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6 Tips For Capturing Better Urban Landscapes

27 Jun

The post 6 Tips For Capturing Better Urban Landscapes appeared first on Digital Photography School. It was authored by Kav Dadfar.

Tips for Better Urban Landscapes

As you continue your quest to enhance your photography skillset, you should look to broaden your horizons by exploring various disciplines. In this article, we’re going to look more closely at how to capture better urban landscapes.

Better-urban-landscape
f/8 – ISO 100 – 1/250 sec

This discipline is all about bringing an urban environment to life in your photos. Shots of people living, moving, and working combined with an urban landscape can make for wonderful photos. It’s challenging even for experienced photographers. But you’ll find new ways of expressing yourself and capturing your surroundings, as well as immortalizing a piece of your growing environment.

But how do you best capture engaging images in an urban landscape? Here are six tips for capturing better urban landscapes.

Better-urban-landscape
f/8 – ISO 100 – 1/320 sec

1. Get to the streets

Whilst there’s nothing to say that you can’t take urban landscape shots from viewpoints in a city, if you want to capture exceptional urban photography then you should be right there alongside it. Get off your balcony and put yourself right onto the street in the middle of life as it unfolds.

To photograph better urban landscapes, try to find scenes where you can capture the combination of the urban landscape and people. A tight shot on two people talking isn’t necessarily what you’re looking for here. This is more street photography than urban landscapes. So you need to introduce some elements of the urban arena into your composition.

Better-urban-landscape-london
f/6.3 – ISO 250 – 1/160 sec

2. Play around with shutter speed

By lengthening your exposure setting, you can create a very dynamic image. Admittedly, this may go against having a live subject (like a person or animal), since they will probably be moving quite a lot. However, if you can, taking a wide shot of the urban landscape with a long exposure can create some interesting effects through movement.

The streaked clouds overhead can give a sense of movement to your still landscape. It’s a nice trick for capturing better urban landscapes if you’re just looking to get an image of the scene itself instead of active subjects.

At night, this also can create light trails from vehicles. Their tail and headlights will streak in the image, creating an amazing photo that captures the hectic expression of any urban setting.

Better-urban-landscape
f/13 – ISO 100 – 4 sec

3. Find interesting buildings

What’s really cool about urban photography is that it’s just as much about the manmade elements as it is people. If you’re shooting in a city setting, then there are likely many interesting buildings, sculptures, parks, and other manmade elements throughout to capture.

Do a little research and learn about why
the interesting buildings were built in the first place. By being just as
selective with your history as you are your visuals, you can create a story
using photography in an urban setting.

For example, if you’ve chosen a wonderful gothic church as the background for your scene, what is unique about that church’s history? It may look amazing, but what else is behind the building, historically-speaking? You might dig up something really interesting that’s going to help shape your photo sessions. It could be key elements in the architecture or historically important locations around the church. Or you may just find interesting viewpoints and angles for better urban landscapes of the church.

Better-urban-landscape
f/6.3 – ISO 100 – 1/250 sec

4. Come back during different seasons

Another tip for capturing better urban landscapes is to come back during different seasons. It’s easy to forget what an urban setting can look like during a different season. If you’re standing in the middle of a skatepark during the height of summer, and it’s very active with teenagers riding on every surface, you aren’t necessarily thinking about what the same scene would look like covered in snow.

However, you could make some really
intriguing juxtaposing images if you returned to the same scene during a
different season later in the year.

If you have the ability to travel to a location more than once a year, then you should consider taking advantage of that luxury. The lighting, skyline, and general feeling can all change dramatically, allowing you to capture great images that you might not have even considered previously.

Better-nighttime-urban-landscape
f/13 – ISO 250 – 15 sec

5. Use the terrain

When you compose your shot, consider the golden triangle rule or the rule of thirds. You can also look to align your subjects with leading lines generated by the terrain; perhaps a bridge, trees, a street, or a mural.

Elements throughout your frame can guide the eye toward your subject naturally, or they can pull it away just as easily. Be aware of how you’re composing your shot and consider using the elements to better align your focal point for better urban landscapes.

urban-landscape
f/8 – ISO 800 – 0.6 sec

6. Night versus day

An urban setting can really come alive at night. The shadows cast by daylight are now blending into the surroundings, and your lens will pick up way more than you thought possible.

Daylight photography can capture active scenes natural to that time, and the same can be said for nighttime photography. Aside from general lighting differences, the time of day also helps create an atmosphere in your image that you can’t replicate any other way.

If you can, just like visiting the scene during different times of the year, try and come back to see how the urban setting changes between night and day. Some differences may be subtle, but others will weave new visions for your camera to capture.

Better-urban-landscape-photography
f/11 – ISO 200 – 20 sec

Conclusion

The wonderful thing about this type of photography is that often it’s accessible for lots of people. Most people live within or near urban environments. So there will be ample opportunity to practice capturing better urban landscapes. Use the tips above and you will be on your way for improving your photography in this genre.

Do you have any other tips for capturing better urban landscapes that you’d like to share? Do you have some images you’d like to share? Please do so in the comments section!

The post 6 Tips For Capturing Better Urban Landscapes appeared first on Digital Photography School. It was authored by Kav Dadfar.


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Weekly Photography Challenge – Powerlines

27 Jun

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

This week’s weekly photography challenge – POWERLINES!

Weekly Photography Challenge – Powerlines
You might want to capture powerlines reflecting in water like this shot I took. © Caz Nowaczyk

Powerlines are everywhere (well at least here in Australia they are!). Capture them close up or as part of a wider scene. Capture them against a fabulous sunrise or sunset, as a silhouette, or whatever you like. You get the idea!

Play with post-processing too, if you like.

The choice is yours! I look forward to seeing what you share ?

Weekly Photography Challenge – Powerlines
This one is a mix of the sunsetting and silhouettes on a Melbourne city street. © Caz Nowaczyk
Weekly Photography Challenge – Powerlines
These powerlines are part of a larger vista and lead the viewer’s eye into the frame. © Caz Nowaczyk.

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

Tips for photographing POWERLINES

How to Take Better Sunset Photos

How to Create Powerful Silhouettes by Telling a Story

How to Edit Silhouette Photos in Lightroom

5 Exercises to Improve Your Street Photography

Make the Most of High Contrast Lighting for Dramatic Street Photos

How to Tell a Story With Your Street Photography

How to share your photo with us here

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 #DPSpowerlines 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 – Powerlines appeared first on Digital Photography School. It was authored by Caz Nowaczyk.


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How to Make a DIY Lightbox for Product Photography

26 Jun

The post How to Make a DIY Lightbox for Product Photography appeared first on Digital Photography School. It was authored by Simon Bond.

DIY lightbox for product photography

There is a lot of photography that you can do indoors, and product photography is one such example of this. If you’re keen to try this out yourself in order to get the best results, making a DIY lightbox will elevate the quality of your photography. Creating a lightbox is simple, and you only need some basic supplies to do it. In this article, you’ll find out about two possible methods.

How to Make a DIY Lightbox for Product Photography
A lightbox is ideal for still life photography

What is a lightbox?

A lightbox is a box you place your product in, and fill it with light to photograph that product. A lightbox aims to avoid shadows when you photograph your main subject. If you light the scene from all directions, you’ll not see shadows.

How do you achieve this?

You’ll need light coming into your DIY lightbox to your subject from all directions. You can achieve this by bouncing light around the box, and also from light sources shining through and into the box. In the majority of cases, light sources shine into the box from the outside. However, you’ll also see a box that uses reflected light to achieve the same result.

The light source

The light source you use will depend on what you have available. It’s possible to use strong spotlights to create the light for your DIY lightbox.

Using strobes triggered remotely is a better option, however, these emit a strong burst of light that will light up everything in your lightbox. When using a strobe, it’s even more important to soften the light by bouncing it.

How to Make a DIY Lightbox for Product Photography
A light source like an off-camera flash will be needed.

The shoot-thru DIY lightbox

This is the classic form for a lightbox. In this method, you’ll be creating windows in a cardboard box and then covering those with paper. In effect, you’re creating softbox-like panels around the outside of your box.

Equipment you’ll need

  • Cardboard box – A decent size cardboard box. One that has sides larger than an A4 piece of paper is ideal.
  • Three pieces of white paper – These need to be large enough to cover one side of the cardboard box.
  • One larger piece of paper – This is needed once the box is complete. It’s attached within the box to create an infinity curve.
  • Scissors – Needed to cut holes in the side of your box.
  • Tape – You’ll need some tape to stick everything together!
How to Make a DIY Lightbox for Product Photography
This box shows the holes cut in the side, and two panels of white paper have been added.

How to make the box

  1. Turn the box on it’s side, and cut off the top flaps.
  2. Cut out “windows” on the left, right and top of the box. Leave the back of the box alone.
  3. Use the paper to cover over the holes you have created, and tape the paper to the box.
  4. Now tape the larger piece of paper to the back of the box, and allow it to curve down to the floor of the box.
  5. Your lightbox is now ready to use, just use your light sources to shine through the paper panels on the side of the box.
How to Make a DIY Lightbox for Product Photography
An image produced using a DIY lightbox.

Making a reflector DIY lightbox

This is an alternative and is arguably even easier to make. The results are similar, but you’ll need to make a larger box. The increased size can be an advantage as it will allow you to photograph those larger objects.

Equipment needed

  • Foamboard – You’ll need four of these. Three for the sides, and one for the roof. The size used in this example is 90cm by 60cm.
  • Tape – Use the tape to stick the boards together. This should be the wider variety of tape, used to tape boxes together.
  • Scissors – to cut the tape as needed
  • A sheet of paper – A long sheet of paper to form the backdrop behind the object you’ll photograph. This paper will usually be white. The paper should be comparable in size to the foamboards.
How to Make a DIY Lightbox for Product Photography
Foam board stuck together with tape. They fold up like a concertina for storage.

How to make the box

  1. Line up three of the foamboards. They should be placed together with the shortest side facing each other.
  2. Leave a gap between each board, this should be between half and one centimeter.
  3. Use the tape to stick the boxes together. The gap will now allow you to fold the boards in on each other.
  4. Flip the boards over, and put the tape on the other side. This will reinforce the whole structure.
  5. Now, take the three boards and stand them up in a horseshoe-like shape.
  6. Tape the sheet of white paper to the backboard, and run it down to the ground. Ensure there is a curve where it meets the ground.
  7. Place the final foamboard over this structure, it will act as the roof.
  8. Your lightbox is now ready. Place your light sources within the structure, so light bounces around the box.
How to Make a DIY Lightbox for Product Photography
This lightbox is now ready for use, with the foam roof attached.

How to use your new DIY Lightbox

Now that your lightbox is ready, you’ll want to put it to good use. When photographing with it, ensure that your main subject is not too large. There should be a few centimeters clearance around your object, so when you focus on it, the background is your backdrop.

Good objects to photograph are still-life objects like ceramics, or perhaps a homemade quilting product! Lightboxes can also be ideal for food, though you’ll likely need to replace the backdrop paper afterward.

How to Make a DIY Lightbox for Product Photography
This shows two ceramics vases lit using the reflector DIY lightbox.

The backdrop paper

The default color for your backdrop paper is going to be white. White looks clean, and you’ll also be able to post-process your image more easily, potentially cutting it out and putting it in a new image.

The next best backdrop to use is black. The neutrality of black can work well for a minimalist feel. Then beyond that, you can experiment with any color you feel compliments the product you happen to be photographing.

How to Make a DIY Lightbox for Product Photography
A black background is another option for this type of photography.

Get started with your still-life photography!

A still-life project is a perfect thing to do when you’re stuck indoors; however, getting the materials may require a trip to the shops for most.

Have you tried your hand at making photography equipment before? If so, what have you made, and how did it benefit your photography? Did you ever try making a DIY lightbox of your own? If you’ve got examples of photographs taken with a lightbox, we’d love to see them! As always, leave your thoughts and photos in the comments section below.

The post How to Make a DIY Lightbox for Product Photography appeared first on Digital Photography School. It was authored by Simon Bond.


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Sony Positions Announcement of New Camera to Better Compete With Canon

26 Jun

The post Sony Positions Announcement of New Camera to Better Compete With Canon appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

dps-sony-announcement-news

The Sony a7S III and the Canon EOS R5.

Neither camera is available, or even fully launched. But the Canon EOS R5’s 8K video has been the talk of the summer, leading photographers to ask:

How will Sony respond?

The a7S II is a video-centric stills camera that’s starting to show its age; it’s well in need of an update and, had Canon stayed quiet, we would have seen just that: a capable A7S II successor, released without excessive fanfare and prolonged waiting.

But with the suggestion of an 8K camera, Canon has raised the stakes. The ball is in Sony’s court, and it’s clear that Sony wants to make the most of it.

Now, the date of Canon’s EOS R5/R6 announcement has only just been confirmed as July 9th.

Which is why we are seeing a carefully-planned launch date of late July for the a7S II successor, despite Sony’s general preparedness for a launch (Sony is currently debuting the a7S II for the media and retailers, which suggests that the cameras could technically be announced at any time).

sony a7s ii successor announcement

In fact, as Sony Alpha Rumors points out, the a7S III has been registered for nearly two months, yet Sony has made no attempt to push it out into the open.

Apparently, Sony wishes to avoid any overlap with Canon, hence the later date for the a7S III. What’s curious, however, is that Sony wishes to announce their camera after Canon’s, given that the EOS R5 will surely maintain significant attention several weeks after the launch.

In fact, it’s enough to make you wonder whether Sony has a trick or two up their sleeve; for instance, is it possible that the a7S II successor might also offer 8K video? Or high-end autofocus? Or some other feature that makes it an appealing alternative to the EOS R5?

It’s impossible to know for sure, though Sony Alpha Rumors suggests that we may see some A7S III spec leaks in the weeks leading up to the launch (so keep an eye out for that!).

Bottom line:

July is shaping up to be an exciting month. And for those hybrid shooters out there, you’ll soon have two top-notch cameras to choose from!

Now over to you re the Sony announcement:

What do you think about Sony positioning the launch after Canon? And how do you think the A7S II successor will compare to the EOS R5? Share your thoughts in the comments!

The post Sony Positions Announcement of New Camera to Better Compete With Canon appeared first on Digital Photography School. It was authored by Jaymes Dempsey.


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9 Ways To Backup Photos While Traveling Without A Computer

26 Jun

Picture this. You’re on an amazing trip. You’ve been taking photos left and right. You’re absolutely ecstatic because of the incredible images you’ve been blessed to capture. Then, on the last day of your trip, something happens. It could be anything, your camera gets stolen, or you lose the memory card, or you douse the whole kit and kaboodle in Continue Reading

The post 9 Ways To Backup Photos While Traveling Without A Computer appeared first on Photodoto.


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Getting Started with Layers in Capture One Pro

25 Jun

The post Getting Started with Layers in Capture One Pro appeared first on Digital Photography School. It was authored by Darina Kopcok.

using layers in capture one pro

One reason that Capture One is such a versatile and efficient RAW editor is the ability it gives you to work in Layers. It combines the ease of working in Lightroom with the functionality of Photoshop Layers.

If you’re new to the software, learning to work with layers in Capture One will elevate your photos and help you in creating a more efficient workflow.

Getting Started with Layers in Capture One Pro

What are layers?

Layers help you make targeted adjustments to certain areas of a photo. They are similar to Local Adjustments in Lightroom. You can make tweaks to color, exposure, clarity and other adjustments you’d typically make in a RAW editor, as well as more complicated edits.

Capture One’s Layers tool enables you to combine brush adjustments, gradients, and repairs to masked areas using multiple layers.

How to get started with Layers

layers in Capture One

The Layers option is indicated by the + Plus Icon in the Layers panel under the Histogram, which can be found in the Exposure tab. Layers can also be found in the top of the screen in the menu bar and has its own dropdown. Click on the Plus icon to create a new layer.

layers in Capture One

When creating or working on multiple layers, it’s a good idea to name each layer in a way that tells you what adjustments you made to the layer. Double click the layer to rename it.

Getting Started with Layers in Capture One Pro

Notice that if you make a new layer and start making adjustments, nothing will happen to the image. You need to create a Mask to determine where on the layer the adjustments will be applied.

There are different ways to create masks: for this article, I’ll focus on the brush tool to brush in Masks. You can find the brush tool in the lower right of the Layers panel.

layers in Capture One

You can also use the shortcut B.

To change the settings on the brush, simply right-click on the photo.

Note that a soft brush is usually desired.

The mask can be seen in red and will, by default, only show when you’re actually brushing on the image.

layers in Capture One

The shortcut M will toggle this setting, to show or hide. You can also choose to keep your Mask on. Options for the Mask are available in the Brush Panel dropdown in the tools panel at the top of the Capture One workspace.

layers in Capture One

There is also a Layers panel in the Capture One Menu tab. The great thing about Capture One is that there are several places where you can access any given tool all from one workspace, instead of having to switch Modules, as you do in Lightroom.

layers in Capture One

If you select too much or spill over into an area that you don’t want included in the adjustment, you can select the Erase brush and subtract the area where you didn’t intend to brush. You can also use the shortcut E.

Getting Started with Layers in Capture One Pro

The square bracket keys [ ] on your keyboard will help you change the size of your brush quickly.

Once you have made an adjustment, toggle off the color so you can see the effect, and if you need to make any further adjustments. That’s why it’s a good idea to have the mask show only when you’re brushing over your image.

Notice that every time you brush over the same area, the effect is stronger.

Reduce the opacity if you want to lessen the effect.

Getting Started with Layers in Capture One Pro

Heal Layers

Another type of layer is a Heal layer, which can be used to cover or conceal objects in your photo. It’s a very useful tool when working with layers in Capture One.

Clone Layer will copy pixels from a source point to destination, however, it is not as efficient. The Heal layer is more dynamic; it will update according to changes made to the background layer or other layers.

You can use the Heal layer to fix blemishes by copying and pasting pixels from a different part of the images.

To start a new Heal layer, choose New Heal layer from the dropdown beside the Plus icon or choose it from the choices in the left-hand dropdown over where your named layers are located.

Getting Started with Layers in Capture One Pro
Getting Started with Layers in Capture One Pro

Using Healing requires you to create a source point.

Create source point by clicking Alt and then clicking once on the photo.

Heal layers will intelligently blend the area with surrounding pixels.

layers in capture one
Choose a source point to heal from.

Now brush on the photo.

It will take the area from the source point and cover the object or blemish.

If the appearance of the target area does not match the surrounding pixels, click on the source point and drag it anywhere within the same image in the Viewer.

layers capture one

Conclusion

Capture One is a powerful program that can help take your editing to the next level. The ability to work with layers in Capture One is one way to do that. If you’ve been on the fence about whether to make the switch from Lightroom, they have a free 30-day trial available for you to check out.

The post Getting Started with Layers in Capture One Pro appeared first on Digital Photography School. It was authored by Darina Kopcok.


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Canon to Announce Two Cameras, 5 RF Lenses on July 9

24 Jun

The post Canon to Announce Two Cameras, 5 RF Lenses on July 9 appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

canon 2 announce 2 cameras july 9 - gear news

For months, we’ve waited for the Canon EOS R5 and R6.

And for months, it’s felt like neither camera would ever actually appear.

But now we have a date to report:

July 9th.

That’s the when the EOS R5 and EOS R6 will officially launch.

While the full details of the two cameras have yet to be revealed, we do know quite a lot thanks to leaks, as well as Canon’s EOS R5 teaser.

So here’s what we can confidently say about the EOS R5:

  • 8K video
  • 20 fps with the electronic shutter
  • 12 fps with the mechanical shutter
  • IBIS
  • Dual card slots

Canon has stayed surprisingly quiet regarding the megapixel count, only revealing that “the EOS R5 is set to raise the bar in high level still and video capture empowered by [a] new CMOS sensor and the new DIGIC processor.”

But given the 8K video resolution, you can expect at least 35 MP or so, and previous rumors have offered a plausible figure of around 45 MP.

Note that a 45 MP full-frame sensor at the heart of the EOS R5 would put this camera on the map in essentially every way; the fast continuous shooting, the 8K video, the dual card slots, the IBIS, plus a 45 MP sensor will make this a professional body through-and-through.

Canon EOS R5

That said, the EOS R6 is also shaping up to be a powerful camera in its own right.

And while Canon has confirmed nothing regarding the R6, the ever-reliable Canon Rumors has offered a set of likely specs:

  • 20 MP full-frame sensor
  • 20 fps with the electronic shutter
  • 12 fps with the mechanical shutter
  • 4K/60p (oversampled from 5K)
  • IBIS
  • Dual card slots
  • A 5M-dot EVF
  • The same AF system as the EOS R5

Assuming these rumors turn out to be true, then the EOS R6 will be positioned a step above both the Canon EOS R and RP, Canon’s two current full-frame mirrorless bodies. The one exception is in resolution, where the EOS R6 falls short (the EOS RP packs a 26 MP sensor, and the EOS R reaches just over 30 MP). But while it’s possible that the EOS R6 will turn out to have a sensor size in the 24-26 MP range, we may be looking at a camera designed for low-light shooting, one that sacrifices pixel count for better high-ISO performance.

Unfortunately, it may be some time before we’re able to do any hands-on comparisons. According to Canon Rumors, the EOS R6 won’t ship until August, with the EOS R5 shipping around a month later (thanks to COVID-related delays).

Also note that the July 9th announcement won’t just cover these two cameras; we’ll also see the release of a number of exciting RF lenses, including:

  • A 50mm f/1.8 (a nifty fifty!)
  • A 70-200mm f/4L IS lens
  • An 85mm f/2 macro lens
  • A 100-500mm f/4-7.1 IS super-telephoto zoom
  • A 600mm f/11 DO IS lens
  • An 800mm f/11 DO IS lens
  • A 1.4x teleconverter
  • A 2x teleconverter

Personally, I’m most interested to see the 50mm f/1.8, which should offer an affordable way to break into Canon’s mirrorless lineup. But the macro lens (with an f/2 aperture!) and the 100-500mm super-telephoto lens should be exciting, as well.

If you’re interested in any of this equipment, you don’t have long to wait. July 9th is almost here, so prepare yourself for a lot of new options.

Now over to you:

What do you think of these new cameras and lenses? Which piece of gear are you most excited for? Do you plan to buy any of these as soon as they’re released? Share your thoughts in the comments!

The post Canon to Announce Two Cameras, 5 RF Lenses on July 9 appeared first on Digital Photography School. It was authored by Jaymes Dempsey.


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7 Surprising Photography Facts You Probably Didn’t Know

23 Jun

The post 7 Surprising Photography Facts You Probably Didn’t Know appeared first on Digital Photography School. It was authored by Megan Kennedy.

surprising photography facts

Photography has a long and fascinating history full of interesting facts and stories. Here are 7 photography facts that may surprise you.

Fact #1 – All in the name

We use terms like photography and camera all the time, but where do these words actually come from? Photography fact number one hearkens back to the origins of many of the words we use today.

photography facts language
f/7.1 1/40 ISO 500

The phrase photography actually originates from the Greek words photos and graphé. Photos translates as “light” and graphé means “a representation by means of lines” or “drawing”. When used in conjunction, the two words come together to mean “drawing with light”. The coining of the word “photography” is generally attributed to Sir John Herschel in 1839.

The word camera, on the other hand, comes from the Latin term camera obscura, which means “dark chamber.” The term was originally used to describe a means of projecting an external scene onto a flat surface in a dark room. Sound familiar? The camera, as we know it today, evolved from the camera obscura configuration.

7 Surprising Photography Facts You Probably Didn't Know

Fact #2 The Kodak Moment

And speaking of words, did you know the term Kodak is simply made-up? Founder George Eastman favored the letter K because he believed it was a “strong, incisive sort of letter.”

Using an anagram set, Eastman and his mother came up with the Kodak name. They used three principals in devising the phrase. The word needed to be short, easy to say, and unlike any other name or association.

Kodak, or rather the term Kodak Moment, later entered the common lexicon to describe occurrences that seemed ideal for a photograph.

photography facts letter k
Eastman believed the letter K was a visually strong letter

Fact #3 – The first selfie

Self-portraits are commonplace today. But what you may not know is that the photographic selfie itself dates way back to 1839.

Robert Cornelius, a lamp manufacturer with a keen knowledge of chemistry and metallurgy, took on the task of perfecting the daguerreotype alongside chemist Paul Beck Goddard.

In 1839, Cornelius decided to turn the camera on himself, sitting for around a 10-15 minute exposure. The resulting daguerreotype depicted an off-center rendering of Cornelius – the oldest known intentionally-created photographic self-portrait.

Fact #4 – One small step

There are many earth-bound photography facts out there. But there are plenty of interesting factoids sourced from outside our planet too.

Taken in December 1972, Blue Marble was made by the crew of Apollo 17 on their way to the Moon. The first photograph that depicts the entirety of our planet from space, the picture was taken approximately 18,000 miles (29,000 kilometers) from the surface of the Earth. The photograph subsequently became one of the most reproduced images in history.

7 Surprising Photography Facts You Probably Didn't Know
f/8.0 1/500 ISO 100

Another interesting space-related photography fact is to do with the fate of many of the cameras that have accompanied astronauts to the Moon.

Hasselblad cameras have captured some of the most iconic images in history – including our first steps on the lunar surface. However, due to weight restrictions, not all the cameras that have embarked on Moon missions have made it back. Up to 12 Hasselblad cameras remain on our planet’s only natural satellite to this day.

Fact #5 – The first photo book

Number five on our list of photography facts is based around photobooks.

Photobooks have a rich history in photography, but Anna Atkins seems to be the one that started it all. Atkins, a British botanist, learned early photographic processes from Henry Fox Talbot. She is also one of history’s first female photographers.

photography facts macro dandelion puff
Some of the first examples of botanic photography were made by Anna Atkins. f/6.3 1/80 ISO 200

Atkins made a visual documentation of botanical specimens using the Cyanotype process. She then compiled her cyanotypes into the 1843 publication of Photographs of British Algae: Cyanotype Impressions. Atkins produced three volumes of Photographs of British Algae: Cyanotype Impressions between 1843 and 1853. Today, only 17 copies of the book are known to exist.

Fact #6 – The most viewed photograph

Photographed by former National Geographic photographer Charles O’Rear in 1996, Bliss is an image of rolling green hills and a semi-clouded blue sky in Sonoma County, California. Microsoft bought the rights to the image in 2000. The company then used the image as the default computer wallpaper for the Windows XP operating system.

The success of Windows XP and corresponding marketing material has led to a general consensus that Bliss is the most viewed photograph of all time. Even O’Rear himself conceded that he would probably be best known for the image saying, “anybody now from age 15 on for the rest of their life will remember this photograph.”

Fact #7 – Camera eye

The camera lens and the eye have a lot in common – leading us to the last of our photography facts.

photography facts aperture diagram

Aperture can be defined as the opening in a lens through which light passes. A camera lens can either permit or restrict the amount of light that reaches the camera sensor with the aperture blades.

In our eyes, the iris does the same job, relaxing and constricting muscles to regulate the amount of light entering the eye. When you move between bright and dark environments, the iris in your eyes expands or shrinks to alter the size of the pupil.

Interestingly, the human pupil can expand to around 7 mm. This equates to our eyes operating from around f/8.3 in very bright light to around f/2.1 in the dark.

Conclusion

From the first selfie to the eye’s aperture equivalent, there is an abundance of fun photography facts to know. Do you have a favorite photography fact? Feel free to share in the comments below!

The post 7 Surprising Photography Facts You Probably Didn’t Know appeared first on Digital Photography School. It was authored by Megan Kennedy.


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Back to Basics: Everything You Need to Know for Choosing the Right Tripod

22 Jun

The post Back to Basics: Everything You Need to Know for Choosing the Right Tripod appeared first on Digital Photography School. It was authored by Adam Welch.

tips for choosing the right tripod

Although they seem simple enough at first glance, tripods are tremendously important tools for photographers and videographers. Talking about camera support systems might not be the sexiest topic in photography, but there’s so much to know about tripods. So, allow me to do you a favor. I’m about to clue you in on a few things I wish I’d known about tripods when I first began making photographs nearly twenty years ago. These things will help you when it comes to choosing the right tripod for your needs.

Back to Basics: Everything You Need to Know for Choosing the Right Tripod
Choosing the right tripod may seem overwhelming – but not once you know these things.

Camera tripods come in all shapes and sizes. Materials and mechanisms vary a lot, as do the specific usages of the tripods themselves. This article will show you the basics of tripod anatomy and talk about the things you need to know about them, so choosing the right tripod for your needs will be easy.

Tripod legs: putting the “tri” in tripod

Conceptually, tripods are delightfully simple beasts. Three extendable (usually) legs offer three points of contact to the ground/floor, then terminate at an apex where your camera will hopefully be securely mounted. This is all deceptively simple and leaves a lot of room for many different types of legs made from many different materials with equally varied locking mechanisms.

choosing the right tripod – Legs of tripods.

Let’s break down some of the common tripod leg variants you’re likely to encounter when choosing the right tripod.

Materials

Tripod leg materials range from the oddly archaic to the weirdly space-aged. Fortunately, in most cases, you can make the best choice for which material will be best for your uses based on these three simple maxims:

  1. Your tripod can be lightweight.
  2. Your tripod can be strong.
  3. Your tripod can be inexpensive.

The catch here is that you can only choose two of those when selecting a tripod. This is where tripod leg materials come into play and where you should be honest with yourself about what you need the most from your tripod.

1. Wood and Steel

As difficult as it might be to believe in this day and age, I still own and regularly use a wooden tripod; yes, really.

choosing the right tripod – Tripod with medium format camera.

It’s a beautifully made contraption of steel and ash wood, Berlebach Report 2042 (new version is 242). Primarily, I use it for large format and medium format work and any other time in the studio when I want to use a large setup or happen just to be feeling extra meta. It supports around 27lbs(12.25kg) and is absolutely rock solid. The drawback is my lovely Berlebach weights over 7lbs without a head, and it tips the scales at over 10lbs when fitted with one.

The point here is that yes, there are still tripod legs made using “old world” materials like wood and steel. Many of these are vintage tripods you can pick up for a wide range of prices.

If weight is not a concern for you, a heavier tripod is more ideal than a lighter one. If you do primarily static studio work, don’t overlook these wood or steel tripods.

2. Plastic

Yes, there are some plastic tripod legs out there. Most of these, thankfully, are relegated to smaller, desktop-type tripods for blogging – as they should be.

A plastic tripod.
A tiny little plastic tripod….

As a construction material for longer tripod legs, plastic and plastic derivatives aren’t ideal. Often the strength is far from adequate for the camera support system and flexes under the load.

While some plastic components on a tripod are perfectly fine, it’s advisable to steer clear of a large tripod with legs completely made from plastic.

3. Aluminum

Ahhhh yes, good ol’ aluminum. In the world of tripods, aluminum is the ultimate workhorse. It has an excellent strength-to-weight ratio, is relatively low in price (dropping lower all the time), and makes for a nice, healthy compromise between leg rigidity, compactness, and weight.

choosing the right tripod – Legs of an aluminum tripod.
Aluminum tripod legs.

For the last couple of decades, aluminum has been the tripod leg material of choice when it comes to camera support systems because it checks so many boxes in terms of performance.

However, in the last ten years or so, modern science has thrown a new material into the mix that has all but unseated aluminum as the ideal material for tripod leg construction.

I’m talking about…

4. Carbon Fiber

I’ve made photographs for over half my life now, with about ten of those years professionally. For as long as I’ve been slinging a camera, I only acquired my first carbon fiber tripod about three years ago. Carbon fiber is a lightweight, strong, and extremely corrosion-resistant material, making it perfect for tripod legs.

Carbon fiber legs of a camera support system.
Carbon fiber is strong, lightweight and becoming increasingly affordable.

Not to get all “sciency,” but carbon fiber is, in fact, more stiff than aluminum, being 181Gpa and 69Gpa, respectively. This means that a tripod leg made of carbon fiber flexes less than an aluminum leg of the same diameter. That’s a good thing for a tripod.

Of course, there are multiple carbon fiber species out there, and each has different characteristics.

Going back to our “big three” maxims for tripods, while carbon fiber tripods are strong and lightweight, they are often not cheap. Expect to pay around double for a set of carbon fiber tripod legs compared to aluminum.

However, this price gap is quickly closing as more and more manufacturers begin to bring carbon fiber tripods to the market. In most cases, the benefits of having an easy-to-carry tripod that is both strong and stable are often worth the investment.

5. Titanium

After an exhaustive internet search (okay, maybe about ten minutes), I couldn’t turn up any tripod legs made fully from titanium alloy. However, I did find some tripod sales pages using vague language and simply naming aluminum tripods as “titanium” models.

While titanium is making its way into the world of tripod legs, it is doing so in the form of hardware too. This is expected since titanium offers superb tensile strength and corrosion resistance. Yet, oddly enough, titanium isn’t the ultimate material for tripod legs and parts. It doesn’t wear well against other parts, and the strength-to-weight isn’t as good as some carbon fiber materials.

And the price? Words like “astronomical,” “insane” and “laughable” spring to mind.

Locking Mechanisms

To offer portability, tripod legs generally feature either folding or telescopic sections, with the vast majority being of the latter variety. This means that those leg sections sport some sort of locking mechanism. In general, you’re likely to encounter two main types of leg locks.

1. Flip locks

My very first tripod had flip-type leg locks. Then, my second tripod had flip-type leg locks…so it’s no surprise that I became accustomed to, and prefer, flip-type leg locks on my tripods. This, of course, is wholly subjective.

Flip locks are exactly how they sound: a locking mechanism that flips up to release the tripod leg section and flips down to secure it into place.

Flip locks on camera support system.
A flip-lock.

These locks make deploying the tripod fast and easy. Flip locks can be made of a variety of materials and vary in strength accordingly.

2. Twist locks

It seems as if twist locks are slowly becoming the more prevalent method for locking tripod legs into place. Much like their flip-lock cousins, a twist-type leg lock doesn’t function just as you might expect. Simply twist one direction to unlock and twist the opposite direction to secure.

choosing the right tripod – Twist-locks on a tripod.
A twist-lock style of locking mechanism.

Twist locks are generally less likely to fail due to dirt and sand over flip locks. However, not all twist locks are made equal. Some twist locks require a good deal of “throw” (twisting) to lock or loosen the mechanism resulting in slower deployment retraction.

Tripod Feet

Now that we’ve reached the bottom of our tripod, it’s time to talk about the silent hero of all tripod legs – the seldom applauded feet. No matter what, your tripod ultimately comes to rest on its feet…well…hopefully.

The feet of a tripod come in all shapes and sizes and are another important consideration when choosing the right tripod. In most cases, tripod feet are made from some sort of rubber or rubberized plastic.

choosing the right tripod – rubberized feet
Rubberized tripod feet.

This is where things get interesting.

Now, the shape and characteristics of tripod feet make them more or least apt to remain solid in different environments. The larger the feet of your tripod, the more “flotation” they will offer; meaning the load will be distributed over a wider surface area. The more flotation a tripod foot has, the less likely it is to sink into softer ground materials like sand and mud.

High flotation tripod feet on camera support system.
An example of large, high-flotation tripod feet. These kind are great for sandy environments.

Speaking of the ground, if you know you’ll be using your tripod in widely varying outdoor environments (looking at you landscape shooters), it would be a good idea to make certain your tripod feet feature some type of spike system.

Tripod foot spike.
Retractable foot spike.

Foot spikes are your best friend when you find yourself shooting in icy winter conditions or on exposed rock. However, they are also your worst enemy when shooting indoors and are the menace of wedding venues everywhere. So if you’re a photographer who shoots both outdoor and indoor scenes, make sure your leg spikes are retractable or removable.

It’s also worth mentioning that many major tripod manufacturers offer interchangeable feet for their products, which means you can change your tripod feet depending on the situation.

Center column or nah?

Let’s move a bit north and talk about a topic of contention when it comes to tripods – center columns. A center column allows the photographer to increase the tripod’s height after deploying the legs to their maximum extension.

choosing the right tripod - center columns.
A selection of tripods with center columns.

Center columns add wonderful versatility to a tripod’s capabilities simply because they facilitate the quick and tailored height adjustment. At the same time, center columns also introduce a point of movement into your shooting platform. Thus, causing the debate about whether or not using a center column hinders the overall quality of your photos.

Center columns are very much a double-edged sword in that they can add immense versatility to your shooting possibilities while also causing a few problems if poorly executed. As cliche’ as it might sound, the choice of whether or not you prefer a center column is entirely up to you.

Fortunately, the decision is becoming less and less of an issue, as many tripod makers now offer removable center columns for a large number of tripod models.

There’s so much more!

We’ve covered the main components of your tripod, but we haven’t even begun to talk about the wide world of ball heads, pan heads, and fluid heads! There are even base plates and plate clamps to talk about! So instead of reading about all of these cool little gadgets, why not see them in action?

Have a look at this video I made that covers all of the things we’ve already talked about plus the options that are currently available for mounting your camera to your particular camera support system.

As always, feel free to post your questions and comments about choosing the right tripod below. Have a favorite camera support system or setup you’d like to share with us? We would love to hear about them as well!

The post Back to Basics: Everything You Need to Know for Choosing the Right Tripod appeared first on Digital Photography School. It was authored by Adam Welch.


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How to Achieve Great Portraits with Window Light

21 Jun

The post How to Achieve Great Portraits with Window Light appeared first on Digital Photography School. It was authored by Mat Coker.

dps-great-portraits-with-window-light

When you learn to do portraits with window light you can set up a studio anywhere there is a window.

In this tutorial, I’ll give you all the important information, including what to do with different window sizes, where to position the person, and how to make their eyes sparkle.

You’ll see examples of newborns/infants, children, professional headshots, and candid moments.

The bigger the window, the nicer the light

The first thing that you should know about making portraits with window light is that the bigger the window, the nicer the light. What each photographer considers to be “good” light is relative. But many photographers want soft light for portraits.

If you would like soft light for your portraits, then you need a large window. If you want harsh light, look for a smaller window.

This principle is true for all light sources; the larger the light source, the softer the light will appear on your subject.

Natural light portrait
Notice how dark and crisp the shadows are when using a small window (approximately 12 inches by 12 inches). ISO 1600 f/2.5 1/320 sec
window light portrait
But the window in this photo was about ten times the size, resulting in brighter light and softer shadows. ISO 1600 f/2.4 1/500 sec

Remember that small windows are more likely to create harsh looking light with dark, crisp shadows, while larger windows will produce softer-looking light with gradual, subtle shadows.

A larger window will also create more sparkle in the eyes (you’ll learn how to do that below).

Where to position the person

Now you know how to get soft light or harsh light for your portraits.

The next thing you need to know is where to position the person for the portrait.

If you have beautiful soft light, but you position the person wrong, then the light won’t look pleasing on the person’s face.

Portrait lighting usually looks best when the light source is in front of the person, but off to the side. It also helps if the light source is a little higher up.

portraits with window light
Notice that the window is beside the infant and that she is placed back a bit.
Natural portraits portrait with window light
This is the resulting portrait. 50mm ISO 1600 f/4.0 1/500 sec
laying down portraits with window light
In this case, I laid her down with the window above her. I could have turned her to the side a little bit, but decided not to because I like the way the catchlights will appear in her eyes.
laying down portraits with window light
This is the resulting portrait with bright catchlights. 50mm ISO 1600 f/4.0 1/250 sec

Do not sit them in direct sunlight

If there is direct sunlight coming in the window, make sure that you do not sit your subject in the direct sunlight. If you do, the window will no longer be the true light source; rather, the harsh sunlight will now be the light source.

infant portraits with window light
Notice how the two girls are positioned in this photo. The one on the left is in direct sunlight, while the one on the right is out of the direct sunlight.

How to make their eyes sparkle

The sparkle in the eye that you see in portraits is called a catchlight. You create catchlights by making sure that the window is reflected in your subject’s eyes.

catch lights portraits with window light
Do you see the sparkle in the top left corner of her eyes? This is the window reflecting in her eyes. 50mm ISO 1600 f/4.0 1/500 sec
Position of catch lights
You can tell where the window is positioned by where the reflection is in her eyes. Now that she has turned her head, the catchlights are in the lower part of her eyes. 50mm ISO 1600 f/4.0 1/500 sec

When doing portraits with window light, be sure to bring your portrait to life with catchlights.

How to get rid of unwanted shadows

It can be hard to take a portrait using a window and have no shadows on the face. But you can fill in those shadows or make them disappear using a reflector. Remember, you can use any large white surface as a reflector.

Window light for headshots

At this point, you understand that large windows create soft light, you can use a reflector to fill in shadows, and that catchlights create a sparkle in the eye. You’re on your way to having a pro studio set up in your living room!

Here is a setup that you can use for headshot portraits with window light.

portraits with window light
The same principles apply; a large window will make softer light, set your subject beside and behind the window a bit.
window light headshots
Notice the soft light and nice catchlights. A reflector was used for this portrait.
candid portrait with window light
No reflector was used for this portrait.

Window light in everyday life

Now that you know the principles, you can use window light with candid photography as well.

Remember that it is often good to have the light source coming from the side. However, you can experiment by putting the window behind your subject to make creative silhouettes. You can also get creative by allowing direct sunlight to fall on your subject.

Did you know your home was filled with such great light sources?

Studio strobe lights are wonderful to use, but they’re not always affordable or practical to drag around.

Once you know the principles, you can use windows just as effectively and creatively as strobe lights.

Remember these principles when making portraits with window light:

  • Larger windows create softer light
  • Smaller windows create harsh shadows
  • Do not sit your subject in direct sunlight
  • Have the window to the side and in front of your subject
  • Use a reflector to fill in shadows
  • Catchlights create a sparkle in the eyes
  • Use a backdrop for professional portraits
  • Get creative with backlight and candid moments

One of the best ways to get started is to use a toy as a model. Go and have some fun with this and share your results with us in the comments!

The post How to Achieve Great Portraits with Window Light appeared first on Digital Photography School. It was authored by Mat Coker.


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