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How to Make the Ordinary Look Extraordinary in Photography

23 Jul

The post How to Make the Ordinary Look Extraordinary in Photography appeared first on Digital Photography School. It was authored by Kevin Landwer-Johan.

how to photograph ordinary things feature image

A good subject does not make a good photo, a good photographer does. How can you photograph ordinary things to make them look extraordinary? This is a question I am sure many people are contemplating as they are confined to their homes.

how to photograph ordinary things — © Kevin Landwer-Johan Nikon D800, Lens 105mm, 1/100 sec., f/7.1, ISO 800

In and around our homes, we are familiar with the environment and what’s in it. These things are ordinary to us, and often we don’t think about photographing them. The exception may be after we buy our first camera. Then everything is interesting to photograph.

I love what British photographer Martin Parr says about his work. He says he aims to make the ordinary look extraordinary. This is a relevant challenge for many photographers who cannot get out and photograph the things you typically point your camera at.

How to Make the Ordinary Look Extraordinary in Photography — © Kevin Landwer-Johan Nikon D800, Lens 105mm, 1/320 sec., f/7.1, ISO 800

Be creative when you photograph ordinary things

To make the ordinary look extraordinary, you have to think outside the box. Don’t rely on what you normally do. Push beyond the rules and techniques you may typically follow and think about how you can photograph things differently.

Pick the best time of day to photograph some flowers in your garden. Then, tomorrow, photograph the same flowers at a different time – perhaps from a different angle. Compare your results. Don’t limit your thinking to what you’ve learned is the correct time or the right way to photograph flowers. Get yourself out of that mindset.

Observe how the light changes during the day. What’s it like in the morning, midday and in the evening? Challenge yourself to find things to photograph during a time you normally would not because you think the light is no good.

If you’re not used to being at home in the middle of the day, pick up your camera while you take your lunch break. Press yourself to find interesting light somewhere in your home to take some photos.

how to photograph ordinary things - frying pan hanging on a wire fence — © Kevin Landwer-Johan Nikon D800, Lens 105mm, 1/160 sec., f/6.3, ISO 800

Choose your favorite things to photograph

The very first photography assignment I completed was simple. I was taking a night school class on black and white photography shortly after purchasing my first camera. The task assigned was to photograph ordinary things. Something that we were familiar with.

We had to take one roll of film. Yes, it was a while ago! The choice was ours to load a 12, 24 or 36 exposure film. I made 36 exposures of my bicycle. I photographed it from every conceivable angle.

I loved riding my bike (and still do), so it was not difficult to photograph 36 times. Each frame was different. Some were close up, others were from further back.

how to photograph ordinary things - bicyle wheel cog and chain — © Kevin Landwer-Johan Nikkormat FTN, Lens 50mm. One of the photos of my bicycle from my first assignment.

Photographing something you love will make it easier because of the connection you have with it. Your mind will imagine the type of photos you can make of it because you love that thing.

When I photographed my bike, I did so all in one session. You could do this too, or spread out the challenge and make a series of photos of your chosen subject(s) over a period of time. I have done this too. For the past 37 years, I have been photographing bicycles.

Ever since that first assignment to photograph ordinary things, I have loved taking pictures of bikes. You never know how a simple assignment might grow on you.

Experiment with your subject

Try many different styles of photography. Practice new things. Improve on techniques you are already familiar with.

If you are someone who generally only photographs things once, now is the time to push beyond this. Challenge yourself to photograph ordinary things over and over again. How can you keep making interesting photos of the same stuff? It’s not about the subject or your camera. It’s up to your imagination.

Change the lighting. Move the thing you’re photographing to another place. Use a lens you’d never before consider using for this subject. Press beyond your preconceived ideas of the ‘right’ way to do things. There is no right or wrong way when you are a creative photographer.

Come at your subject from every imaginable angle. The first angle you think to take a photograph from is not always the best. Move around. Lie on the ground. Stand on a chair. Look at your thing from as many interesting angles as you can think of.

how to photograph ordinary things - unused wine glasses on a table — © Kevin Landwer-Johan Nikon D800, Lens 35mm, 1/100 sec., f/2.8, ISO 400

Limit your gear choice

Attach one prime lens to your camera and leave it there. Force yourself to use just one focal length on your favorite zoom lens.

By experimenting with one lens you will come to know it better. The more you use this lens, the better feel you will develop for it. Taking photos of the same subject, with the same lens may seem limiting – and it is, in a way – but this limitation will hopefully press you to develop your creative thinking.

Photograph ordinary things using the most basic equipment. This is a sure method to encourage your creative thinking. The best thing you have to rely on is your imagination.

Use your flash

Take the lead from Martin Parr and use your flash more. Either on or off-camera, add flash to photos when you normally would not.

By adding artificial light to what you have chosen to photograph, you will see it in a whole new light. This is a fabulous way to become more proficient with your flash. By using it at times when you typically would not, you will discover new possibilities. It may give you the boldness to use flash more frequently in the future.

Take your time and try using your flash in different ways. Fixed to your camera’s hot shoe, you’ll get very direct, harsh lighting. Tilting the flash head so that it points at the ceiling or a nearby wall, will add a softer light to your subject. Taking your flash off-camera, you can add light from a fresh perspective.

Learn from the Masters

I’ve mentioned Martin Parr a few times in this article. He’s known for his somewhat garish captures of normal, everyday objects. He can photograph ordinary things and make them grab our attention. It’s his way of seeing that he shares with us.

Look at how your favorite famous photographers photograph ordinary things. You will find that many of them do. Irving Penn’s still life images are exquisite. Edward Weston’s photo of a pepper is somewhat iconic. Man Ray came up with all manner of wonderfully experimental images of things from within his environment.

Conclusion

Focus on what is around you. Challenge yourself to take photos of things you normally would never consider worthy of a picture. I am sure you will surprise yourself a few times with what you come up with when you put your mind to it.

Use this time to learn to photograph ordinary things. Inspire yourself out of the rut of thinking that ordinary is boring. Make great photos of ordinary things, or at least have fun trying.

And when you’re done post-processing your photos, share a few of them in the comments below and let us know your thought process behind them. This way, you can encourage others to become more diverse in their creative photography.

The post How to Make the Ordinary Look Extraordinary in Photography appeared first on Digital Photography School. It was authored by Kevin Landwer-Johan.

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The Photography Skill Progression that Stunned Us

23 Jul

The post The Photography Skill Progression that Stunned Us appeared first on Digital Photography School. It was authored by Darren Rowse.

If you’re still stuck on auto mode and struggling with all the settings on your digital camera, this story of photography skill progression is for you. You may wonder, “Just how long does it take to become a better photographer? 3 days? 31 days? Two years?

In this feature of one of our students, the answer was all three.

Today I wanted to share with you the story of Marie Costanza. Marie grew up in Rochester, NY – the home of Kodak. So it’s no surprise she grew up taking photographs with her Kodak Instamatic camera.

Prior to starting our course 31 Days to Becoming a Better Photographer in February 2018, Marie described her experience being at the novice level.

“I was enthusiastic about taking photos and some of my images were decent, but I was not able to explain what I did to cause some of my images to be decent and many of them to be mediocre.”

Marie Costanza

She shared with us a sample of photos she took a few years before doing the course with instructor, Jim Hamel.

Marie Costanza children in water — Children playing in water – Marie Costanza (before the course)

Marie Costanza Bird in zoo — Birds at the zoo – Marie Costanza (before the course)

Marie Constanza sunset before — Sunset – Marie Costanza (before the course)

She wasted no time getting stuck into the course and extracting value from Jim. Here are the first images she shared with the group, after just 3 days.

Marie's First Photo Share in Course Group

And how right Jim was when he said . . .

Nice work. And this is only the beginning.

Jim Hamel

By “Day 7” Marie was experimenting more and starting to get shots like these:

And Jim’s response:

Prior to Jim’s course, I only shot on Automatic mode. I was completely intimidated by Manual and I did not fully understand the relationship among ISO, Shutter Speed or Aperture. I did use Aperture priority occasionally, and I was starting to understand that mode slightly. Jim’s Day 3 lesson was like a revelation for me. Being able to understand how to meter and how to use the Manual Mode opened up a whole new world of photography.

Let’s compare some of her more recent photos with the ones she shared earlier:

Marie Costanza Before and After Children Playing in Water — Children Playing in Water – Marie Costanza (Before and After the course)

Marie Costanza Before and After Birds — Birds – Marie Costanza (Before and After the course)

Marie Costanza Before and After Sunset — Sunset – Marie Costanza (Before and After the course)

But by far our favourite progression has been what our team like to refer to as “Marie’s Duck Progression”! It certainly caught our attention and it’s the reason we wanted to feature her photography today.

Marie Costanza Duck Before — Duck – Marie Costanza (Before the Course)

Marie Costanza Duck During the Course — Duck – Marie Costanza (During the Course)

Marie Costanza Duck After — Duck – Marie Costanza (After the Course)
Define the subject…for this challenge, I went back to my duck subject….those of you who have known me since we began the 31 Days course back in 2017…you might recall my original duck and then my post course duck. I love using ducks for my subject! This guy is called, “Late for an Important Date.” I used the following settings: ISO 1000, 380 mm, f6.0, 1/2000. I was using my Tamron 150-600 lens, hand held.

In addition to Day 3 (Metering), Marie also said Day 9 (Making Images Tack Sharp) was very beneficial in improving her duck photos because it helped her understand the impact of the shutter speed. Day 15 was helpful because learning about the importance of simplification helped her to understand that it’s important to eliminate distractions and to fill the frame with the subject. You can really see the impact of that in her second photo.

And the final photo, taken this year is a culmination of everything she has learned and practiced. Marie says, “Prior to the course I had just begun to play around a bit with Lightroom, so all of Jim’s lessons where he took us through the process of editing an image really helped me to understand the power of post processing.”

We asked what advice she’d give other aspiring photographers considering 31 Days to Becoming a Better Photography course.

The best part of this course was the fact that there was daily interaction between the student and instructor as well as all the new people we met in the Facebook Group. Anyone considering a course like Jim’s, should make sure this aspect is included. The helpful suggestions were invaluable and practical. Getting immediate feedback, which included positive elements as well as suggestions for improvement, made me eager to try the techniques.

Marie Costanza

And Marie and thousands of students since have received amazing attention from Jim like this reply to her very first post in the group:

Marie also had the following to say about Jim’s teaching style:

Having been an educator for over 37 years I am able to recognize effective teaching and the successful learning that is directly related. (For 15 years I was in charge of the Career in Teaching Program in the Rochester City School District, and I observed/provided feedback to countless teachers.)

Jim’s method of teaching is why the course is so successful. He teaches one concept at a time, has the student practice the new techniques, and then he provides feedback immediately.

The videos were the right length, which enabled me to effectively process the concepts/skills. When a teacher gives too much information or presents too many tasks/concepts, the learner has cognitive overload, resulting in the learner being unable to process the information.

Jim is highly skilled at knowing just how much information to present in order to challenge the student without forcing the student into cognitive overload. He is a highly effective teacher!

Marie Costanza

The Photography Skill Progression that Stunned Us

Marie’s photos star in our course promotions, along with photos from fellow students. Real photos, real students. Join them for the final class intake and save $ 100 when you sign up now.

Learn More

We love what Marie has achieved with her photography since doing the course. She has joined her local photography club and has even won some awards for her photos. Here are some more of our favourite photos she has taken – a world apart from her earlier snaps.

Marie Costanza Moon Composite — Moon Composite – Marie Costanza

Marie Costanza Sunflowers — Sunflowers – Marie Costanza

Marie Costanza Pier — Pier – Marie Costanza

If you’d like to experience improvement in your photography like Marie, please check out our final class intake for 31 Days to Becoming a Better Photographer and save $ 100 when you join before 31 July.

The post The Photography Skill Progression that Stunned Us appeared first on Digital Photography School. It was authored by Darren Rowse.

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Introduction and Creative Uses for the Snapseed Double Exposure Feature

23 Jul

The post Introduction and Creative Uses for the Snapseed Double Exposure Feature appeared first on Digital Photography School. It was authored by Ana Mireles.

Snapseed double exposure feature uses and tips

Do you have a different app for doing collages, and compositing, and another for changing backgrounds? Then this article is for you. I’ll show you how to use the Snapseed double exposure feature so you can do all of this inside one free app. Let’s get started.

Double Exposure

The double-exposure technique comes from film photography. It’s created by shooting multiple times in the same frame. This can create compositions, collages, or superimposed ghosts on a scene and used for many things. Fortunately, it carried over into digital photography.

There are different ways to achieve double exposures. You can do it in-camera, by editing on your computer or using your smartphone. This last one is what I want to show you.

Snapseed editing app

There are tons of editing apps to choose from. I particularly like Snapseed because you can do most of your post-production in it, it’s free and available for iOS and Android.

In general, Snapseed is very intuitive, but if you want to have more control over your editing, it’s not always clear how to access the tools for fine-tuning. This is the case of the Snapseed double exposure feature.

Basic Double Exposure

For the basic use of the Snapseed double exposure feature, I’m going to show you how to add a bokeh background to your subject.

When you launch the app, you’ll be immediately prompted to open your image by clicking anywhere on the screen. This will open the browser for you to access your gallery. Choose the one with your subject and tap on it.

Next, open the Tools menu by tapping the pencil icon. Scroll down until you find the Double Exposure tool and tap on it.

Here you’ll find three tools. Choose the one with the plus sign (+) on it. This is the ‘add image’ button. It will give you access to your gallery again to add the photo you want to overlap. In this case, the bokeh image.

Blending modes

Now that both images are superimposed, you can modify the effect.

Start by tapping the middle icon – it represents the different layers. Here you can adjust the way they interact with each other. If you are familiar with Photoshop Blend Modes, it will be fairly easy. If not, just tap on each choice to see how they change the results.

When you’re happy, tap on the check icon to apply.

Opacity

Now, go to the third tool, the one that looks like a drop. With this one, you can open a slider that controls the transparency of the layer. Move it until you like the final result.

If it’s still not perfect, you can always mask away specific parts of your layer. I’ll show you how to do this in the next section by doing a simple composite.

Advanced editing

Pretty good right? But not exactly a lot of control. That’s why the Snapseed double exposure feature offers the possibility to mask. However, these tools aren’t so easy to find as a first time user.

First, make your composite with the basic tools as explained in the previous section. Once you’ve decided on the blending mode and transparency, accept the edits by tapping on the check sign.

Next, tap on the back button that you can find on the top right. Usually, you wouldn’t do that unless you were unhappy with your results, and this is why these advanced tools are not apparent at first glance. This will open a menu that gives you the choice to Undo, Revert, and View edits. This last one is where you want to go.

This will open a list with every edit you’ve done.

In this case, there’s only the double exposure, but if you also adjusted perspective, exposure, etc, it would show up here to access again for further edits.

Snapseed Double Exposure Advance Editing

Click on the Double Exposure step to open its menu. The sliders icon on the right takes you back to basic tools if you want to make any changes. The icon in the middle takes you to the advanced edits.

Masking

Here, you can mask your images to reveal or hide different parts of it. Use your finger as a brush and just paint away. With the eye icon, you can make the mask visible.

Use the arrows to increase or decrease the opacity. If you made a mistake and painted over the wrong part, tap the arrow down to 0 and paint again to make visible again the underlying layer.

If you need to be precise, you can zoom in and out using two fingers. When you’re happy just tap on the check button and save your image.

Conclusion

The Snapseed double exposure feature gives you control over the effect you’re applying while still being easy to use without previous training.

And, by the way, it’s not just double but multiple exposures. You can add as many layers as you want. Just repeat the process to add more images.

Get creative and show us your results in the comments section!

The post Introduction and Creative Uses for the Snapseed Double Exposure Feature appeared first on Digital Photography School. It was authored by Ana Mireles.

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Beginners Tips for Night Sky and Star Photography

21 Jul

The post Beginners Tips for Night Sky and Star Photography appeared first on Digital Photography School. It was authored by Phillip Van Nostrand.

Star Photography

My favorite type of personal photography is taking night shots of the stars (long exposure pictures). I am often busy shooting pictures of people at weddings, or apartments, or models, and it’s important for me to make sure I take pictures for fun regularly. Taking pictures for no one other than myself is highly rewarding, soul filling, and fun! I also love taking travel photos and HDR photos, in this article we will take a close look at exactly how you can take your own epic star photographs.

What you need to take jaw-dropping pictures of stars

To take your star pictures, you only need three things:

a full-frame camera (for better ISO capabilities)
a fisheye lens (for the widest view of the sky)
a tripod (for stability during 15 second photos)

(Note: You can do this with a cropped sensor camera, without a tripod, and without a fisheye lens. It will just be a little harder and slightly less jaw-dropping)

Camera settings

You can nail this shot almost every time with these settings: 25 second exposure, f/2.8, ISO 1600

If your lens doesn’t open up to f/2.8 you can try 30 seconds at f/4 with ISO 1600.

Note: this kind of photography won’t work if there is a full moon out (or even a half moon). Don’t compete with large light sources, the stars will be over powered. The best location for star photography is way out in nature, away from city lights that cause “light pollution.”

Why to use these settings

The most important component of these settings is the 25-second exposure. An exposure longer than about 25 seconds will start to show star trails. Photographing star trails is a legitimate type of photography on its own, but not the type of photography you are trying to do here. Since you are limited to about 15-25 seconds max shutter speed, you still need to let in more light.

The largest aperture you can find on a fisheye lens is f/2.8, and still, your picture might not be quite bright enough to look stunning. So this is where the ISO comes into play. On a full-frame camera like the 5D Mark III or the Nikon D800, you can bump the ISO up to around 2000 without seeing much noise.

You’ll learn how to reduce noise in Lightroom in the next section for a super clean photo.

Editing in Lightroom

I do extensive retouching in Lightroom after I take my photos. I’ll usually boost the exposure up by a stop or more, and I’ll use Noise Reduction under the Detail section to reduce any unwanted “noise” (those pesky extra white, red or blue pixels that show up when you push the ISO too high).

Here is a standard star photo of mine and the Lightroom settings I used to create it:

Here are the Lightroom settings I used to edit the above photo:

1) You can see in the first panel that I bumped the whites up to +46 and brought the blacks down to -52. I really wanted to emphasize the stars against the dark sky and this is a good way to do that. Pushing the clarity up to +55 also helps define the stars against the sky, making them nice and crispy. I boosted the saturation to bring out any colors that are in the sky.

2) In the second panel, you can see that I sharpened up the image a bit, also to emphasize the stars. At the same time, I brought up the noise reduction to 33 to smooth out some of the noise that might show up, and I brought up the color to 25 for the same reasons.

Pro tips

Here is where you can have fun with the editing. Play around with the split toning sliders to make the colors in your sky appear magical. In the photo above you can see a little bit of turquoise in the lower part of the sky, and that comes from boosting that color in the Shadows of the Split Toning slider here:

You can also affect the color of the sky by playing around with the temperature and hue sliders to get some pretty magnificent looking star photos. Take a look at this one photo rendered three different ways:

Another pro tip that you may have noticed in all of the photo examples I gave here is this – shoot your stars in context. It really tells a great story to see a silhouette of a pine tree or a house in the background, and it shows the magnitude of the scene when you have an object in the foreground to compare to the stars.

Lastly, make sure you know which direction the Milky Way is. You can use an app like Sky Map to see exactly what stars are in the sky above you.

Have fun shooting, and please share your pictures below!

The post Beginners Tips for Night Sky and Star Photography appeared first on Digital Photography School. It was authored by Phillip Van Nostrand.

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Here Is Why Mirrorless Cameras Have Shutters

21 Jul

Mirrorless cameras are becoming more and more popular not just with amateur photographers but with professional ones too. By doing away with the mirror system within the camera in favour of an electronic viewfinder and/or LCD screen the camera is able to be more compact, lighter and have smaller interchangeable lenses than its DSLR counterpart. Using a sensor system similar Continue Reading

The post Here Is Why Mirrorless Cameras Have Shutters appeared first on Photodoto.

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Fujifilm X-T4 Review: The Best APS-C Camera on the Market (For a Price)

20 Jul

The post Fujifilm X-T4 Review: The Best APS-C Camera on the Market (For a Price) appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

If you’re trying to decide whether the Fujifilm X-T4 is the right camera for you, then this comprehensive Fujifilm X-T4 review is exactly what you need.

For several weeks, I’ve been putting Fujifilm’s newest camera through its paces, with the goal of answering a few key questions:

What does the X-T4 offer over the X-T3?
How does the X-T4 compare to other options on the market?
And, ultimately, is the X-T4 worth the price?

All these questions, and more, will be answered in this review.

So, without further ado, let’s dive right in!

The Fujifilm X-T4: Overview

The Fujifilm X-T4 comes as the latest addition to Fujifilm’s flagship lineup, previously headed by the Fujifilm X-T3. Note that Fujifilm explicitly indicated that the X-T4 does not replace the X-T3, but enters the lineup as a sister model.

In many ways, the X-T3 and the X-T4 are the same; the ergonomics and aesthetics are exceedingly similar, plus you get 26 MP X-trans sensors, dual card slots, and 4K/60p video.

But there are also some fundamental differences. While there’s certainly still room for the X-T3 in a Fujifilm lover’s gear bag, the truth is, the X-T4 is the better camera (though significantly pricier!).

In fact, I’d go so far to say that the X-T4 is one of the absolute best cameras I’ve ever used, and certainly one of my favorites, thanks to its Fujifilm retro charm, as well as its generally strong performance across the board.

Fujifilm is in the business of making all-around cameras: Mirrorless models that can do pretty much anything at a high level, from action to landscape to video. The X-T4 is simply another level of this superb well-roundedness, giving a combination of top-notch handling, improved autofocus, blazing-fast continuous shooting speeds, high-powered video, and excellent image quality.

Here are a few key Fujifilm X-T4 specifications:

26 MP APS-C sensor
4K/60p video
Continuous shooting up to 20 fps with electronic shutter (15 fps with mechanical shutter)
3.68M-dot electronic viewfinder
500 shot-per-charge battery
Dual SD card slots
In-body image stabilization

Note that, in purchasing the X-T4, you also get access to Fujifilm’s very impressive array of lenses. Many of these are very reasonably priced, not to mention optically stellar, which is why I consider Fujifilm to be something of a dark horse in the photography world.

That said, there are some drawbacks to buying the X-T4.

While it’s a fantastic all-around camera, it has no particular specialties, which means that it’s probably not the right choice if you’re seeking to capture, say, high-level sports or nothing but detailed HDR landscape photos.

So to find out more about the X-T4, both the good and the bad, read on.

Build Quality

If you’re a long-time Fujifilm shooter, the design of the X-T4 will feel familiar to you. It’s very much in line with the X-T3’s thin, metallic form, though it’s gained a slight amount of bulk, presumably due to the inclusion of IBIS.

For non-Fujifilm shooters, however, holding the X-T4 for the first time may offer a bit of a shock.

First, it feels like a squashed brick; you get a very well-made body, compressed into a compact form. And while the X-T4 does offer a decent-sized handgrip, it’s not as large as what you might expect from a Nikon or Canon camera (and certainly not a Nikon or Canon DSLR), which might take some getting used to.

The Fujifilm X-T4 is weather-sealed, and it feels it; honestly, the whole body just screams durability, which means that you can feel comfortable taking the X-T4 in inclement weather (always important for serious outdoor and nature shooters).

I know I mentioned it above, but I really am a huge fan of the Fujifilm retro aesthetic, which somehow makes the X-T4 feel like less of a finely-crafted tool and more of a camera that works with you.

Handling

As with all Fujifilm cameras, handling is excellent, assuming you don’t mind the old-school dials and switches.

Note that this old-school aesthetic manifests in the form of a dedicated aperture ring on Fujifilm’s lenses, which means that you have to select the aperture by turning the ring on the lens rather than turning a dial on your camera. Also part of the old-school aesthetic is the dedicated ISO, exposure compensation, and shutter speed dials on the top of the X-T4.

I can see how this very external, dial-based handling would annoy some photographers. It’s certainly not built for speed and muscle memory in split-second action, but there’s something really wonderful about setting your shutter speed and ISO via dials on the top of the camera, as opposed to through your camera knobs or touchscreen.

The X-T4’s buttons are well-placed, and I like the focus mode dial on the front (also present on other Fujifilm models); it’s much easier to access in the heat of the moment.

Fujifilm X-T4 review lamppost sample photo — Fujifilm X-T4 | Fujifilm XF 16-80mm f/4 | 80mm | 1/1000s | f/11 | ISO 200

A noticeable upgrade over the X-T3 here is the addition of in-body image stabilization, which allows you to get up to 6.5 extra stops of handholding. This is a huge deal for anyone who frequently shoots in low light, and is a fantastic addition to the X-T4 over the X-T3. In fact, if you haven’t used IBIS before, then you’re going to want to check the X-T4 out immediately. It’s a big help for handheld landscape photography, macro photography, walkaround photography, and much more, further increasing the X-T4’s versatility.

One last handling upgrade worth noting:

The X-T4 comes with a brand-new battery, one that’s rated at 500 images per charge. As with most battery ratings, this one seems to (happily!) undershoot reality. There were at least a few days when I shot over 500 images and still had significant charge left to work with.

For me, and for many shooters out there, this is a big deal. For one, if you’re shooting in adverse conditions, you want to swap batteries as infrequently as possible.

Plus, the better the battery life, the fewer batteries you need to take with you when traveling, for outdoor trips, etc.

Electronic Viewfinder and Rear LCD

The electronic viewfinder looks spectacularly life-like and features a 3.68M-dot resolution. Personally, I neither love nor hate EVFs (they can be great in some situations and terrible in others), but I do think that a minimum resolution of 3.68M-dots is required for good viewing, at least for me, personally, and the X-T4 brings that to the table.

There was never a time when I wished for an optical viewfinder while using the X-T4, and the clarity of the EVF was a huge benefit when working with Fujifilm’s Film Simulation modes (more on these later!).

You also get a fully-articulating rear LCD. This is useful for anyone who prefers to shoot without the EVF to their eye, but it’s especially important for macro photographers, architectural photographers, and landscape photographers in particular; basically, anyone who sets up their camera at odd angles.

With the X-T4’s articulating screen, you can get down-low perspective shots without having to get dirty (and without having to hurt your neck!).

Note that the X-T4’s screen does offer touch functionality, though it’s pretty much limited to setting the autofocus points. This is just fine in my book, because that’s really all I like to use touch screens for since it’s far faster than moving between points with the AF joystick.

Autofocus and Continuous Shooting

The Fujifilm X-T3 was a decent autofocus performer in its own right, but the X-T4 improves on this AF prowess, primarily in terms of tracking. Honestly, I’ve always been impressed by the X-T3’s focusing capabilities, which makes me all the more pleased with the X-T4.

Fujifilm X-T4 review street photo of a person walking — Fujifilm X-T4 | Fujifilm XF 16-80mm f/4 | 80mm | 1/250s | f/5.6 | ISO 200

Focusing on still subjects was extremely snappy, even in more difficult lighting situations.

In terms of tracking, I found the X-T4 able to follow predictably moving subjects with ease (e.g., cars), and while my keeper rate wasn’t 100 percent, I was very pleased with the results. Face and eye detection are a bit variable, especially in lower light, but are far from bad.

One of the great things about Fujifilm cameras is the continuous shooting speeds, which are blazing-fast by any metric. On the X-T4, you get 20 fps shooting using the electronic shutter, and this drops to a very respectable 15 fps using the mechanical shutter (up over the 11 fps mechanical shutter on the X-T3).

In fact, continuous shooting is one of the many reasons why the X-T4, and Fujifilm’s top cameras more generally, are such excellent all-around options. While they aren’t really designed as action cameras, you can certainly use them for fast-paced street photography, sports photography, and wildlife photography, assuming you can get the autofocus to work for you.

Fujifilm X-T4 review street photo — Fujifilm X-T4 | Fujifilm XF 16-80mm f/4 | 21mm | 1/125s | f/10 | ISO 200

Image Quality

The X-T4 packs a 26 MP, APS-C sensor, and while it doesn’t offer many changes over the X-T3, it’s still pretty darn powerful.

I tend to be conservative in terms of my tolerance of noise levels, but I feel comfortable pushing the X-T4 to at least ISO 800. Really, noise doesn’t start to become noticeable until around ISO 1600, and images can remain usable through ISO 6400 or so, depending on your purpose.

This is a good performance, especially for an APS-C camera; to my eye, it’s around a half-stop better than the Sony a6600 and pretty much on par with the Nikon Z50. And while the X-T4 can’t quite compete with the full-frame heavy hitters, it’s still plenty useful for photographers seeking a camera that can handle itself in low light.

Fujifilm X-T4 review black and white building — Fujifilm X-T4 | Fujifilm XF 16-80mm f/4 | 25mm | 1/250s | f/8 | ISO 200

As mentioned above, one of the benefits of a Fujifilm camera is the film simulation modes, and here the X-T4 doesn’t disappoint. You get 12 high-quality options; it’s a lot of fun to toggle between them, just to see how the world will look with different types of film.

I find these modes to be especially useful for types of shooting where noticeable color grading is acceptable, such as street photography and portrait photography. However, you always have the option of experimenting with film simulation and making changes in post-processing if you’re not pleased.

The X-T4 includes useful film simulation modes

Price

Fujifilm X-T4 review american flag — Fujifilm X-T4 | Fujifilm XF 16-80mm f/4 | 16mm | 1/500s | f/10 | ISO 200

At the time of writing, the Fujifilm X-T4 costs $ 1700 USD, which is $ 500 USD more than its X-T3 sibling, and is nearly $ 1000 USD more than the X-T30.

And this is where things get a little tricky because while the X-T4 does offer some serious upgrades over the X-T3, I’m just not sure it’s enough to justify $ 500. If I were trying to decide between the X-T3 and the X-T4, I’d feel more tempted by the X-T3, unless I desperately needed the IBIS or autofocus improvements.

Another issue with the X-T4’s price point is that it puts the camera on par with full-frame options such as the Nikon Z6, and only a few hundred dollars cheaper than the Sony a7 III. This isn’t going to make the X-T4 compelling for DSLR photographers looking to make the leap to mirrorless, or non-Fujifilm mirrorless shooters looking for a more powerful camera.

That said, if you’re already a Fujifilm shooter, or you’re a photographer who appreciates the unique design and all-around capabilities of the X-T4, the $ 1700 may be worth it.

Verdict

I’m a huge fan of the X-T3.

But I’m an even bigger fan of the X-T4, mostly thanks to the addition of in-body image stabilization, which makes the camera even more impressive for low-light shooting. It’s the ultimate generalist camera for hobbyists and professionals, and it’s an excellent addition to any kit.

Is the X-T4 the best APS-C camera out there?

Truthfully, I think it is. You get excellent image quality, blazing-fast continuous shooting, great handling, dual card slots, good autofocus, and more.

My only reservation is the price, which feels a bit high compared to the X-T3. But you do get in-body image stabilization, as well as improved autofocus, so if you have the extra money to spend, go for it!

You won’t be disappointed.

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The post Fujifilm X-T4 Review: The Best APS-C Camera on the Market (For a Price) appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

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How to Predict Dramatic Sunsets

20 Jul

The post How to Predict Dramatic Sunsets appeared first on Digital Photography School. It was authored by Bruce Wunderlich.

Summer sunset over Marietta Ohio just after a storm had past through earlier in the afternoon. — “Red Sky” Summer sunset over Marietta, Ohio

One question every child asks is, “Why is the sky blue?” But let’s look at why is the sky red at Sunset. Light from the sun is made up of all the colors in the rainbow. As the sunlight enters the earth’s atmosphere, the short wavelength of blue light is scattered in all directions, more than any of the other colors, causing the sky to be blue during the day.

At sunrise and sunset, the light has farther to travel due to the low angle of the sun in the sky. This causes the blue light to be blocked and scattered away, allowing the longer wavelengths of red and yellow colors to appear in the sky.

I am sure you wish there was some magic formula that could tell you exactly the night for photographing a beautiful sunset? It’s not that easy, but hopefully, we can discover some ways to increase your odds.

Let’s take a closer look at some other factors that will help you predict brilliantly-colored sunsets.

You have no doubt heard the saying “Red sky in the morning, sailors take warning. Red sky at night, sailors’ delight”. This saying can also help you predict sunsets (and sunrises) if you know the weather forecast. Look for a red sky at sunrise ahead of a storm and at sunset after a storm. Knowing what to expect weather-wise is key to anticipating the right conditions for a shoot, so the first thing you need to do is find a good weather app or website.

A website such as Intellicast.com will give you a detailed hourly report for key factors: cloud cover, air quality, humidity, and wind speed.

Clouds and Cloud Cover

Clouds are a crucial factor to predicting dramatic sunsets, for without clouds there is not much to see.

One common misconception of brilliant sunsets is that clouds create the colors; in reality clouds only serve as the canvas to display the colors that the light is painting. High to mid-level clouds are the most effective canvases, as they will reflect the colors of the setting sun. Puffy clouds on the horizon at sunset will more than likely not allow the sun rays to pass through them, thus muting the colors. Lower clouds (such as dark rain-filled clouds) are not very helpful at reflecting much light.

If the clouds on the horizon are low and thick, the sun will not be able to shine through them. It is also worth noting that too many or too few clouds can be detrimental for an optimal photo, so check out your detailed weather report for cloud cover percentages between 30 to 70 percent at sunset.

You can observe cloud conditions in the afternoon and if the sky looks favorable, you can hope that these clouds will still be present at sunset. No guarantees, but if there is not much wind these clouds may stick around to create a beautiful sunset.

A brief description of fair weather clouds that may produce dramatic sunsets:

Cirrocumulus Clouds – These look like ripples on water. Blue sky is the usual backdrop.
Altocumulus Clouds – Often occur in sheets or patches with wavy, rounded masses or rolls, like little cotton balls. They are generally white or grey and usually appear after a storm.
Cumulus Clouds – Easily recognizable, large, white, and fluffy, often with flat bases.
Cirrus Clouds – Generally characterized by thin, wispy strands. These clouds arrive in advance of frontal systems indicating that weather conditions may soon deteriorate. Nevertheless, these are one of the best kind for photographing dramatic sunsets!

If you see this kind of sky in the afternoon with calm winds, chances are good you are in for something special at sunset.

Clean Air

Clean air is very effective at scattering the blue light. For this reason, one of the best times for dramatic sunsets is right after a rain or wind storm. While lower clouds rarely reflect brilliant colors (as mentioned above), note that where the lower atmosphere is especially clean, as in over open oceans in tropical regions, more vivid colors are allowed pass through. This is the reason so many beautiful sunset images are captured in the tropics.

Humidity

The amount of humidity in the air will also have an effect on the colors of your sunset. Lower humidity will produce more vibrant colors. With higher humidity, the colors will be muted because of the water content in the atmosphere. The seasons of autumn and winter typically produce lower humidity than in the warmer seasons.

Wind

Wind is a factor that can either enhance or destroy a beautiful sunset. A change in wind direction can cause the clouds to develop ripples or billows, which can create a beautiful effect as the setting sun reflects a nice red glow onto the ripples.

Also, as established earlier, clean air will produce more brilliant colors, and a nice breeze before sunset can help clear the air.

Unfortunately, the wind can become a negative factor on those days when favorable clouds are present in the afternoon, but a weather front moves through with strong winds that remove those clouds and leave you with a clear sky at sunset.

This is another instance when a good weather app or weather website can give you an indication on its radar as to when a front may move through your area.

To summarize your sunset prediction, look for:

Mid to high-level clouds
30 to 70 percent cloud coverage
Clean air
Lower humidity
Calm winds

A final thought to consider when photographing sunsets – sometimes the afterglow of the sunset, which can occur 15 to 20 minutes after the sun goes behind the horizon, can be much more spectacular than the actual sunset.

Generally, all these weather-related rules also apply to photographing sunrise, but the visual signs are more difficult to spot since it is darkest before the dawn. A good time to photograph at sunrise is in the fall and winter when it occurs later in the day than in the summer months.

Do you have any other tips for predicting dramatic sunsets? Please share some of your favorite sunset images. Who doesn’t love a good sunset? If you want some tips for shooting the great sunset you’ve found try: 8 Simple Guidelines for Capturing Spectacular Sunrise and Sunset Images

The post How to Predict Dramatic Sunsets appeared first on Digital Photography School. It was authored by Bruce Wunderlich.

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Posing Guide: 21 Sample Poses to Get You Started with Photographing Women – Part I

18 Jul

The post Posing Guide: 21 Sample Poses to Get You Started with Photographing Women – Part I appeared first on Digital Photography School. It was authored by Guest Contributor.

This is the first in a series of Posing Guides with suggested starting poses for photographing different subjects. We are starting with the female posing guide.

Also in the series check out our posing guides for posing children, posing couples, posing groups and posing weddings.

Sample Poses to Get You Started with Photographing Women

If you ever run out of ideas, get stuck in creativity or simply need some guidance when shooting female subjects, you may use following posing samples as a “posing cheat sheet”. Many pro photographers use such a technique when preparing for and during the photo shoot.

The poses in this article are selected as an initial reference. I would advise you to look at the poses together with your subject, especially if she’s inexperienced. During a photo shoot, don’t hesitate to discuss with the subject which pose is or isn’t working in any particular situation. It’s usually very productive and you both will feel more confident in what you are doing.

OK, let’s start, one by one.

1. Very simple portrait pose to start with. Have the model look over her shoulder. Note how unusual and interesting a portrait might look, if shot simply from a different angle.

2. In portrait photography, hands are usually not visible or at least not dominant. However, you might get creative by asking the model to play around with her hands trying different positions around her head or face. Keep in mind, though: No flat palms, and the hands should only show their sides!

3. You might be familiar with composition rules like the rule of thirds. In a similar way, pleasing effects can be created by using diagonals. Also remember that you don’t need to always hold your camera on a perfectly even level. Don’t be afraid to tilt it, you might achieve some interesting and unusual perspectives.

4. A really nice and lovely pose with a model sitting. The knees have to touch each other. Shoot slightly from above.

5. Another open and inviting pose with the model lying on the ground. Get down and take your shot nearly from the ground level.

6. Just a variation for a pose with the model lying on the ground. Both hands might as well be resting on the ground. Works very well outdoors, on the grass or in a wild flower meadow, for example.

7. A basic easy pose, yet looks absolutely stunning. Get down and shoot nearly from a ground level. Then try to move gradually around the model while making shots. Also ask your model to change head and hand positions.

8. Another easy yet gorgeous pose for all body types. Try different hand and leg positioning. And remember to focus on the model’s eyes!

9. A really lovely pose. Works well in different surface settings: The model, for example, might lie on a bed, on the ground, in the grass, or on a sandy beach. Shoot from a very low angle and focus on the eyes.

10. Gorgeous and easy pose for a model sitting on the ground.

11. Another simple and friendly pose for a model sitting on the ground. Try different directions and angles.

12. A wonderful way to demonstrate the beauty of a model’s physique. Works very well as a silhouette when shooting against a bright background.

13. A simple and casual looking pose. Lots of variations are possible. Ask the model to twist her body, experiment with hand positioning and try different head turns.

14. Another very simple and elegant pose. The model is turned slightly to the side, hands in back pockets.

15. Leaning slightly forward can be a very attractive gesture. It is a subtle way to emphasize upper body shapes.

16. A sensual pose. By holding the hands above the head body curves are emphasized. Works with fit body types.

17. Endless variations are possible for posing in full height. This pose is just the starting point. Ask the model to slightly turn her body, change hand positioning, change head and eye directions etc.

18. A relaxed pose with the model standing upright and supporting her back against a wall. Remember that the model may use a wall not only to support her back, but also to put her hands on, or resting a leg against it.

19. Note that full height settings are very demanding and work well only with slim to athletic body types. Posing guidelines are simple: The body should be arched in an S shape, hands should be relaxed, while the weight finds support on just one leg.

20. An exquisite pose for slim to athletic models. Many variations are possible. In order to find the best posture, tell the model to slowly move her hands and twist her body constantly. When you see a good variant, ask your model to hold still and take some pictures. Repeat for a full set.

21. An absolutely romantic and delicate pose. Any kind of cloth (even a curtain) can be used. Note that the back doesn’t need to be completely bare. Sometimes as little as a bare shoulder could work pretty well.

So, there’s something for you to start with. Hope you will find at least couple of poses to work with in different shooting scenarios! Keep in mind that each of the initial sample poses is meant to be only a starting point. Each pose has endless variations! Just be creative and adjust the pose as needed (for example, try different shooting angles and ask your subject to change hand, head and leg positioning etc.)

Check out our other Posing Guides:

Posing Guide: Sample poses for photographing Women Part 1
Posing Guide: Sample posees for photographing Women Part 2
Posing Guide: Sample poses for photographing Men
Posing Guide: Sample Poses for photographing Children
Posing Guide: Sample Poses for Photographing Couples
Posing Guide: Sample Poses for Photographing Groups of People
Posing Guide: Sample Poses for Photographing Weddings

Grab Our Guide to Portrait Posing

Kaspars Grinvalds is a photographer working and living in Riga, Latvia. He is the author of Posing App where more poses and tips about people photography are available.

The post Posing Guide: 21 Sample Poses to Get You Started with Photographing Women – Part I appeared first on Digital Photography School. It was authored by Guest Contributor.

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The Art of Freelensing for Creative Photography

18 Jul

The post The Art of Freelensing for Creative Photography appeared first on Digital Photography School. It was authored by Karthika Gupta.

Photography has a great many rules and every once in a while, it is great to break all of them, don’t you think? For me, the art of freelensing for creative photography is the permission to play with both light and blur to archive a totally unexpected and magical image.

Freelensing tips — Freelensing works for almost any type of photography, but portraits get extra special love with the soft blur of the out-of-focus elements.

My first attempts at freelensing were just lucky shots among many more frustrated attempts. So, I gave up quickly. But as my photographer friends started posting beautiful dreamy images, I was tempted to pick up my camera and lens and try again.

I gave freelensing another try and I have been addicted ever since. It is a perfect way to get those creative juices flowing and add a little diversity to your photography portfolio and client work. Plus, you don’t really need any extra equipment to purchase or invest in other than what you already have in your camera bag.

What is freelensing?

Freelensing is a technique where the photographer shoots with the lens DETACHED from the camera body, creating a unique shot. With freelensing, you can manipulate your plane of focus to draw the eye of the viewer to a specific area. Alternatively, you can have an entire shot out of focus, creating a very dreamy frame.

It’s a great way to do creative photography play.

Here are some things to consider as you try freelensing for the first time:

1. Camera settings for freelensing

Before freelensing, you must get your camera settings right. With the lens still attached to the camera, set the aperture to the widest possible value, and adjust the shutter speed and ISO settings for the correct exposure.

You can figure out the widest aperture on your lens by looking at the lens specifics. Once the lens is detached, you can make adjustments to the settings on the camera. For maximum control, use the camera in the manual mode setting where you, the photographer, are adjusting all variables like ISO, shutter speed, and aperture.

Check your camera and lens settings. Some lens will automatically maintain aperture when detached while others won’t. With Canon, the aperture stays wide open, so you don’t need to do anything specific. With a manual lens, you might have to keep the aperture open manually.

2. Focal distance for freelensing

Before detaching the lens, turn the focal distance dial of the lens all the way to the infinity symbol. This sets the focal distance to the farthest possible point. Then you can detach the lens and keep it as close as possible to the ring.

Keeping your eye in the viewfinder, start tilting the lens slowly – up, down, left, or right until you see a composition that you like. Remember that by its nature, freelensing is not perfection. You will not find a tack-sharp image with freelensing, but that adds to the magic of creativity with this exercise.

Freelensing for Creative Photography - how to hold the camera and lens

3. Finding focus

The beauty of freelensing for creative photography is that there are no rules. But one thing that can make or break a good creative image is the focus. While a completely out of focus image is still very beautiful, having a focal point in the image adds to the magic. Along with light, composition, and color, focus draws the eye into that element of perfection while the rest is imperfect.

As you move the lens around, try and get one area of the frame in focus. Landing focus in freelensing is hard, so give yourself some time to get used to it and be patient.

Try multiple frames to find the focus point. Play with the focal distance of the lens to help you determine that focal area. Also, try moving in and out of the scene until you’re happy with what you see.

As you decide on composition and focus point, consider the message, mood, and story you want to convey to the viewer.

Karthika Gupta Freelensing For Creative Photography

4. Light and light leaks

Freelensing for creative photography can lead to all kinds of interesting images, but it’s the element of light that makes them work. It can add flares and light leaks to the frame and infuse the image with an extra-magical effect.

It’s better to work with good backlight when capturing light leaks and flares. I find the ideal time is during golden hour, when the sun is straight-on but slightly softer than other times of the day.

As you tilt and separate the lens from the camera, bits of surrounding light can spill into the sensor, adding some cool light-leak effects to the frame.

Play around with the light leaks and see how they affect the frame. You can control the direction and amount of light entering the frame by adjusting the size of the gap. Be aware that too much light can ruin the image too.

Freelensing for Creative Photography. Pink Tulips — Light leaks add an interesting element to freelensing images that sometimes resemble a filter.

Things to note with freelensing for creative photography

If you have an expensive lens and camera, try freelensing inside the house on a bed or soft surface as you try to manually hold the camera and lens in your hand. Perhaps that heavy 70-200mm lens is not the one to try freelensing for the first time
I always shoot with the camera strap around my neck. That way, if for some reason I lose my grip on my lens and camera, I focus on saving the lens since I know the camera is secure.
You can do freelensing with the camera on a tripod but that can limit the range of motion and creativity of the frame. But if you are just starting out, then this is a safer option.
I hold the camera around the camera grip with my right hand and manipulate the lens with my left hand. I am right-handed, so this plays well with the strength of my hands.
If your camera has live view, use that as you move the lens around to find the perfect frame to your liking.
The distance of the lens from the camera and the distance of the camera and lens from the subject will affect the plane of focus (just like it does in normal photography).
- When you are closer to the subject, less of the subject will likely be in focus
- When you are further away from the subject, more of the subject will likely be in focus
- If you are far away from the subject, put the lens closer to the body of the camera
- If you are close to the subject, you can get the lens further away from the body
As you move the lens away from the camera body, light leaks will enter the frame. Live view will help you find the light leaks that works best for the shot you have in mind.

Freelensing for Creative Photography. Dog — Once you get the hang of it, you will find yourself trying freelensing anywhere and everywhere. The results are so unique that you cannot help but get creative.

The best advice for successful freelensing for creative photography is to leave all the rules behind and photograph with your heart. Find that creativity and let the magic unfold.

We’d love to see your freelensing images! Please share them with us in the comments section.

The post The Art of Freelensing for Creative Photography appeared first on Digital Photography School. It was authored by Karthika Gupta.

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Weekly Photography Challenge – Abstracts

18 Jul

The post Weekly Photography Challenge – Abstracts appeared first on Digital Photography School. It was authored by Caz Nowaczyk.

This week’s weekly photography challenge – ABSTRACTS!

abstract by caz nowaczyk — Play with color in your abstracts. Photo by Caz Nowaczyk ©

Grab your cameras and go out and take some interesting new shots of everyday objects. Play with line, color, shapes and blur to create some fabulous abstract images.

Alternatively, crop your photos at interesting spots and create abstracts from that. You could also try some post-processing to completely change the look of your images and make them more unique.

I look forward to seeing your shots!

Check out some of the articles below that give you tips on this week’s challenge.

Tips for photographing ABSTRACTS

Creative Abstract Photography with Food Coloring and Milk

How Practicing Abstract Photography Can Influence Your Photography

Get Moving – Four Ways to Create Abstract Light Trail Photography

How to do Abstract Watercolor Photography

How to Make Interesting Abstract Smoke Photos

A Beginner’s Guide to Abstract Flower Photography

How to Create Abstract Photos with Fruit and Veggies

Simply upload your shot into the comment field (look for the little camera icon in the Disqus comments section) and they’ll get embedded for us all to see. Or, if you’d prefer, upload them to your favorite photo-sharing site and leave the link to them. Show me your best images in this week’s challenge.

Share in the dPS Facebook Group

You can also share your images in the dPS Facebook group as the challenge is posted there each week as well.

If you tag your photos on Flickr, Instagram, Twitter or other sites – tag them as #DPSabstracts2020 to help others find them. Linking back to this page might also help others know what you’re doing so that they can share in the fun.

The post Weekly Photography Challenge – Abstracts appeared first on Digital Photography School. It was authored by Caz Nowaczyk.

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