio shots.

Nikon D750 | 50mm f/1.8G | f/1.8 | 1/500s | ISO 100
I couldn’t get any closer to this squirrel for a better photo, so I had to do some really intense cropping – which resulted in a pixelated furry friend.

The cropped version is a muddy mess, especially in the tail. Even with a 24-megapixel RAW file, this much cropping generally is not a good idea.

Super Resolution saved the day! There’s a huge improvement in the tail and in the fur between the squirrel’s eyes. Take note, though: this Super Resolution file is nearly 300 megabytes.

Super Resolution is also a fun way to bring new life to old low-resolution images, provided they are sharp and not out of focus. I enjoy going back to my early digital photos that I shot with 3-megapixel pocket cameras and applying Super Resolution to see if I can extract details or create crisper images for printing. You might be surprised at how well this works for your old digital pictures, too.

Lightroom Super Resolution explained: final words

Super Resolution is one of the most exciting new Lightroom features in a long time. Adobe has created a practical, easy-to-use tool that works on almost all common image types and has the ability to dramatically improve your images.

I find the tool especially useful in some specific circumstances, like cropping and bringing older images to life, but if you have enough spare disk space, you might find yourself using it much more. While not perfect, it goes a long way toward solving a longstanding issue with digital photos and makes me excited to see where this technology will take us in the future!

Now over to you:

What do you think about Lightroom Super Resolution? Will you use it? Are you impressed? Share your thoughts (and Enhanced images!) in the comments below.

The post Lightroom Super Resolution Explained (The Essential Guide) appeared first on Digital Photography School. It was authored by Simon Ringsmuth.

Digital Photography School

October 20, 2021
Real Estate Photography: The Complete Guide
The post Real Estate Photography: The Complete Guide appeared first on Digital Photography School. It was authored by Charlie Borland.

Do you want to capture beautiful, eye-catching real estate photos?

You’ve come to the right place.

Real estate photography might seem difficult and even high pressure, but with a little know-how, you can start creating outstanding images right away.

I’ve spent plenty of time learning the ins and outs of real estate and house photography, and today, I’d like to pass that knowledge on to you. So if you’re ready to learn how to photograph houses like a pro, then let’s dive in, starting with:

Real estate photography: key camera equipment

To get started with real estate photography, you’ll need a few basic items:
- A camera
- A wide-angle lens
- A tripod
Your camera should allow you to add a cable release, a flash, different lenses, and wireless triggers. For cropped sensor cameras, a lens around 10-22mm or 12-24mm is perfect, and for full frame sensor cameras, a lens around 16-35mm will do the job.

Tilt-shift lenses help avoid converging vertical lines such as wall edges and door frames. There are a handful of tilt-shift lenses available, but while these lenses are wonderful to use, they are fixed focal length. So if you need more flexibility, a 16-35mm zoom lens is a great alternative (or companion) to a tilt-shift lens.

This image shows diverging vertical lines, seen best by the edge of the fireplace, from using a 16-35mm lens tilted down to add foreground and minimize ceiling.

Now, real estate shooting techniques can get pretty complex, from exposure blending, HDR, wireless flash, to light painting with multiple exposures. No matter your shooting style, the camera should not be moved (to guarantee image alignment of multiple exposures). The camera’s self-timer, a cable release, or wireless triggers help ensure no camera movement. Certain apps will also triggers the camera and provide a preview of the photo on your smartphone or tablet.

The best lighting for exterior real estate photos

The first image a potential buyer (usually) sees when reviewing properties online is an exterior photo, so you must capture a beautiful outdoor shot. A big part of this is lighting, so you’ll need to carefully choose your time of day and lighting quality.

But what type of lighting is best for real estate photography?

Most exterior house photography benefits from lighting early and late in the day, when the light is soft and golden. The sun direction is also important, so you’ll want to use an app such as PhotoPills to determine the sun’s progression prior to the photo shoot. In general, aim to photograph with light hitting the front of the home, like this:

In winter, some south-facing homes never have the sun hitting the front of the house. In such situations, I highly recommend keeping the sun at your back, even if it means shooting the home from an angle.

If you don’t like the result you get with morning or afternoon light, you might consider shooting on an overcast day. Cloudy skies can eliminate problems with the sun’s position, but discuss it with your client first, because white skies can lessen the impact of an otherwise great exterior image.

Also, if you’re struggling to find a good time to shoot the house during the day, you have one more option:

The dusk/dark technique, which gets you photos like this:

Simply head to the house around sunset and choose the best angle to showcase the home, ignoring the ambient light. Turn on all the lights or even add lights to the rooms; then wait until after sunset, when the sky’s exposure balances the room lights’ exposure. That’s when you can create a beautiful, pro-level image!

Getting started with interior photography: composition

After you’ve shot some stunning exterior shots, you’ll need to get on with the interior real estate photos. This can be tedious, but it’s essential you approach the task with care.

Homes come in all shapes, sizes, styles, and conditions. You want the house to look as good as possible, so I recommend you send your clients a task list for prepping the home prior to the photo session.

Once you’ve arrived, photograph the main rooms: the living room, kitchen, dining area, master bedroom, and master bath, all of which are “must shoot” rooms. There could also be a library, office, large walk-in closet, and more. The client can often tell you what they deem important; don’t be afraid to ask.

The master bathroom!

Once you’ve entered a room and are preparing to take a photo, seek out the best perspective. I like to use indoor elements – furniture, windows, and room layout – to create visual flow. I generally try to avoid including a large element in the foreground that prevents the eye from flowing through the room.

This is the first test shot I took of this room. The foreground chair blocked the flow!

By rotating the chair and lowering the camera height slightly, the eye flows through the room more easily. (This image also has its vertical lines corrected.)

Key composition tip: get the verticals rights

In interior house photography, there is broad agreement among clients and photographers: Verticals must be correct! Most interiors feature plenty of verticals, including edges and corners of walls, door frames, and windows, and these edges need to truly be vertical. And wide-angle lenses that are not level (e.g., they’re tilted slightly upward toward the ceiling or downward toward the floor) will make vertical edges converge or diverge and no longer appear straight.

If you use a tilt-shift lens, the problem is solved right off the bat, but not everyone likes TS lenses. So what do you do? How do you prevent converging and diverging verticals from ruining your photos?

One common approach is to level the camera – that is, ensure it’s not tilting up or down – because a perfectly level camera will record straight verticals. While this is a simple solution, it doesn’t always make for the best compositions; a level camera at chest height can cut off foreground subjects like furniture at the bottom and leave too much ceiling at the top. Lowering the camera height will improve this problem, but how low can you go and still have an effective photo?

This image by one of my online course students; Simone Brogini, illustrates this point. His camera is chest high and is leveled to avoid diverging verticals. But the foreground furniture is cutoff and there is too much ceiling that lacks interest.

Simone also shot this bedroom image the same way. It looks pretty good, but I advised him again that the camera height might be just a little too high, as the bed and furniture get only about 1/3 of the frame and the wall and windows use 2/3 of the frame.

So what is the perfect camera height? There are many opinions. Some suggest chest height while others suggest door knob height or even lower. I prefer chest height or close, and I also correct vertical lines using other methods, like a tilt-shift lens or the Lens Correction Tool in Photoshop (or Lightroom).

This image shows the use of the Lens Correction Tool. The bed and furniture cover 2/3 of the frame and provide a fuller view of the room, plus the verticals are straight!

Real estate photography settings: how to get the perfect exposure

Exposing for interior elements can be challenging, because you’re balancing bright window light with darker interiors.

You can deal with this contrast many ways; one is to shoot when outdoor light levels are lower, such as during or after sunset, or on a cloudy day. Turning on every light inside increases the interior brightness, and if the outdoor brightness is lower, a RAW file can often capture the scene in one frame. Alternatively, you can shoot a series of bracketed images, then blend them together in post-processing.

On a bright, sunny day, the room has a dark ceiling, a dark floor, window flare, and hot spots with too much contrast for one capture.

On a overcast day, the interior exposure is quite good, as is the window exposure.

Even in low-contrast lighting situations, I’d recommend you take a few extra shots to ensure you have all the necessary exposures for a great image. First, determine your base exposure, the image that has most of the data centered in the histogram. Then bracket in +/- one stop increments of varied exposures. You may not need these extra images, but if the dynamic range of the scene turns out to be too much, they can really save the day (i.e., you can blend them into a great final image!).

Real estate photography: interior lighting

While some real estate photographers stick to ambient lighting, just like a finely lit portrait, interiors can benefit greatly from carefully styled external lighting. Bracketing and blending can manage scene contrast, but it cannot create highlights and shadows in areas that have no directional light – for instance, if you have a dark cabinet against a dark wall, adding supplemental light can bring out the much-needed detail.

Most interiors have two light sources: window light and interior lights. You can add continuous lights or use strobes/flashes. Personally, I recommend flashes or strobes, which provide flexibility when lighting interiors.

Before I dive into the basics of interior lighting, I’d like to emphasize its purpose: to bring out detail, balance the overall lighting effect, prevent distracting dark spots, and emphasize the key parts of the scene. Always think in terms of what the ambient lighting conceals and what your studio lighting will reveal.

Now, photographers shooting for architects or magazines often have plenty of time to photograph a property with finely crafted lighting techniques, but a real estate photographer’s time is usually limited, making flash the perfect tool. You can master the balancing act of using direct on-camera flash to fill in a scene, or you can bounce on-camera flash for great results.

Feel free to take a test shot without flash, then review the image on your LCD and determine the areas that require fill light. That’s what I did for the scene below:

Here, the only light is coming from a window on the left and the ceiling fixtures, leaving dark areas in front.

Adding bounce flash, handheld just to the right of the camera, filled in those darker areas effectively.

Also popular are multi-flash wireless set ups allowing the flash to be placed around a room for styled lighting. Oh, and you might try the light-painting approach, where areas are selectively lit across several exposures, then all exposures are blended in post-processing.

This image uses the light painting approach for a balanced, detailed result.

By the way, you’ll need to be aware of lighting color temperatures and color balance, which can become a problem when indoor lighting (studio or otherwise) is combined with ambient outdoor lighting.

When you have mixed light, such as daylight-colored window alongside tungsten-colored ceiling lights, plus you then throw in a fluorescent kitchen light, you’ll end up with a palette of different light colors in your image. Walls closest to windows will be blue while the walls closest to the tungsten ceiling lights will be amber and the ceiling in the kitchen will have a green tint.

Here’s an image with mixed lighting:

There is a blue color cast around the window and on the floor on the left.

So what do you do about mixed lighting? Two things:
1. Do as much as you can to minimize mixed lighting by color-matching your studio lights to the lights in the scene.
2. Use selective color adjustments in Lightroom, Photoshop, or another post-processing problem to neutralize the unwanted color casts after the fact.
Here’s a corrected version of the previous image:

The final image shows color correction, as well as corrected verticals and the removal of window flare.

Providing the client with the final images

Once you have photographed the house and done the necessary post-processing, you will need to deliver the image files. Clients usually request low resolution files for the web and high resolution files for print publication.

Be sure to save your files in the proper file format and size for the intended use. Most online listing services specify their accepted formats and acceptable sizes. I use low-resolution JPEGs and high-resolution TIFF files, then I make a final delivery of the images via Dropbox or a comparable online service.

Real estate photography: final words

Now that you’ve finished this article, you’re ready to rock some real estate photos! Here are a few items to remember before heading out to your first house:
- You are not photographing for yourself; you are photographing for clients who will expect professional quality work.
- Don’t get all the best gear; only buy what is required to do the job well.
- Master the creative side of photography, such as angles, perspectives, and composition.
- Master the technical side of photography, such as exposure, HDR, supplemental lighting, color matching, and exposure blending.
- Be careful when processing real estate images; don’t misrepresent the property.
And above all, have fun!

The post Real Estate Photography: The Complete Guide appeared first on Digital Photography School. It was authored by Charlie Borland.

Digital Photography School
October 18, 2021
dPS Weekly Photo Challenge: My Street

The post dPS Weekly Photo Challenge: My Street appeared first on Digital Photography School. It was authored by Sime.

Thanks to Marjorie over in our Facebook Group, this week we’re having a go at photographing our street “On the street where I live” So earlier, I grabbed my camera and headed to the top of my street and this was the first thing that caught my eye… (Someone that lives around here has done similar on many signs..)

Use the hashtag #dPSInMyStreet if you share your photograph on social media

“Stop Having Kids”

What you choose to photograph in your street is entirely up to you, but it does have to be “on the street where you live” It can be a single image as mine is, or you can make it a triptych perhaps? (Simon, what’s a Triptych!?)

Remember: The aim of our weekly challenge is to get you to pick up your camera and make a new photograph, rather than dig through your archives for a photo you took in 1993 (unless you can’t, and then you can share a photo from 1993, but I’d really rather you went and took a new one)

Now we’re not necessarily looking for ‘Street Photography‘ though that can be what you shoot if you like, but just some element, or set of elements from your street.

Side note! Don’t forget the 5 Day Deal is happening right now, if that’s your thing! But meanwhile, go and take your photograph, share it in the comments below this post, share it on Twitter, share it on Instagram, or even pop across and share it in our private Facebook group.

Last thing before you go! If you want to suggest a topic for a weekly challenge, make sure you leave a comment on THIS POST or leave it with your photo in the comments under this post! Thanks

The post dPS Weekly Photo Challenge: My Street appeared first on Digital Photography School. It was authored by Sime.

Digital Photography School

October 16, 2021
This Epic Bundle Offers a World-Class Photography Education for Less Than $100 (96% Off!)
The post This Epic Bundle Offers a World-Class Photography Education for Less Than $ 100 (96% Off!) appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

What’s the fastest way to improve your photography?

There’s a quick method to enhance your photos and level up your skills, and it’s pretty simple, too: learn from the masters. In other words, discover the secrets, tricks, and techniques already developed by the best of the best, and apply them all in your own shooting.

So how do you access these photography masters? How do you learn their secrets? That’s where online courses come in handy. These days, you can find dozens of well-taught, helpful courses, created by truly outstanding photographers from all around the world. They illustrate the most efficient composition guidelines, effective post-processing techniques, and so much more.

Unfortunately, online courses can be expensive. This stops plenty of photographers, especially beginners, from ever discovering the information that could instantly take their photos to the next level.

Which is why the 5DayDeal is one of those once-in-a-blue-moon, can’t-miss-out offers that you should absolutely check out, especially if you’re serious about improving your work.

What is the 5DayDeal?

The 5DayDeal is a limited-time bundle, which includes literally dozens of courses from world-class photographers, along with plenty of additional photography-enhancing items (including Photoshop actions, books, and packages/software).

Normally, the 5DayDeal resources would cost over $ 2200 USD.

But for five days only, you can grab them for $ 89 USD, at a whopping 96% off.

You can click here to take a closer look at the bundle. Highlights include:
- Landscape Photography Secrets (value: $ 297), a six-class set covering essential landscape topics such as settings, composition, and post-processing, taught by acclaimed landscape photographer Tim Shields
- Luminar AI Magic (value: $ 99), a comprehensive class that covers the ins and outs of Skylum’s popular editing software – and how to use it for jaw-dropping results
- Simple & Intermediate Object Removal in Photoshop (value: $ 60), which will turn you into an object-removal wizard, capable of ridding your images of telephone poles, distracting people, and even unwanted cars
- Painterly Portraits Photography Course (value: $ 227), which offers the secrets to professional-quality portraits, both in the field and in the editing room
- Nature Love Presets (value: $ 69), a set of 18 Lightroom presets designed to offer quick and efficient yet high-quality edits
And that’s just a small sample of the 5DayDeal items. Photographers, this bundle genuinely is the best way to level up your work; get it, take the time to go through each item, and by the time you’re done, your work will be unrecognizable.

Plus, 10% of the profits go to charity, so it’s really a win all around.

You can check out the 5DayDeal bundle and see all the courses, packages, and more on the 5DayDeal website.

When does the 5DayDeal end?

The 5DayDeal really does last for just five days, and you will never see the exact same deal ever again (the 5DayDeal creators refer to this as a “once-in-eternity sale”).

Specifically, the deal will disappear on October 19th, 2021 (next Tuesday!) at 12 PM PST. So don’t wait; get the bundle while you still can!

Check it out here.

The post This Epic Bundle Offers a World-Class Photography Education for Less Than $ 100 (96% Off!) appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

Digital Photography School
October 16, 2021
The Best Landscape Photography Settings: A Guide
The post The Best Landscape Photography Settings: A Guide appeared first on Digital Photography School. It was authored by Simon Bond.

In this article, you’ll discover the best landscape photography settings to take your photos to the next level.

Landscape photography is one of the most popular photographic genres, and it’s why many of us pick up a camera in the first place. However, determining the perfect settings for great results can be a struggle, which is where this article comes in handy.

Below, I share plenty of settings advice. I explain how to select the perfect camera mode, shutter speed, aperture, and white balance, plus plenty more – so if you’re ready to improve your landscape photography, then read on.

Canon 5D Mark III | Canon 17-40mm f/4L | f/22 | 1/8s | ISO 100

The best camera mode for landscape photography

Your camera has several modes, ranging from Automatic through to Manual. These are the common modes available to you:
- Automatic: With Auto mode, your camera chooses the aperture, ISO, and shutter speed. All you need to do is compose and take the photo.
- Landscape: This is also a type of automatic mode, but is a step up from the standard Auto mode mentioned above. In Landscape mode, your camera knows you’re photographing a landscape, so it will choose a more standard “landscape” aperture.
- Aperture Priority: Aperture Priority mode allows you to set your aperture and (if you wish) the ISO, while your camera selects the shutter speed. You can adjust the exposure value – to darken or lighten the photo – with your camera’s Exposure Compensation feature.
- Shutter priority: Shutter Priority mode lets you choose a specific shutter speed while your camera picks the aperture. This can be useful for long exposure landscape images.
- Manual: Manual mode lets you control all your settings – the aperture, shutter speed, and ISO – to get the correct exposure. This will take longer, but in landscape photography, you have the time.
As a beginner, you maybe tempted to use the camera’s automatic features, but I highly recommend you learn your camera setting and use Manual. Your results will pretty much always be better!

Canon 5D Mark III | Canon 17-40mm f/4L | f/8 | 1/400s | ISO 100

The best aperture, shutter speed, and ISO for landscape photography

The three key settings for any photographer, no matter the type of photo, are aperture, shutter speed and ISO. Together, these settings determine the final exposure of your image, which is why they’re often referred to as the exposure triangle.

In landscape photography, you’ll want to adjust these settings very carefully. Let’s take a closer look, starting with:

Aperture

Aperture is arguably the most important setting in landscape photography. It controls sharpness, depth of field, and at smaller apertures can create a starburst effect.
- Sharpness: Landscape photos are best when they’re both focused and sharp. Using the wrong aperture for your landscape can result in a softer image. You’ll want to select an ultra-sharp aperture somewhere between f/8 and f/11, but the specifics depend on the lens you have. Generally, your lens’s sharpest aperture is three stops down from its widest aperture, so feel free to use this as a guideline (though you can always do a few tests!).
- Depth of field: When you have foreground elements close to the camera, depth of field is especially important. You’ll need a deeper depth of field to maintain sharpness across the frame, which is achieved in one of two ways: with a narrow aperture (around f/8 and beyond), or with focus stacking, where several photos are taken then merged in post-processing to produce focus throughout the photo.
- Starburst effect: A small aperture can produce a pleasing starburst effect when you shoot toward points of light like street lights or a partially covered sun.
Canon 5D Mark III | Canon 17-40mm f/4L | f/8 | 1/100s | ISO 500

Shutter speed

Another very important landscape photography setting is the shutter speed. In fact, it can dramatically change the type of landscape photo you capture. Based on your shutter speed, you can create a crisp photo (fast shutter speed) or a softer, long exposure (slow shutter speed). Note that any shutter speed over half a second is considered long exposure, and you’ll need a tripod for the best results.

The long exposure effect

Long exposure has a transformative effect on photos when applied in the right place and at the right time. You can easily carry out long exposures at night, thanks to the lack of light; during the day, you’ll need a strong neutral density filter to achieve a long shutter speed without overexposing the image. You might choose to use a long shutter speed in any of the following scenarios:
- Coastlines: Use at least ten second exposures to flatten the water.
- Moving water: Use exposures of one second or higher around white water for the “silk effect”
- Traffic light trails: Use exposures long enough to capture car light trails along the length of the road you’re photographing. Aim to keep the shutter speed over 15 seconds or so.
- Windy days: You can capture cloud movement across the sky with exposures of 30 seconds or longer.
- Intentional camera movement: Try moving your camera body or adjusting the focal length during a long exposure. These type of photos can last anywhere between five to thirty seconds in length.
Canon 5D Mark III | Canon 17-40mm f/4L | f/8 | 20s | ISO 1000 | Hoya infrared filter

ISO

Your ISO setting will brighten your photo, but the higher the ISO, the worse the image quality.

As a landscape photographer, you should shoot with a tripod for the best results, so in most conditions you’ll be able to use an ISO of 100 (or your camera’s base ISO setting).

That said, there are times – especially at night – when you might want to use a higher ISO. For example, if you’re using an aperture of f/11 and you’re not getting enough light for a correct exposure even at 30 seconds, you may want to boost your ISO to get a reasonable shutter speed.

Also, if you do astrophotography, you’ll definitely need a high ISO, assuming you want to freeze the stars (which are always moving across the sky, or at least appear to be!). Consider shooting at ISO 12600 or even more, if your camera can handle it. In fact, standard Milky Way settings are an aperture of f/2.8, an exposure of 25 or 30 seconds, plus an ISO as high as you can reasonably go.

Canon 5D Mark III | Canon 17-40mm f/4L | f/16 | 1/200s | ISO 640

The best focusing settings for landscape photography

When it comes to landscape photography, you have two choices for the proper focusing mode:

Autofocus or manual focus.

In my opinion, the best results come from manual focus, though it is somewhat dependent on the equipment and the scenario. Let’s take a closer look at these two options:

Autofocus

With autofocus, your camera where automatically focus, though you do get the option to specify where you want your camera to focus.

So set your camera to its single-point focus mode (where it uses a single AF point to determine the proper focus). Then compose your shot, select an object in the middle ground, and position your single focus point over that object.

Press your shutter halfway to achieve focus, then take the shot.

Canon 5D Mark III | Canon 17-40mm f/4L | f/11 | 13s | ISO 250 | ND1000 filter

Manual focus

Manual focus will often given you sharper images, though it’s a little trickier. You’ll need a tripod, or at least a steady location where the camera remains still. Here’s what you do:
1. Place your camera on a tripod and compose your shot.
2. If your lens has image stabilization, be sure to switch it off.
3. Set your lens to manual focus; that way, you’ll be focusing the lens with your lens focus ring.
4. Turn on your camera’s Live View function. If you’re using a DSLR, the mirror will lock up.
5. Use your Live View’s zoom function to zoom in on an area of your composition. Note: Don’t zoom with your lens, only with the Live View zoom.
6. Once you have zoomed in, use the lens focus ring and focus sharply on your desired object.
7. Zoom back out, check your composition, and take your photo.
Canon 5D Mark III | Canon 17-40mm f/4L | f/8 | 1/125s | ISO 100

The best white balance for landscape photography

White balance is an important setting for any photographic situation, and landscape photography is no different. You have a few choices, including a manual and an automatic option. But depending on your image file format, you can make further adjustments in post processing.

Why does white balance need adjusting?

When photographing during the day, you’ll likely get good results from the automatic settings on your camera. However, photographing at night with cold or warm street lights can cause the automatic option to fail, in which case you may prefer to use a semi-automatic or manual white balance option.

Automatic white balance

The Auto White Balance setting, or AWB for short, tells your camera to make the white balance decisions for you. It’s certainly usable during the day, and today’s cameras will give good AWB results.

White balance presets

Your camera will also have a number of preset white balances. These include settings like Tungsten and Fluorescent, which counteract he warm or cold light produced by the corresponding light sources. White balance presets are useful for nighttime cityscape photography, when you want to cool your image and remove the orange glow a city produces.

Manual white balance

The white balance can be quantified using Kelvin, a measure of temperature. Cameras generally offer a white balance Kelvin scale ranging from around 2500K to 15000K, where the lower the Kelvin number in your camera, the cooler the resulting image, and vice versa.

To set the white balance on your camera, you can use the camera’s custom white balance setting. Aim your camera at a gray or white card, then take a photo. Then use this photo to set your camera’s custom white balance. Alternatively, use the camera’s Kelvin adjustment buttons to choose the correct setting.

Canon 5D Mark III | Canon 50mm f/1.2L | f/8 | 20s | ISO 100

File type

There are two main file types to choose from when taking photos (TIFF is another popular option but is more relevant to post processing). These are RAW and JPEG:

JPEG

This file type is designed to be a finished product. If you’re not interested in a lot of editing work, a JPEG might suit you. The size of file is also a lot smaller than its RAW counterpart, which can be helpful in certain situations.

When capturing JPEGs, it’s best to get the image right in camera, because you have much less flexibility in post-processing. If you’re happy to work this way, then JPEGs are a good path.

RAW

The vast majority of landscape photographers photograph in RAW, also referred to as the digital negative. RAW file sizes are larger, but the ability to enhance your image in post processing is so much greater.

Adjusting settings after the fact, like temperature, sharpness, and exposure levels, give much better results when the file was shot in RAW. You’ll also find that adjusting (and recovering) shadows and highlights will be improved.

Canon 5D Mark III | Canon 50mm f/1.2L | f/8 | 10s | ISO 100

Additional landscape photography settings to know

There are a handful of other landscape photography settings that can improve your results, including:

Mirror lock-up

Mirror lock-up only applies to cameras with mirrors (e.g., DSLRs). It can improve the sharpness of your photo if you’re using slow shutter speeds, because it prevents the camera mirror from causing vibrations when you hit the shutter button.

Image stabilization

If you’re taking a photo handheld and your lens or camera has image stabilization, it’s a good idea to turn it on. Stabilization technology counteracts camera shake, and will therefore allow you to photograph at a slower shutter speed.

However, when your camera is on a tripod and you’re shooting at slow shutter speeds, make sure to turn off all image stabilization technology; in such cases, the image stabilizer will actually cause image blur.

Bracketing

If you wish to do any HDR or digital blending in post-processing, then bracketing is an important setting to get right. When your camera is set up for bracketing, it will take three photos of the same scene (you should use a tripod for this) with different exposure values, typically +1, 0 and -1. Though you can vary the exposure values, the idea is to create a dark, normal, and light image, which you can later blend together for improved dynamic range.

Canon 5D Mark III | Canon 17-40mm f/4L | f/8 | 1/3s | ISO 400

Landscape photography settings: final words

Landscape photography is an exciting genre, and it’s great to get out and capture those epic scenes! Now that you’ve finished this article, you should be a landscape settings expert – so get out to some great places near you and apply your new knowledge.

Over to you:

What settings have you been using for your landscape photos? How will your workflow change in response to this article? Share your thoughts in the comments below!

The post The Best Landscape Photography Settings: A Guide appeared first on Digital Photography School. It was authored by Simon Bond.

Digital Photography School
October 14, 2021
How to Remove Glare in Photoshop: A Step-By-Step Guide

The post How to Remove Glare in Photoshop: A Step-By-Step Guide appeared first on Digital Photography School. It was authored by Ana Mireles.

Are you looking to understand how to remove glare in Photoshop? While glare does have its creative uses, when it’s just distracting from the main subject, it’ll only harm your images – and that’s where this article comes in handy.

Glare presents in many ways, so it can be removed with different techniques. Below, I’ll share the most popular methods to reduce or remove glare in Photoshop – as well as some tips to prevent it in the first place!

Let’s get started.

What is glare?

Glare is when light impairs visibility. For example, if you’re driving and the sun bounces off the metallic surface of the car in front of you so you can’t see, that’s glare.

Sometimes, glare occurs when the light reflects off a subject in the frame, such as water, glasses, or a metal object. That’s why you often encounter a glare effect when you’re photographing people wearing eyeglasses.

Other times, glare is caused by light bouncing around inside the lens. This usually happens when you photograph toward the light source (e.g., the sun). In such cases, you’ll often hear the term “lens flare” – but from a retouching perspective, it’s really all the same thing and can be fixed with some of the techniques mentioned throughout this article.

Glare on a photograph can be a single bright spot, a number of circles and shapes in different colors, or a light haze. Sometimes, glare can be used as a creative effect; other times, glare can ruin your picture.

So let’s see how to remove glare in Photoshop!

How to remove glare in Photoshop: 4 methods

Let me start with a quick clarification: Completely removing glare from a photo is very difficult. Most of the time, you can just reduce the glare, though it all depends on the amount of detail you have to work with.

Each photo will require a slightly different approach, so I recommend you learn all of these methods. Then, with each new image, you can apply different techniques or even combine them as needed.

Method 1: Adobe Camera Raw

Adobe Camera Raw is a digital darkroom where you can develop all the unprocessed data from a photograph taken in RAW format. It offers the best chance to recover glared-out detail because you still have plenty of information available from the shot.

By default, if you open a RAW file in Photoshop, ACR launches automatically. Here, you can develop the picture before moving on to Photoshop. Of course, while ACR is designed for standard post-processing, there are a couple of tools that are particularly helpful when dealing with glare.

Dehaze: Sometimes, glare presents as a glow in the overall image, like there’s a fog (haze) over the shot. Here, Dehaze is your best friend. Simply move the Dehaze slider, and watch how the contrast increases (and the glare disappears!).

Whites: In the Basic panel, you’ll find the Whites slider. It adjusts the whitest whites in your image (also known as the white point). So by working with this slider, you can darken the brightest areas of your shot to regain some of the details.

By the way, if you’re not working on a RAW file, you can still launch ACR from within Photoshop. Just go to Filters and choose Camera Raw Filter. This will give you access to the same tools as ACR, but keep in mind that your photo’s information will be reduced compared to an original RAW file.

Method 2: Adjust Shadows and Highlights

Shadows and Highlights is a tool that allows you to fix images with high contrast or restore details in overexposed and underexposed areas.

You can find this option in the menu Edit>Adjustments>Shadows/Highlights. I recommend you duplicate the background first; that way, you keep the original image intact, plus you can mask out different areas.

When you choose Shadows/Highlights, a pop-up window appears, which lets you control your adjustments. For further control, select Show More Options.

Then simply move the sliders to eliminate the glare in your image. Remember to check the Preview option to see the effects of your adjustments in real-time.

The Amount sliders control how much correction you’re applying. To remove glare, you’ll want to work on the Highlights. Of course, you’re welcome to change the Shadows as well, to decrease the contrast and make the glare less noticeable.

The Tonal Width controls the range of tones that will be affected by your adjustments. To fix glare, set a small value in the Highlights Tonal Width to restrict the changes to the brightest parts of the image.

The Radius changes the size of the area considered around each pixel when Photoshop considers whether it belongs to the highlights or the shadows.

Pro tip: If you want the adjustments to be applied to the glare and nothing else, add a Layer Mask. Then, fill it with black and paint white over the glare. That way, you’ll see the original image – but the layer with the Shadows/Highlights adjustment will be visible only on top of the glare.

Method 3: Dodge and burn

There are different techniques for dodging and burning in Photoshop. In fact, there is a Dodge and a Burn tool, but I prefer to use layers.

Here, I’ll show you a couple of ways to do this. You can use these dodging and burning methods on their own, but for my example image, I use both for a better result.

Dodging and burning with Curves

The goal is to darken areas where glare is present, so you’ll need to do some burning.

Add a Curves adjustment layer on top of the original photo. Pull the center of the Curve down to darken the glare. It doesn’t matter if the rest of the image becomes too dark – you’ll fix that in the next step.

When you have sufficiently dark glare, select the Curves mask, go to Edit>Fill and choose Black. That way, the Curves adjustment will be hidden. Then grab the Brush tool, with white as the foreground color, and paint over the glare. This will reveal the burning effect in select places.

Dodging and burning with Soft Light

Add a new layer on top of the original and change the blending mode to Soft Light. Now, everything you paint with white will get lighter and everything you paint with black will get darker – so paint over the glare with a black brush!

Remember: If you make adjustments and you don’t love the results, you can reduce the opacity to make the effect less evident.

Method 4: Clone and Heal

If the glare completely overexposes certain pixels, leaving you without any information at all, or if you’re having a hard time matching the colors and level of luminosity, you can try the Clone Stamp and Healing tools. These take information from surrounding areas and either blend or replace the information for each given pixel.

The Clone tool copies the information from an area that you select and pastes it on top. There’s no blending, so you need to be careful about visible borders or creating patterns.

The Healing tools grab information from a different area and blend it with the existing information. If you use the Spot Healing Brush, Photoshop gathers the information for you, though the Healing Brush allows you to choose the source point.

Usually, a combination of both tools gives you the best results, though it really depends on the situation.

How to prevent glare in your photos

Now that you’ve learned how to remove glare in Photoshop, I’d like to go back to the beginning. Because the best way to improve glare? Knowing how to avoid it right from the start.

So here are a few quick ways to prevent glare in-camera!

Use a lens hood

You can attach a hood to the front of your lens to block the light coming in from the sides. There are plenty of great options: cylindrical and petal hoods, rigid and rubber hoods with collapsible segments, and more. The specifics don’t matter much; no matter which hood type you choose, it’ll help you prevent glare in your images.

Position yourself in the shade

If you don’t have a lens hood, consider adjusting your position so you can shoot from the shade. If the glare is coming from a reflection of an object in the scene, this won’t help you. However, it will prevent light from coming into the lens from an angle.

Change your angle of view

Don’t be afraid to move your camera from side to side or even up or down. Try different positions that won’t majorly affect the framing of your shot but will change the angle at which the light is hitting your lens. This usually helps to prevent glare!

Use a polarizing filter

A circular polarizing filter helps reduce or remove glare. Just attach it to the lens and turn it until you see the glare disappear. Keep in mind that you will need to adjust the camera settings to let in more light.

How to remove glare in Photoshop: final words

Learning how to remove glare is a useful skill – after all, even if you’re highly vigilant, it tends to find a way into your photos!

So I hope this article was helpful, and that you can now confidently deal with glare in your own images.

Now over to you:

Which of these glare-removal methods do you plan to try? Do you have any tips of your own? Share them in the comments below!

The post How to Remove Glare in Photoshop: A Step-By-Step Guide appeared first on Digital Photography School. It was authored by Ana Mireles.

Digital Photography School

October 14, 2021
9 Best Tripods for Landscape Photography in 2021
The post 9 Best Tripods for Landscape Photography in 2021 appeared first on Digital Photography School. It was authored by Simon Ringsmuth.

What’s the best tripod for landscape photography you can buy today? When considering the perfect landscape tripod, there are literally hundreds of products to choose from – the tricky part is narrowing down all the options to find one that’s right for you!

This guide will help you wade through the various tripods on the market to find the one that fits your needs. Of course, as with many aspects of photography, it’s difficult to offer a black-and-white best tripod to purchase. It depends on your goals, your gear, and whether features like budget and portability matter more than height and durability.

I would, however, caution you against getting a very inexpensive, do-it-all model like the kind you might find at a local department store or online retailer for $ 25-$ 50 USD. These tripods might seem good, and some have long lists of features, but they are often made with cheap materials that will not hold your camera steady and will break very quickly. So if you’re after a genuinely good tripod for landscape photography, scour this list; you’re certain to find a much better option that suits your needs.

Let’s get started.

Fujifilm X100F | 23mm | f/8 | 1/60s | ISO 200
There’s no way I would have gotten this shot without a tripod.

1. The Peak Design Travel Tripod (Best overall)

When Peak Design released their Travel Tripod in 2019, it sent shockwaves through the photography community. The tripod was (and is!) small, light, and incredibly versatile, which made it appealing to a wide range of photographers.

All was not sunshine and roses, and shutterbugs quickly took note of some important downsides. This new tripod was expensive, limited in certain ways, and included some highly unconventional design choices. But despite the drawbacks, the Peak Design Travel Tripod earns my recommendation as the absolute best tripod for landscape photography you can buy.

I have used this tripod extensively, from mountaintops in the southwest United States to remote hiking locales along the USA-Canada border, and there’s simply nothing else like it. Its diminutive size when fully collapsed, coupled with the extremely low weight, is a boon to landscape photographers who value quality as well as portability. The built-in ball head is flexible, the legs are stable, and with the center column extended, the entire package is nearly as tall as any other tripod on this list.

I wouldn’t recommend the Peak Design Travel Tripod for use with heavy cameras like the Canon 1D X or Nikon D6, since the thin (but very strong) construction can’t quite keep up when you start attaching pounds of gear. But for most landscape photographers, this tripod hits the sweet spot between size, features, and portability.

Pros
- Outstanding portability
- Highly flexible
- Lots of little design touches, like the cell phone holder tucked into the center column, that display a high attention to detail
Cons
- The carbon fiber version is very expensive
- Not as tall as other tripods
- Not designed for very heavy camera/lens combinations
2. MeFOTO BackPacker S Aluminum Travel Tripod (Best budget)

If you’re a landscape photographer on a budget, you can’t go wrong with the MeFOTO BackPacker S Travel Tripod. It’s not as compact or versatile as other items on this list, but it offers amazing flexibility – especially considering the price.

The legs fold up around the ball head to save on space, and you can lock them into several positions during setup. The lack of a true center column limits the overall height of this tripod, but it still suits the needs of many landscape photographers quite well.

The legs each have a series of twist-lock mechanisms to extend the sections and keep them in place. I’m personally not a big fan of this style and instead prefer the clip-lock or twist-lock systems found on other tripods, but again, the main point of this tripod is to serve a more budget-conscious audience.

One nice feature is the ability to convert it to a true monopod by removing a leg and attaching it to the center column, though that’s not highly relevant for landscape shooters. It does speak to the overall versatility of this tripod, and for photographers who want one inexpensive option for landscapes plus other situations, the MeFOTO BackPacker S is a solid choice.

Pros
- Inexpensive
- Flexible
- Can be converted to a monopod
Cons
- Not as tall as other options
- Twist-lock extension mechanisms aren’t to everyone’s liking
3. Manfrotto MT190XPRO3 with Manfrotto 496 Center Ball Head (Best semi-professional)

There’s a bit of a paradox with camera gear: the more you spend, the less you get. Whereas many less expensive tripods come with everything you need to go out and start shooting, higher-end tripods often come as two separate pieces: legs and heads. The Manfrotto MT190XPRO3 is an outstanding set of tripod legs, but it also needs a head, and for that I recommend the 496 Center Ball Head.

The Manfrotto legs aren’t small and light so they might not be the first choice for travelers, but they are strong, sturdy, and tall enough to give you unique landscape photos you can’t get with shorter tripods. The legs can be locked into several positions, and adjustments are quick and easy thanks to the clip-lock leg extensions. My favorite feature is the center column adjustment, which lets you extend the column and then reposition it horizontally to capture photos in entirely new ways.

The 496 Center Ball Head refines the design Manfrotto has used for years, and while it doesn’t offer anything particularly revolutionary, it does give you stability and impressive ease of use. Large, chunky knobs let you easily reposition the ball head and then lock it firmly in place, and it’s designed to hold over 20 pounds of gear.

Bottom line: This setup is great for landscape shooters who use professional-grade cameras and lenses and don’t to trust their gear to a flimsy support system.

Pros
- Sturdy
- Easy to adjust ball head position
- Simple but effective leg locking mechanisms
Cons
- Bulky and not ideal for backpacking
- Not as tall as other tripods
4. Gitzo GT2545T Series 2 Traveler (Best professional tripod)

For landscape photographers who want a no-compromise solution to the tripod problem, it’s hard to beat the Gitzo GT2545T Series 2 Traveler. It’s small, lightweight, extends to over five feet, and is designed to take a beating.

Gitzo has made a name for itself in the photography community as a maker of tough, reliable gear for the most demanding situations, and this tripod is no exception. While it’s not quite as small and compact as the Peak Design Travel Tripod, it folds down small enough to fit in most backpacks or suitcases, and the carbon fiber construction keeps it lightweight for hiking out to your favorite landscape photography spots.

This tripod frequently comes paired with a ball head, but you’re free to just buy the legs and choose your own head to fit your needs. However, the often included ball head is great for landscape photographers and one I strongly recommend. Its huge knobs are easy to loosen and tighten, and the head can be moved into nearly any position you need. Unlike some less expensive ball heads, this one is coated with a special material to minimize sticking – perfect for photographers who shoot in inclement weather.

Pros
- Extremely high-quality build
- Very lightweight but capable of supporting large cameras and lenses
- Folds down small for portability
Cons
- Expensive
- Not as compact as others on this list
- Height is decent when fully extended, but not outstanding
5. JOBY TelePod Pro (Best small tripod)

Large tripods that extend high up into the air are great for capturing nature and landscape shots, but sometimes you just need something small and versatile. And if you prioritize compactness over everything else, I recommend the JOBY TelePod Pro.

Designed for small setups like a consumer-grade DSLR or mirrorless camera paired with a lightweight lens, this tripod folds down smaller than a water bottle so you can literally take it anywhere. It has sturdy, rubberized feet and a fairly unique design element: an extendable center column instead of extendable legs. This comes at the cost of stability, but helps maintain the outstanding size and portability.

Of course, with the JOBY TelePod Pro, it’s important to keep expectations firmly in check. It’s almost like a selfie stick with three feet, and that makes it unappealing for a lot of longtime landscape photographers. But for those new to this type of photography, or people who don’t have big cameras and lenses, the TelePod Pro is just about perfect.

Pros
- Inexpensive
- Incredibly compact
- Highly portable
- Easy to use in a wide range of landscape situations
Cons
- Not ideal for large cameras
- Extending center column design limits overall stability
6. Feisol Elite Tripod CT-3472LV M2 (Best heavy-duty tripod)

In landscape photography, wind, snow, rain, dirt, dust, extreme heat, and cold are all par for the course – and in such conditions, it helps to have a tripod that will never let you down. That’s where the Feisol Elite Tripod comes in.

It’s a great option for those who value build quality and durability over all else, thanks in part to thick legs capable of holding over 60 pounds, which eclipses just about everything else in its class. The carbon-fiber construction results in a high price tag but a reasonable weight, which is great if you’ll be carrying this on your back or over your shoulder for long distances.

While not as versatile as some other options on this list, the Feisol Elite Tripod does have one key advantage: its size. It’s certainly no tiny, compact device like the Joby TelePod Pro. The Feisol Elite Tripod is approximately two feet long when folded, and it reaches a towering height of nearly six feet to help you get the shots that other landscape photographers can only dream about.

Pros
- Large chunky legs offer amazing stability
- Can support far more weight than other tripods
Cons
- Expensive
- Does not include a ball head
- Not ideal for photographers who value portability
7. Manfrotto MK055XPRO3-3W (Best full-size tripod)

The Manfrotto MK055XPRO3-3W tripod packs everything but the proverbial kitchen sink. Yes, it’s large and definitely not appropriate for long hikes or tromping around through the backcountry, but if you’re a landscape photographer who wants to buy one single tripod that includes everything you need for rock-solid stability, this one is it.

You won’t get a carbon fiber build, and good luck stuffing this beast in a backpack – but it is rock solid, has easy-to-use flip locks to extend the legs, and reaches a stratospheric height of more than 72 inches. It will handle any situation you can throw at it as long as you’re able to lug it to your location.

While you can customize this tripod with a different ball head, the included 3-way pan/tilt head is excellent for landscape photography. It offers a more careful, considered approach than the knob-turning of other ball heads, and the large adjustment handles connect you to the tripod in a way that I really like. As with other high-end Manfrotto tripods, the center column can be repositioned horizontally for even greater maneuverability.

Pros
- Great compromise between features, flexibility, and price
- Sturdy, supportive legs
- Can extend over six feet
Cons
- Included pan/tilt head is not suited for everyone
- Not very portable
- Load limit is good but not great considering the size
8. Vanguard Alta Pro 263AP (Most flexible tripod)

The Vanguard Alta Pro 263AP is an excellent option for landscape photographers who want advanced features at a much more reasonable price point than Gitzo or Feisol tripods. It’s relatively compact – though not as diminutive as the Peak Design Travel Tripod – and extends to a very respectable 70 inches. The center column can be positioned in a variety of ways, and the ball head can be rotated and repositioned in almost every manner imaginable.

What I really like about this tripod for landscape photography are the little touches that make your shooting experience just a little more pleasant. The feet have metal tips for maximum stability (especially out in nature). The center column can be repositioned while also adjusting its height, allowing you a near-unprecedented level of versatility.

And while some photographers would rather have a more traditional ball head, I do appreciate the large, easy-to-use handles that let you adjust pan, tilt, and rotation separately. I wouldn’t hesitate to recommend this tripod to most photographers, as it is well suited to almost any photographic situation.

Pros
- Relatively inexpensive compared to some others on this list
- Highly versatile
- Great for a variety of situations, not just landscapes
Cons
- Included tripod head is not to everyone’s liking
- Not very small when collapsed
9. Joby GorillaPod with smartphone mount (Best mobile phone tripod)

It’s often said that the best camera is the one you have with you, and for many people, that means their mobile phone. Extend that maxim just a bit, and we might say that the best tripod is the one you have with you. For landscape photographers who rely on their mobile phone to create images, this tiny Joby tripod is one that I’m always happy to recommend. Its unique wraparound legs let you capture stable images on just about any surface imaginable, and the entire tripod can be wrapped around objects, including trees, fence posts, benches, and more.

While I wouldn’t recommend a GorillaPod to anyone who shoots with a DSLR or mirrorless camera, it’s ideal for mobile phone shooters. The tripod will sit firmly in place with a phone attached, and the ball head is great for repositioning your phone to get your shot just right. It’s small, light, highly portable, and comes at a very reasonable price.

If you shoot landscapes with your mobile phone, there’s almost no reason not to get this tripod. And despite some limitations, it’s a great solution and a welcome addition to your gear kit.

Pros
- Inexpensive
- Small
- Flexible
- Highly portable
Cons
- Very short
- Not well suited for dedicated cameras
Nikon D750 | 70-200mm f/2.8G ED VR II | 70mm | f/16 | 1/60s | ISO 160

The best tripod for landscape photography: final words

While you don’t necessarily need a tripod for landscape photography, it will get you consistently better results. You can use lower ISO values, narrower apertures, and longer shutter speeds, plus you can capture shots you just can’t reach when shooting handheld.

If you’re looking for your first tripod, or if you already have a tripod and are aiming to upgrade, hopefully one of the options on this list will be just right for you!

And remember, these are my personal picks for the best tripods for landscape photography, but if you have a favorite I would love to hear about it – so leave your thoughts – and share any of your own landscape photos – in the comments below.

Landscape tripods FAQs

What is the best tripod brand for landscape photography?

Try to not think about this in objective, black-and-white terms. There are pros and cons to every tripod brand and plenty of tradeoffs. Instead of thinking about which brand is best, think about your needs, then choose a tripod that fits your budget.

Do I need to pay more for a weather-resistant tripod?

Some tripods advertise features like weatherproof knobs and dials, but I really don’t worry about this sort of thing too much. I wouldn’t recommend paying more for these features unless you have a specific use case in mind. Outside of using using your tripod in torrential rain every single day, any model will probably be fine.

Do I need a special type of camera for landscape photography?

Any camera will work for landscapes, from mobile phones to point and shoots to high-end mirrorless and DSLR models. Landscape photographers generally prefer wider lenses to capture more of the scene, but it’s also possible to get great landscape shots with a telephoto lens. Your camera is almost certainly not the limiting factor in landscape photography; no matter what camera you shoot with, a tripod will almost certainly help.

What type of head should I use on my tripod?

Some people prefer ball heads, while others prefer pan-and-tilt heads. There’s no one answer to this, but I personally gravitate towards ball heads simply for the size and convenience factor. One thing I do not recommend is using a tripod head designed for videography when shooting still photos. They generally do not allow the same level of free-form movement and positioning as a head designed for still images.

The post 9 Best Tripods for Landscape Photography in 2021 appeared first on Digital Photography School. It was authored by Simon Ringsmuth.

Digital Photography School
October 12, 2021
10 High School Football Photography Tips
The post 10 High School Football Photography Tips appeared first on Digital Photography School. It was authored by Jeff Guyer.

Are you looking to capture top-notch, action-packed, jaw-dropping photos of high school football?

You’ve come to the right place.

I’ve been doing high school football photography for years, so I’ve picked up plenty of key tips, techniques, and secrets to capture amazing shots. And in this article, I aim to share it all with you, from essential equipment to camera settings to creative tricks and more.

So if you’re ready to elevate your football photography, then let’s dive right in, starting with equipment:

1. Use the right gear

I’m not going to spend a lot of time here discussing camera bodies. Some of the photos in this article were taken years ago using a Nikon D70, and they look great. As long as you’re photographing with a reliable DSLR or mirrorless camera, you’re going to be fine. A fast continuous shooting speed and a capable autofocus system is helpful, but if you can’t afford these features, then don’t worry too much.

For a football photographer, your big concern is lenses. Happily, it is possible to get really great shots with a few basic options. When I first started shooting sports, I used just one lens, a 70-200mm f/2.8. I was able to shoot and edit creatively enough to get a variety of images. If you can only afford one lens right now, definitely opt for a longer zoom.

Don’t just buy any long zoom, however. Make sure it’s plenty fast; in other words, it should ideally feature a maximum aperture of f/2.8. Fast lenses are going to be hugely important once the sun goes down because most high school sports have a prohibition against using flash. You’ll need that ultra-wide aperture to keep a sufficiently fast shutter speed (otherwise, your photos will all turn out blurry!).

By the way, I’d also recommend investing in a nice monopod to keep your camera steady. In good light, you can handhold, but as the day turns into night, you’ll want some form of support – and tripods tend to be annoyingly unwieldy.

As with any type of shoot, make sure you have all of the necessary backups: batteries, memory cards, etc. Also, make sure you also have a plan for when it starts raining. Note that rain will fall on occasion, so be prepared for it. The Think Tank Hydrophobia should do the trick.

Trust me. At some point it’s going to rain!

2. Consider how you’ll get in

If you’re serious about football photography, consider contacting the school/venue ahead of time and ask about media credentials. In exchange for your images, you might be able to get a free pass into the game.

Otherwise, you’ll probably have to pay to get in (just like anyone else!). The good news is that it’s usually less than $ 10. You might be able to talk your way in on the day of the game, but the money goes to a good cause, so if you’re forced to pay, it’s not that big of a deal.

3. Get to the game early

Teams take the field to warm up anywhere from one to one-and-a-half hours before game time. And warm-ups are going to give you one of the best opportunities for quality shots.

For starters, the light is better. The sun won’t have set, and you’re going to get strong, powerful natural light, particularly if you shoot with the sun at your back.

Plus, players also tend to move a little more slowly in warm-ups than in the actual game, so you’ll have an easier time capturing motion. You’ll also get more of an opportunity to isolate individual players.

In some cases, you may even be able to actually walk out onto the field to shoot. However, if you do, please be careful! There will be around 150 kids warming up, many of whom are big, fast, and not paying attention to you.

Always remember: the kids’ job is to play football, not give you a good photo op. So make sure you don’t get in the way!

Get there early and take advantage of the sun while you can.

4. Know the sport

The key to getting quality photos in football?

Have a solid understanding of the game. Know how it is played.

After all, every game has an ebb and flow of its own. If you know how the game goes, then you’ll be ready when the game hits its highs (and you’ll know when you can relax and take your finger off the shutter).

Plus, knowledge of the game will allow you to anticipate moments before they happen. Will it be a running play or a passing play? What are the odds that they’re going to fake the punt on 4th down? Do you need to be on the sideline or the end-zone for the action? The home side of the field or the visitors’?

The more you understand the subtleties of the game, the better prepared you will be.

5. Focus like a pro

In football photography, you need to master two types of focusing:
1. Mental focus
2. Camera focus
First, mental focus: These kids are big and fast and strong, and are trained to run through anything in their way. So please, please, please pay attention to the game, anticipate change, and get out of the way if players are barrelling toward you.

I once saw a photographer stand his ground on the sidelines, despite the fact that a player was being pushed out of bounds right at him. I watched as his camera, lens, and monopod all went flying in three different directions (he flew in a fourth). He was ultimately wheeled off the field with cuts to his face and a leg that had been broken in two places. No photograph is worth that. So focus on where you are and what is going on around you.

As for the other kind of focus:

You’re photographing an action sport and you want action photos. So set your camera to its continuous autofocus setting (AF-C on some cameras, AI-Servo on others).

Now, the kids will be wearing helmets, so don’t worry if you can’t focus on the players’ eyes. Sure, if you can get the eyes, that’s great. If not, your best bet is to lock on the players’ numbers, or even the ball once players start moving. Here, your camera’s tracking mode will be a big help. Of course, feel free to experiment with other AF area modes, just in case one suits your style of shooting.

The goal is speed and accuracy. And at first, you may struggle. That’s normal. But keep practicing, keep working at it, and you’ll eventually improve.

6. Use the right camera settings

Football players move fast, and if you come home with 250 blurry photos, you aren’t going to be happy. So pay careful attention to your shutter speed, because the faster your shutter speed, the better your chances of freezing the action.

I generally like to start with a shutter speed of 1/500s and adjust my aperture and ISO accordingly until I get the look I want. Since football is an outdoor sport, the lighting is going to change over the course of the game. You may start out with great natural light, but you’ll often end in the dark with less-than-ideal stadium lighting. This, in turn, may mean slowing down your shutter speed to let in more light, as well as opening up your aperture to its maximum or raising your ISO.

Mastering these settings – and knowing what to adjust during a game – takes some practice. Be prepared for some trial and error. Here, Shutter Priority mode is often your friend, as you can input your desired shutter speed and ISO, then let your camera automatically adjust the aperture. You might also consider using Auto ISO with some sort of cap (but before you go this route, test different ISO values and determine your maximum “good” ISO).

7. Carefully choose your vantage point

Beginning football photographers struggle to position themselves correctly. They often pick an empty bleacher seat near the field, set up their gear, and stay in place for the entire game.

But if you want truly excellent photos, you need to position yourself carefully – and if possible, you should move with the action.

How do you pick the best position? First and foremost, let the light guide you. It sounds dramatic, but really, you should just take advantage of the sun while you can. Especially when you’re starting out, put the sun at your back so that it’s falling onto the field and nicely illuminating the players. As you get more experienced, you can try switching things up and working with backlight (i.e., situations where the light comes from behind the players, as in the photo below) or even sidelight, but as a beginner, keep things as easy as possible.

Obviously, the closer you are to the action, the better your photos will be. So get as close to the field as possible. If you can, position yourself on the sidelines, below the bleachers. This will give you the best angles, plus it will give you room to move with the game.

Be aware that some stadiums will have restrictions on where you can and can’t stand, regardless of your press credentials. “The Box,” for example, is the area on the sideline between the 20-yard lines. This area, for a variety of reasons, is off-limits to anyone other than players, coaches, trainers, etc. A game official who is a stickler for the rules could penalize the team for your presence in the box. If that happens, start running and don’t look back!

There is a natural tendency to shoot a football game primarily from “your” team’s side of the field. If you’re a parent, this is where you know people and feel comfortable. But try going around to the other side of the field once in a while. That way, you can capture the action with your team’s colors and sidelines in the background.

8. Be creative and keep your eyes open

Sure, you’re photographing football, but that doesn’t mean you can’t be creative with your angles and compositions. If you are selling game photos on your website, getting creative will only help!

I tend to think in terms of portraits; how can I highlight a specific player in the best way possible? Changing angles resulted in getting this quarterback against a perfect background:

Don’t fall into the trap, though, of assuming that everything worth photographing is right there on the field in front of you. Spend some time in the stands. Shoot the crowd reactions. Photograph the band and the cheerleaders. Capture the traditions. There is so much more going on in a stadium than just a football game. So turn your back on the action once in a while and take a look around you. There are stories everywhere.

Most importantly, learn to keep your head on a swivel!

Pay attention. You never know who might drop in.

9. Consider using your camera’s continuous shooting mode

Beginner sports photographers tend to set their camera to its fastest shooting mode, then follow the “spray and pray” strategy where you capture a series of shots over a split-second window.

But is this advisable? Or should you use your camera’s single-shot mode?

Honestly, it really depends on you and your style. Ask five photographers, and you’ll get five different answers. When I first started shooting high school sports, I was working with a slow camera that didn’t let me “spray and pray” consistently and hope for the best. It may have been frustrating back then, but it was probably a good thing. I learned to compose my shots and choose my moments a little more carefully. Over time, I developed a pretty fast shutter finger and a better eye for sports action. So even now, with a faster camera, I tend to leave my camera set for single clicks.

Ultimately, I’d recommend you try out both settings. Work with your camera’s continuous shooting mode for a while. Then, once you’ve gotten some shots you’re satisfied with, switch over to a single-shot mode and see how it feels!

10. Listen to the coaches (and follow proper etiquette)

If you are covering a particular team over the course of a season, introduce yourself to the coaches. Your job will be easier if they know who you are and why you are there. Plus, play your cards right with the coaches and there’s no telling what kind of access you might get.

Being nice to coaches gets you all kinds of access.

If a coach or official tells you something, listen. If they ask you to move, move. You’re in their house and you have to play by their rules.

As I mentioned above, don’t use flash. It’s not allowed, plus it can seriously impact the game. It may sound silly, but you have no idea what the consequences of an unexpected flash might be. There could be college scouts in the stands, and if you blind the receiver with your flash, they might not get a scholarship or even get recruited at all.

Also, if play stops for an injury on the field, show respect and put your camera down. While injuries might make for compelling photography, you may be witnessing the end of a child’s life-long dream or even their chances of going to college. You don’t want the student or their parents to see that on your website. This is high school, not the NFL. Be sensitive and keep things in perspective.

High school football photography tips: final words

Any seasoned photographer will tell you that photographing sports is not easy, and football may be one of the hardest games to shoot.

However, with with a little practice and preparation, your images will start to improve. Remember these tips, apply them to your photography, and pretty soon, your photographs will be outstanding.

Now over to you:

Do you have any tips for football photography? Have you photographed any games? What was it like? Share your thoughts in the comments below!
Table of contents

Sports Photography

GENERAL

8 Tips On How to Photograph Sports

Tips from the Sports Photography Pros to Help You Get the Money Shots

Indoor Sports Photography

SETTINGS

How To Use Sports Mode

LIGHTING

Shooting Portraits and Action Sports with Speedlites – Workshop

GEAR

Lens Review Canon 300mm f4 Lens for Sports Photography

Aquatech CO-7 Underwater Sport Housing [REVIEW]

Shooting Motorsports with a Micro Four Thirds Camera

ADVANCED GUIDES

Tips for Photographing Football (Soccer)

How to Shoot High School Football

1. Use the right gear

2. Consider how you’ll get in

3. Get to the game early

4. Know the sport

5. Focus like a pro

6. Use the right camera settings

7. Carefully choose your vantage point

8. Be creative and keep your eyes open

9. Consider using your camera’s continuous shooting mode

10. Listen to the coaches (and follow proper etiquette)

High school football photography tips: final words

1. Use the right gear

2. Consider how you’ll get in

3. Get to the game early

4. Know the sport

5. Focus like a pro

6. Use the right camera settings

7. Carefully choose your vantage point

8. Be creative and keep your eyes open

9. Consider using your camera’s continuous shooting mode

10. Listen to the coaches (and follow proper etiquette)

High school football photography tips: final words

Play Ball! Covering Your Bases Shooting Baseball

How to Capture the Perfect Action Shot in Sports Photography

Low Light Sports Photography

3 Tips for Taking Better Motorsport Photos

Catching the Action: Photographing Youth Sports

Top 5 Tips for Extreme Sports Photography

POST-PROCESSING

Using Photoshop to Create the Illusion of Depth of Field with your Sports Photos
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The post 10 High School Football Photography Tips appeared first on Digital Photography School. It was authored by Jeff Guyer.

Digital Photography School
October 11, 2021
Weekly Photo Challenge: Just Add Light

The post Weekly Photo Challenge: Just Add Light appeared first on Digital Photography School. It was authored by Sime.

I have been thinking about light a lot recently, adding light to images by using lots of different sources, flash, led panels, torches, bedside lamps etc, but I have to level with you, while I love experimenting with light, I’m not a master of ‘all of the settings’ and I mess up often – and that’s ok, we learn.

We thought it might be a fun idea to do another “more than one image” challenge to see what adding light, however you like, can lift an image.

Share your photo on social media and tag them #dPSWeeklyChallenge and #dPSJustAddLight

So today when I went with my 11yo and my camerabag to an often empty walking path nearby to take a couple of photographs of him hitting his Jigsaw Jump, the goal being to light him and get a dramatic photo in the spot I’d chosen, shaded by trees, almost like a tunnel of darker trees… All was well until I realised I’d forgotten my glasses and couldn’t find all the settings I needed on these new flashes, anyway! Onward!

The idea is that you have a photograph you take, and then you take it again but add a lightsource of some kind to change the image for better or for worse, and when you share them, you share the images together. You can use any lightsource, I’ve used a flash in the photo below.

Seb fighting against gravity

And in this photo of my grinder I used a torch and a small Aputure LED panel with a piece of red paper as my background.

Grinds You Down

You can either join two images into one image, or you can post two separately, whatever you would prefer! You can post in the comments below, or over in our private Facebook group.

The post Weekly Photo Challenge: Just Add Light appeared first on Digital Photography School. It was authored by Sime.

Digital Photography School

October 9, 2021
College Graduation Picture Ideas for Guys: What Works

If you are a guy nearing your college graduation day, you will be looking to capture some amazing images of this day which will happen only once in your lifetime. So it is essential to ensure that you get the best pictures to record your memories. In this guide I will describe and show the best college graduation picture ideas Continue Reading
Photodoto

October 9, 2021