Category: Photography

Mastering Aspect Ratios in Photography

The post Mastering Aspect Ratios in Photography appeared first on Digital Photography School. It was authored by Tim Gilbreath.

Aspect ratio is a phrase that you’d normally expect to hear when discussing movies or televisions, but as it is a measurement of image proportions, it’s also important in photography. It is also one of those things that is always there, even if you don’t think about it.

Aspect ratio in photography is a description of an image’s vertical and horizontal proportions expressed as two numbers separated by a colon, and composed of similar units of measurement, whether it be inches, centimeters, or feet.

You’ve seen these numbers before, such as 16:9, which is commonly known as widescreen format, and used to describe many TV’s and computer monitors.

16:9 would be an image (or in the case of a TV or monitor, a screen) that is 16 units wide and 9 units tall. Aspect ratio doesn’t describe actual size, as a 16:9 ratio could be 16 inches wide by 9 inches tall, or 16 feet wide and 9 feet tall. The numbers only describe the proportions.

Although it’s not in the scope of this article, movies and film sometimes also use what’s known as cinema terminology to express aspect ratios, such as 1.85:1 (cinema standard widescreen) and 2.39:1 (anamorphic widescreen).

Although you can convert these expressions to standard ratios, for our purposes, we’ll only stick with standard x:y expressions that relate to camera sensors or photographic images.

So why are aspect ratios important to photography?

Primarily, they are important because every image we shoot, as well as every camera we shoot with, has a base aspect ratio. Our camera bases the aspect ratio on the proportions of the sensor, which you cannot change.

However, you can change the resulting image’s aspect ratio, and most importantly, you can change it for creative reasons.

There are actually two types of aspect ratio in photography we need to familiarize ourselves with; the aspect ratio of the camera we’re shooting with, and more importantly, the final aspect ratio we will present our image in.

We, of course, can change the latter in post-processing, for whatever reason we decide.

Some cameras also have settings that allow you to change aspect ratio in-camera before shooting, but this is made possible by the camera software cropping. It’s always better to change the ratio yourself and crop later in post-processing.

Why would we want to change the aspect ratio of a photo?

The main reason – composition.

Changing the aspect ratio in Photoshop or Lightroom is essentially cropping the image to a specific proportion that makes the photo more pleasing to the eye. A wide, sweeping shot of a beach and sky will not look as wide and sweeping in a standard 3:2 presentation as it would in a 16:9 widescreen format. Composing the image in widescreen proportions gives the scene a more open, cinematic feel.

Let’s take a look at the most popular aspect ratios in photography, and what they are commonly used for.

Breakdown of aspect ratios in photography

3:2 ratio

The 3:2 ratio is probably the most commonly used aspect ratio in photography, due to the fact that it is the standard proportions used with modern DSLR camera sensors.

The reason for this is because it is also the ratio used by classic 35mm film cameras. Digital camera sensors were originally designed to replicate that ratio.

An image captured with a DSLR in native 3:2 format. Modern DSLR cameras usually capture images in this format.
EXIF: Canon 60D, EF 50mm 1.8 II, 50mm, f/8, 1/100 sec, 800 ISO, Manual Mode

Before photography, artists generally used a set of proportions similar to this because of its visual appeal. The 3:2 format is a great general use ratio, and allows for a fairly wide feel while still capturing vertical elements of a scene.

4:3 ratio

The 4:3 ratio is a classic format that has its roots in digital point and shoot cameras, which were developed to basically match the proportions of video monitors of the time.

The format is used in point and shoots, many compact cameras, and micro four-thirds systems.

The 4:3 format allows for more vertical space and can better focus attention in on a specific area of a scene. Here we’ve used the 4:3 ratio to remove distracting portions of the scene and isolating the flower and mushroom.
EXIF: Canon 60D, EF 50mm 1.8 II, 50mm, f/8, 1/100 sec, 800 ISO, Manual Mode

Just as with old TV and video monitors, the 4:3 format has a taller, slimmer look that appears more square to the eye. It is a good creative choice when you need to capture vertical elements of a scene.

16:9 ratio

The 16:9 ratio is more commonly known as the “widescreen” format.

It was developed as a replacement for the old 4:3 ratio during the advent and implementation of HDTV. Most TV’s and monitors now are created with this format in mind.

The longer, more horizontal format is great for displaying landscapes and other vistas, and creates a cinematic look and feel when used in photography.

This image is expansive in native 3:2 format, and contains too much empty space.
EXIF: Canon 60D, EFS 24mm 2.8 STM, 24mm, f/8, 1/320 sec, 250 ISO, Manual Mode

Adjusting the aspect ratio to 16:9 allows for a much more flowing, cinematic look and feel. This format is especially good for displaying wide fields of view.
EXIF: Canon 60D, EFS 24mm 2.8 STM, 24mm, f/8, 1/320 sec, 250 ISO, Manual Mode

1:1 ratio

The 1:1 ratio, or square format, might be mistaken as a newer format, as it is well-known for its use on the Instagram platform (although photos are no longer forced in that format with the service). However, square images are also the usual ratio for medium-format cameras, as well as a few toy cameras.

This format is a good choice for cropping close and isolating a subject or a scene that doesn’t involve an expansive landscape.

Returning to our mushroom photo, the 1:1 (or square) format lets us crop in close to a particular subject and remove any distracting elements. Here, we are focusing on the mushroom itself, and nothing else.
EXIF: Canon 60D, EF 50mm 1.8 II, 50mm, f/8, 1/100 sec, 800 ISO, Manual Mode

5:4 ratio

The 5:4 ratio formatted images are primarily used in large-format photography, as many of those cameras use sheet film with dimensions of 5×4 inches.

From a creative standpoint, images using this ratio are almost as tall as they are wide, and are great for capturing vertical elements of a scene.

The 5:4 ratio is very similar to the 4:3. Again, we can use it to remove distracting elements on the sides of a scene.
EXIF: Canon 60D, EF 50mm 1.8 II, 50mm, f/8, 1/100 sec, 800 ISO, Manual Mode

2:3 ratio

Finally, the 2:3 ratio is a specialty aspect ratio that is used for images in vertical or portrait orientation.

It is primarily used for portraiture, when elements of the scene (in most cases, a person), align in a vertical orientation.

You can also use vertical formats like 2:3 for landscape photography to capture tall elements within the frame, such as trees and mountains.

This image was framed and captured vertically, and later cropped in post-production to 2:3 format, to accentuate the height of the trees and the vertical expansiveness in the scene.
EXIF: Canon 60D, EFS 24mm 2.8 STM, 24mm, f/8, 1/80, 400 ISO, Manual Mode

Creative cropping

Before the advent of digital photography and software, aspect ratios of the camera being used generally dictated what ratio the image would be in.

In the digital age, however, we have the ability to simply and quickly crop in whatever photo software we’re using.

Changing aspect ratio of an image in Adobe Lightroom. Not only are several presets available to you, but you can enter a custom ratio as well.

Conclusion

Instead of being bound to a specific format, you can change it. Therefore, changing the look and feel of an image for creative reasons, even after pressing the shutter and recording the image on the sensor.

So now you know a little more about aspect ratios in photography, and why it’s important. What formats do you find yourself using? Do you alter the aspect ratio during post-production? Leave us your comments below!

The post Mastering Aspect Ratios in Photography appeared first on Digital Photography School. It was authored by Tim Gilbreath.

Digital Photography School

March 18, 2020
How to Repair Corrupted Videos Shot on Digital Cameras and Other Devices: A Step-by-Step Guide
The post How to Repair Corrupted Videos Shot on Digital Cameras and Other Devices: A Step-by-Step Guide appeared first on Digital Photography School. It was authored by Theodomentis Lucia.

Earlier today, I thought about playing some videos that I shot on my digital camera during my last vacation. Sadly, every time I tried to play them on VLC or Windows Media Player, I got a gray or green display on the screen instead. I realized that my videos were corrupt and thought of digging up and finding an ideal solution for it. To be honest, after some failed attempts, I was finally able to repair my corrupted videos. If you have also encountered a similar situation in the past, then you may learn something from my experience.

Read on to find out how.

What could have caused your videos to become corrupt?

Before we head into the details on how to repair corrupted videos, it is important to discuss a few things in advance. You should know the major reasons why a video gets corrupt or damaged so that you can avoid it in the future.

These reasons include:
- The transfer process of videos from your digital camera to the computer could be halted mid-transfer.
- You may have restarted the system while the video was still playing in the background.
- Sometimes, a third-party tool like a video editing software can also end up corrupting a file.
- The location (drive or partition) where your video is stored could be corrupted.
- The meta content or the header of the video might be tampered with as well.
- If you have forcefully tried to change the video extension or type, then it can corrupt the file.
- The audio-video components of the file might not be synced properly or could be missing.
- You have played the video with an unsupported media player, or there could be an issue with the video encoding.
- Other logical issues related to video playback, picture, sound, etc. can also cause this problem.
How can you repair corrupted videos on Windows or Mac?

If your videos have been corrupted, then you need to look for the right tools to fix them.

Since there are so many tools out there to repair corrupted videos, I asked a friend of mine, who is an expert in the field. He recommended Recoverit Video Repair, so I decided to give it a try as well.

Ideally, Recoverit is a dedicated application to recover the lost or corrupt data of all kinds. However, it also has a dedicated video repairing tool that can fix various issues related to a video file.

After getting to know these features, I wanted to give Recoverit a try and found its click-through process pretty easy.

Once you have installed the Recoverit Video Repair application, you can follow these steps to fix your corrupt files.

Steps to repair corrupted videos and files

Step 1: Launch the Video Repair tool

If you have some videos to fix, then just launch the Recoverit application on your system and launch the “Video Repair” tool from its home page. Also, attach your digital camera to the computer and move your damaged videos to the system.

Step 2: Add corrupt videos to repair

Once you launch the Recoverit Video Repair application, you can just click on the “add” button to load the corrupted videos.

This will further launch a browser window, letting you locate and load the videos that are damaged. If you want, you can load multiple videos and repair them at the same time.

Step 3: Start the repairing process

After you have added the corrupted videos to the application, the interface will let you know. You can view the details of the added videos and even remove them from here.

If you are ready, then just click on the “Repair” button to commence the repairing process.

Step 4: Wait for the repairing process to be over

As soon as you click on the “Repair” button, the application starts fixing the loaded videos and displays the progress. Kindly be patient as of now and let the application complete the process.

Once the repairing process is completed, Recoverit will let you know by displaying the following prompt.

Step 5: View the repaired videos

You can now preview the results of the repaired process by clicking on the play icon adjacent to the video.

This opens a pop-up window with a video player that will let you play the repaired video. In this way, you can check the results of the application before saving the videos.

Step 6: Save the repaired videos

If you are satisfied with the results, then click on the “Save to Folder” button right next to the video.

If you want, you can also click on the “Save All” button to save all the videos. This opens a browser window, letting you select a secure location to save the videos.

Step 7: Run an advanced video repair (optional)

In the case that you are not satisfied with the standard video repairing results, then click on the Advanced Video Repair feature, which you can find at the bottom of the video player.

To run an advanced repair, you need to load a sample video to the application. The sample video should be shot on the same device as the corrupted video and must be in the same format.

After loading the sample video, you can start the advanced video repair process and view its results as well.

Conclusion

When using Recoverit, it’s easy to repair corrupted videos. Recoverit is able to fix all sorts of issues related to videos like missing fragments, gray/green screens, video not loading error, and so on and supports a wide range of video formats like MOV, AVI, FLV, 3GP, MP4, MKV, MTS, and more. It can fix all kinds of videos shot on a wide range of devices like digital cameras, drones, camcorders, and smartphones.

The video repair tool is available in three different purchase options – $ 29.95 a month, $ 39.95 a year, or $ 49.95 (lifetime purchase) for the Windows version. If you get it now, you can get 30% off Recoverit for windows or 30% off for mac.

Download and Get 30% off Recoverit video repair now by using the exclusive coupon code: LENOP09

Disclaimer: Recoverit is a dPS paid partner.

The post How to Repair Corrupted Videos Shot on Digital Cameras and Other Devices: A Step-by-Step Guide appeared first on Digital Photography School. It was authored by Theodomentis Lucia.

Digital Photography School
March 18, 2020
Dragging the Shutter for Creative Portraits
The post Dragging the Shutter for Creative Portraits appeared first on Digital Photography School. It was authored by John McIntire.

There are a lot of great techniques that allow you to add an element of movement or other visual interest to your images at the time of capture. Some of these include multiple exposures, multiple flash exposures and placing objects in front of your lens.

Dragging the shutter while using flash is another one of these techniques and it’s very easy to use.

Dragging the shutter when using flash is an easy and fun technique to add some interesting effects to your photos. EXIF: Canon 5D Mk III, EF 50mm f/2.5 Macro, 50mm, 1 sec, f/9, ISO 100, Manual Mode, Spot Metering.

Dragging the shutter

While it might sound complicated, dragging the shutter is simply using a slower shutter speed than you normally would while using flash.

With flash, your exposure is dictated by your aperture as the flash fires at a much, much faster speed than the sync speed on your camera.

On the left, you can see the image with just flash. On the right, the shutter speed was changed to 1 second allowing the camera to record the modelling light throughout the exposure. EXIF: Canon 5D Mk III, EF 50mm f/2.5 Macro, 50mm, 1/60 sec (Right: 1 sec), f/9, ISO 100, Manual Mode, Spot Metering.

By slowing your shutter speed down, you are allowing your camera to record ambient light as well. You will still freeze anything lit by the flash in the frame, but anything lit by the ambient will be recorded with any movement from either the subject or yourself.

Be aware that because your shutter speed is now allowing ambient light to record in your frame, your exposure will be brighter than it was with just the flash recording.

What you need

You don’t need much to use this technique. These images were made with a medium-sized modifier on a strobe and a white reflector.
- A camera with manual settings
- A flash with a modeling light if in a dark studio
- Another ambient source of light if you don’t have a modeling light (i.e. speedlights).
How to set it up

For a technique whose results can seem complicated, setting it up and getting started is quite straightforward. EXIF: Canon 5D Mk III, EF 50mm f/2.5 Macro, 50mm, 1.6 sec, f/9, ISO 100, Manual Mode, Spot Metering.

Step 1: Light and pose your subject as desired. Because this is the pose that the flash is going to record, treat it as you would a normal shot as this will be the main focus of your image.

Step 2: Choose your aperture.

You can either choose your aperture based on the effect you want and set the flash power accordingly, or you can meter your flash and choose your aperture based on that reading.

Step 3: Choose a shutter speed slow enough to allow your subject to move after the flash has fired. This is variable and will depend on how your subject reacts to the technique and the end result that you want. Somewhere between half a second and one second is a good start when dragging the shutter.

Left: The shutter speed is 1 second. Right: A shutter speed of 2.5 seconds allowed for the subjects second pose to be recorded more clearly. EXIF: Canon 5D Mk III, EF 50mm f/2.5 Macro, 50mm, 1sec (Right: 2.5 sec), f/9, ISO 100, Manual Mode, Spot Metering.

Step 4: Make sure that your subject knows to change their pose as soon as the flash fires. Then hold that second pose (that’s one way to do it) until the shutter closes again.

You are not limited to one movement. Here the subject move her head to each side on a verbal cue. EXIF: Canon 5D Mk III, EF 50mm f/2.5 Macro, 50mm, 2.5 sec, f/9, ISO 100, Manual Mode, Spot Metering.

Step 5: Take a photo.

When the flash fires, it records the first pose your subject is in. After that, and after your subject moves, everything, including the movement and the second pose, is being recorded by the ambient light.

Step 6: Make adjustments.

Now that you have a test shot, you can evaluate how your image looks and adjust your shutter speed settings. Is your subject not moving fast enough or is the ambient not recording enough? Slow down your shutter speed. Is the ambient recording too much? Choose a faster shutter speed.

Once you have a shot, evaluate it on the back of the camera and make, or instruct your subject to make, any adjustments to help get the desired effect. EXIF: Canon 5D Mk III, EF 50mm f/2.5 Macro, 50mm, 1 sec, f/9, ISO 100, Manual Mode, Spot Metering.

You can also tweak any instructions you’ve given your subject.

If their poses are too close together, ask them to make sure they’re moving further from their initial position. Are they moving so slow that they’re not arriving at the second pose before the shutter closes? Let them know, and show them the back of the camera.

Since dragging the shutter like this relies on so many variables, communication between you and your subject is key.

Step 7: Take some more.

Dragging the shutter in this manner can be a tricky thing to get right. Keep going until you are sure you have something.

Dragging the shutter can be a very hit and miss technique. Take as many photos as you can to ensure that you get the result you are after.

Sometimes, magic happens and you might get it in the first few frames, but other times you’ll bang away at it for ages before everything seems to click. Since no two images will ever be the same, don’t be afraid to keep going until you’re confident with the result.

Step 8: Keep experimenting.

When the subject realized that this stool spins, she suggested we see what it looks like. Experimenting like this is a good way to find something new. EXIF: Canon 5D Mk III, EF 50mm f/2.5 Macro, 50mm, 1.6 sec, f/9, ISO 100, Manual Mode, Spot Metering.

There is so much that you can do with dragging the shutter like this. Instead of your subject moving their heads, have them hold their pose and cover their face with their hands once the flash has fired.

Instead of taking a second pose, have them keep moving their head for the duration of the exposure. Alternatively, instead of having your subject move, try moving the camera.

The choices are limitless. Not everything will work, but memory is cheap. Try it anyway and see what comes out.

In the end

Dragging the shutter is not a complicated technique, but it is one that offers a wealth of opportunities if you like the effects it can provide. EXIF: Canon 5D Mk III, EF 50mm f/2.5 Macro, 50mm, 1 sec, f/9, ISO 100, Manual Mode, Spot Metering.

Dragging the shutter with flash is a very easy technique to use, but it is unpredictable. That’s what makes it so fun. No matter what you do, no two images will be alike, so experiment a lot and see what you can come up with. If you have an idea that you don’t think will work, try it anyway. You’ll never know until you do.

Give this technique a try and share your results with us in the comments section below.

The post Dragging the Shutter for Creative Portraits appeared first on Digital Photography School. It was authored by John McIntire.

Digital Photography School
March 18, 2020
Helping You the Way We Know Best During These Trying Times

The post Helping You the Way We Know Best During These Trying Times appeared first on Digital Photography School. It was authored by Caz Nowaczyk.

Many people are stuck in their homes at the moment. So let’s make the most of it and do some photography! Image by dPS writer, Lily Sawyer

Let’s face it – we’ve all been stressed about the Coronavirus (covid-19).

For many people, they have had to self-isolate (including members of the dPS team). This can be anxiety-inducing and people can also start feeling isolated and down.

So we want to do what we do best. We want to give you all some photography exercises that you can do in and close to home. That way, you’ll get to focus on your creativity, keep the boredom at bay, and, hopefully, feel less stressed with life until this all starts to resolve itself.

How this will work is that each week over the next month (mid-week before our weekly newsletter goes out, starting tomorrow), we will publish a 7-day challenge. In this challenge, we will give you a challenge idea per day that you can do right within your own home or yard. We will also publish more articles on things you can photograph around the home, as well as some post-processing articles.

We care about our community and wish you all the best at this time. Please stay safe and keep in touch with us – whether by commenting on posts or heading over to our FB group where you can chat and share your photos.

Let us know if there is anything else you’d like to see here on dPS that will help you through these times too.

All the best,
Caz and the dPS team

The post Helping You the Way We Know Best During These Trying Times appeared first on Digital Photography School. It was authored by Caz Nowaczyk.

Digital Photography School

March 18, 2020
Due to Coronavirus, Canon Faces Production Problems on EOS R5, R6

The post Due to Coronavirus, Canon Faces Production Problems on EOS R5, R6 appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

The camera industry is feeling the effects of the coronavirus now more than ever.

According to Canon Rumors, Canon’s is facing significant shortages in the production of its two new mirrorless cameras, the EOS R5 and EOS R6.

These two mirrorless models are currently under development and were slated to launch this summer, but the appearance of coronavirus has seen the disruption of Canon’s supply chains and has brought production capacity on the cameras down to just 25%.

Canon is considering two ways of addressing these issues:

First, the company may decide to halt the release of the EOS R5 and EOS R6 until the fall, when production should be back at full capacity. This would allow for strong, albeit late, product launches.

Second, Canon may go ahead with the launch of both cameras. But Canon would be moving forward without the production numbers necessary to satisfy all customers, and so we would likely see shortages until the coronavirus pandemic has passed.

Obviously, neither of these measures is ideal. Both the EOS R5 and R6 have generated great excitement among Canon fans, and among the camera industry at large. Any delays or shortages will be met with frustration on all sides, especially by those who have been holding out for a true professional mirrorless model from Canon.

Note that the EOS R5 offers a number of features that were missing from Canon’s first two distinct full-frame mirrorless bodies, the EOS R and RP. These include dual card slots (essential for wedding photographers, photojournalists, and sports photographers, all who require redundancy in their work), as well as in-body image stabilization, which will debut in both the EOS R5 and EOS R6. The EOS R5 will also address concerns that videographers had with the EOS R; the R5 will reportedly offer true 8K video that utilizes the full width of the sensor.

And while Canon has not confirmed a megapixel count for the R5, it has been consistently rumored to feature a 45 MP sensor, which could position the R5 as a high-powered alternative to megapixel monsters such as the Nikon Z7 and the Panasonic S1R.

Canon has remained virtually silent regarding the EOS R6. But rumors suggest that the camera will feature a 20 MP sensor, in-body image stabilization, 4K/60p video, and 12/20 frames-per-second shooting with mechanical and electronic shutters, respectively. It may cater to hobbyists looking for a first full-frame mirrorless body, but who want true mirrorless-type features such as IBIS.

Here’s the bottom line:

The release of these two full-frame mirrorless cameras may well be a turning point for Canon. Whether it comes sooner or later is immaterial, though it will certainly be frustrating for anyone looking to purchase these cameras.

So keep an eye out for more information regarding both of these mirrorless bodies.

Are you looking to buy either the EOS R5 or the R6? Which camera excites you more? Share your thoughts in the comments!

The post Due to Coronavirus, Canon Faces Production Problems on EOS R5, R6 appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

Digital Photography School

March 17, 2020
Canon to End Production of the 5DS and 5DS R

The post Canon to End Production of the 5DS and 5DS R appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

It’s time to say goodbye to Canon’s megapixel monster pair: The Canon EOS 5DS and the Canon EOS 5DS R.

According to Canon Rumors, Canon will no longer be producing these two cameras, nor is there a 5DS successor in the works.

While this news is hardly unexpected, it further illustrates Canon’s choice to invest in mirrorless over DSLR technology.

Note that the 5DS R is identical to the 5DS, with a single exception: its low-pass filter cancellation effect. This ensures that photographers can eke out maximum detail with the 5DS R, though the sensor is more prone to the effects of moiré.

The Canon EOS 5DS and 5DS R duo debuted way back in June 2015. At the time, they sported the highest resolution sensors available in a full-frame camera, at 50.6 MP, and were tailored to detail-hungry landscape and commercial photographers.

These days, the resolution award has been handed off to the Sony a7R IV, though the EOS 5DS still remains the highest resolution 35mm DSLR on the market.

In many ways, the EOS 5DS pair has become outdated. With the exception of its stunning resolution, the 5DS struggles to remain relevant in a world of fast continuous shooting, 4K video, and speedy Live View autofocus.

But while Canon will not be producing a true EOS 5DS successor, you can expect to see a mirrorless model that follows the 5DS in spirit. In fact, there’s currently a rumor floating around about a high-megapixel mirrorless body, one with either a 75 MP sensor, an 80 MP sensor or a 150 MP sensor.

All of these specs are merely rumors, and may not pan out. But I wouldn’t be surprised if at least the 75 MP or 80 MP sensor turns out to be true, especially with Sony producing the 61 MP Sony a7R IV.

That said, for now, the 5DS and 5DS R remain Canon’s highest megapixel cameras to date.

So if you’re interested in grabbing them before they’re gone, you can find both cameras for around $ 1300 USD on Amazon.

Will you grab one of these cameras before they are discontinued, or will you wait to see what else Canon comes up with in the future? Let us know in the comments.

The post Canon to End Production of the 5DS and 5DS R appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

Digital Photography School

March 16, 2020
Is Being Shy a Good Reason to Only Take Candid Photos?
The post Is Being Shy a Good Reason to Only Take Candid Photos? appeared first on Digital Photography School. It was authored by Kevin Landwer-Johan.

Standing back with a long lens on your camera and snapping candid photos is an easy option for many people. The alternative is to use a shorter lens and get in close and connect with your subjects. This is challenging for most photographers.

© Kevin Landwer-Johan Nikon D700, lens 20mm, f/4, 1/125, ISO400

A candid photo is one where your presence and your camera are not affecting the outcome of the photos you take. There is no pose. There is no distraction from you or your camera at all.

When you are shy, using a long lens for candid pictures might be less taxing on your emotions. But it does not often result in the most engaging photographs. If you are capturing candid photos only because you are shy, this is a cop-out. Only using this technique will limit your potential as a photographer.

© Kevin Landwer-Johan Nikon D800, Lens 35mm, f/1.4, 1/5000, ISO 400

When a candid approach to photography is better

At times, a candid approach to photography will result in more interesting photos.

You will not always be in a position to engage with your subject. Sometimes doing so will disrupt a natural flow of events.

Finding yourself in situations where you think you or your camera will alter the scene, it’s good to remain candid.

If your subject sees your camera, it may distract them. Sometimes when people are aware there’s a photographer present, they will alter their behavior.

This will not always be to your benefit.

© Kevin Landwer-Johan Nikon D800, Lens 35mm, f/4.5, 1/250, ISO 400

Other times, you might be wanting to photograph a whole group of people. There’s no way you’ll be capable of approaching them all for even a short conversation.

© Kevin Landwer-Johan Nikon D700, Lens 180mm, f4, 1/200, ISO 400

Is your subject highly focused on what they’re doing?

If your subject is absorbed in what they’re doing, you might not want to interrupt them. They might be:
- Having an animated conversation
- Playing sport
- Creating art
- Working
- Or even sleeping
These are all times when asking permission or otherwise engaging a person will break their concentration (or slumber). This will affect the potential photo opportunity.

In ideal situations, you’ll be able to catch a person’s eye. They will see your camera and might give you an approving nod without breaking the flow of what they are doing. Then you can take photos in a relaxed manner because you know your subject is comfortable with you doing so.

© Kevin Landwer-Johan Nikon D800, Lens 105mm, f/2.8, 1/1000, ISO 400

You can’t always engage with your subject

Many times it’s not practical to engage with your subject. Candid photos are the only practical option when you are photographing:
- Crowds
- Street scenes
- Where your subject is inaccessible
At times like this the only other option to taking candid photos is to not take photos.

When you can’t engage, it pays to be patient and observant. Wait for the decisive moment when the action is at its peak. When as many of the elements of a good photograph align, this is when you can capture the best candid photographs.

© Kevin Landwer-Johan Nikon D800, Lens 35mm, f/5, 1/20, ISO 100

You don’t need to be an extrovert to photograph people

Being shy is a strength. Shy photographers can make the best portraits. This is because they show empathy toward the people they photograph. Learn to overcome the fear of imposing and you will take portraits with more depth.

To simply take candid photos because you are shy is not a good reason. Yes, as I have pointed out, candid photography is valid at times. But to avoid connecting with people because you don’t want to impose will often not result in the best photos.

When you want to photograph someone you see at the market, or a friend or your barista, talk to them first. Engage with them and build a rapport.

If you’re photographing a wedding or portrait, work on building a comfortable relationship with them. In many circumstances, the degree with which you connect with your subject will directly influence how good your photos are.

© Kevin Landwer-Johan Nikon D800

Approach with care, not fear

Don’t worry. If you are fearful of someone’s response, this will show. They will know and respond accordingly. Approaching someone with confidence, you are more likely to receive a positive response.

You don’t need to get in their face with a false boldness, just be yourself. Know what you want and communicate this to your subject. Take your time as it will pay off with better photos.

Spending time with anyone you want to photograph will usually result in a more interesting portrait. Learn to connect, even if you don’t have much time.

If you’re in a street market or a coffee shop, take a few moments to show people why you are interested in taking their photo.

With a friend, share with them what’s on your mind. Talk with them about why you want to take their picture.

When you’re photographing a model, compliment them.

There are many ways to communicate positively that will enhance your photographic opportunities. Staying quiet will often inhibit your creative potential.

© Kevin Landwer-Johan Nikon D800, Lens 85mm, f/1.4, 1/400, ISO 1250

Overcome your shyness

As a young man, I was painfully shy. I loved photography, but could not bring myself to photograph people. Now, the main subjects in my photographs are people. I learned to use my camera as a bridge to connect with the people I want to photograph.

In my book, Photographing People – A Guide For Shy Photographers, I share my experience and teach you how to overcome your shyness.

My journey to becoming a people photographer has been challenging. Camera skills are only a part of what you need to create great portraits, no matter what gear you use.

Learn when it’s best to connect. Learn how to connect. You will create more interesting, more engaging photos of people when you do.

Please Click Here to purchase my book on Amazon.

The post Is Being Shy a Good Reason to Only Take Candid Photos? appeared first on Digital Photography School. It was authored by Kevin Landwer-Johan.

Digital Photography School
March 16, 2020
Tokina Announces 6 Lens Roadmap for Fujifilm, Sony, Canon, Nikon
The post Tokina Announces 6 Lens Roadmap for Fujifilm, Sony, Canon, Nikon appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

Tokina has announced a “2020 Lineup” which details six new lenses the company will debut this year.

The lenses are designed for various mirrorless and DSLRs, including Canon, Sony, Fujifilm, and Nikon cameras.

According to the Tokina press release, the 2020 lineup “was originally planned to be presented at the biggest annual Asian Camera and Imaging photo show CP+2020 (Yokohama, Japan). Unfortunately, due to unforeseen circumstances, the show was canceled.”

The CP+2020 was slated to take place at the end of February, but was abandoned due to the coronavirus.

Tokina goes on to explain that, in lieu of the CP+2020 announcement, the company would release the lens roadmap in honor of Tokina’s upcoming 70th anniversary.

Therefore, the lenses we can expect from Tokina in 2020 are:
- An 11-20mm f/2.8 lens for APS-C Canon EF-mount and Nikon F-mount cameras
- A 23mm f/1.4 lens for Sony APS-C E-mount cameras and Fujifilm X-mount cameras
- A 33mm f/1.4 lens for Sony APS-C E-mount cameras and Fujifilm X-mount cameras
- A 56mm f/1.4 lens for Sony APS-C E-mount cameras and Fujifilm X-mount cameras
- A 35mm f/1.8 lens for Sony E-mount cameras (full-frame)
- A 50mm f/1.8 lens for Sony E-mount cameras (full-frame)
Note that the first of these lenses – the Sony APS-C E-mount glass and the 11-20mm Canon/Nikon wide-angle – will come available in the summer of 2020, with the remaining lenses debuting in the fall.

This crop of new lenses should bolster already impressive lens lineups from Nikon, Canon, Sony, and Fujifilm. In particular, Sony users will appreciate the opportunity to purchase lower-priced, fast primes, given the limited options currently on offer.

Because that’s who should check out these Tokina lenses: Photographers who don’t want to spend massive amounts of cash for $ 1000+ glass, but who still require top-of-the-line image quality and suitably fast apertures.

And, given Tokina’s excellent third-party optics produced in the past, you can expect great things from these roadmapped lenses.

Now over to you:

What do you think of these lenses? Are you excited for any of them? Which camera system do you think is most in need of some third-party glass?

Share your thoughts in the comments!

The post Tokina Announces 6 Lens Roadmap for Fujifilm, Sony, Canon, Nikon appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

Digital Photography School
March 15, 2020
Simulating False-Color Infrared Photography in Photoshop
The post Simulating False-Color Infrared Photography in Photoshop appeared first on Digital Photography School. It was authored by Adam Welch.

Let’s get right down to it and say that today, things might get a little weird. The techniques we’re about to discuss aren’t for everyone or every photograph. With that said, I’m about to show you something extremely cool. You’re about to learn how to simulate color infrared photography in Photoshop.

More specifically, I’m going to show you how to approximate the looks of the legendary color infrared film stock, Kodak Aerochrome.

The best part is, this technique is infinitely customizable.

Let’s dive in and enter the overtly surreal world of infrared color photography in Photoshop.

What is false-color infrared photography?

Simply put, infrared photography makes use of wavelengths of light which fall outside the visible spectrum. Specifically, those which range from about 700 nanometers to about 1mm.

Don’t worry, that’s about as deep as we’re going to go into science with this tutorial.

The important thing to note is that while infrared photography stems from this invisible form of light, we can still use it to form photographs – even in color.

This is where the “false-color” aspect comes into play. In particular, the Aerochrome “look.”

The Aerochrome Effect

Kodak Aerochrome is/was an infrared-sensitive, false-color reversal film.

It was specifically produced for practical uses in aerial photography applications for forestry and camouflage detection, as well as other scenarios where specific infrared reflectance photographs could be useful.

For our purposes, it produces some highly interesting effects as far as colors are concerned.

Primarily, vegetation with high amounts of chlorophyll content appears as pinkish-red instead of the normal green color. This has led some notable photographers and filmmakers to make use of Aerochrome to produce stylistically creative images.

Luckily for us, we can come close to producing this effect with just a few quick tricks inside of Adobe Photoshop.

What images work best?

Naturally, seeing as the original color effects of the false-color Aerochrome worked best with green vegetation containing large amounts of chlorophyll, this is the main subject matter that will work best for our simulation.

However, it’s still fun to experiment with different images ranging from landscapes to portraits, street photography and still life. The results can range from the mundane to the aesthetically startling.

That’s enough of the background. Let’s go through step-by-step and explain how you can produce a digital simulation of the false-color infrared photography effect right inside of Photoshop.

How to simulate false-color infrared photography

The basis of our digital, false-color infrared simulation, centers around switching around the color channels of our photo.

Photoshop allows us to accomplish this switch quite easily using color channels.

Not only that, but we can further tweak the look of our photo to achieve exactly the colorization effects we want. This arguably makes this method more convenient and controllable than its analog counterpart.

To get started, I’ve brought an image into Photoshop that contains a relatively large amount of greens.

The first step is to make a copy of the base layer. With this layer selected, use the keyboard shortcut ‘Ctrl+J’ (Cmnd+J for Mac) to copy the layer.

Next, we’ll invert the layer we’ve just copied by using the keyboard shortcut ‘Ctrl+I’ (Cmnd+I for Mac).

Note the readily apparent psychedelic change. We have essentially converted the photo to a negative image.

From here, we’ll change the blend mode to ‘Color’. Alternatively, the ‘Hue’ blend mode will produce similar results.

With the blend mode changed to ‘Color,’ much of the heavy lifting is already done for us. Next, we’ll need to switch around the color channels to make the false-color infrared effect become more apparent.

Remember, we’re looking for a reversal of certain colors; namely blue and red. This is easily done using the “Channel Mixer.”

Select the ‘Channel Mixer’ icon to add the mixer adjustment. This is where the magic happens. And it couldn’t be easier.

Select the red channel from the drop-down and set that slider value to ‘0.’ Next, set the blue slider to ‘100.’

From here, select the blue channel. Set the red slider to ‘100’ and blue slider to ‘0.’

What we’ve done is ‘reversed’ the blue and red channels much the same way as false-color, infrared photography does with infrared color-reversal film.

At this point, our core processing is completed. However, there are other ways to make the effect much more refined depending on your photo.

Fine adjustments of your false-color infrared photography

While we have finished the bulk of the false-color infrared conversion, we can go a bit further and adjust the hues and color temperature of our photo. After all, this effect is not born simply from Aerochrome film but also the filters used during shooting and the subject matter itself.

Hue and Saturation

The greatest control over the effect comes from adjusting the hue and saturation of the false-colors we’ve just created. We can adjust these by creating a ‘Hue and Saturation’ adjustment layer.

Use the hue and saturation to dial in the exact look you like.

Color Temperature

When shooting with true infrared color-reversal film, such as Kodak Aerochrome, you must use lens filters.

Often times these are yellow and orange color filters which generally “cool” the tone of the colors within the image. We can simulate this by adding a “cooling” filter in Photoshop. This is optional, but I find it lends a much more authentic feel to the final photo.

After adding the cooling filter, it’s a good practice to go back and adjust your hue and saturation layer to tweak the resulting balance of the individual colors a bit further.

Parting thoughts on false-color infrared photography

The advice that can be given when dipping your feet into simulating false-color infrared photography in Photoshop is to view true false-color infrared photos made with this type of film.

I suggest the images of Richard Mosse and his work in the Congo to give a great example of the effects of this sort of photography.

Of course, there are many other examples, and a quick Google search will help you immensely. As you move forward, here are a few tips that will aid your image selection and processing for your simulations:
- The infrared effect is based on the reflectance of chlorophyll, so choose images that have healthy green vegetation for the best results.
- When shooting, go for the brightest lighting conditions possible.
- The bright, mid-day sun makes for the best lighting. After you make your base color swaps using the channel mixer, experiment with adjusting the hue and saturation of the individual colors within your photo.
- Don’t forget the benefits of creating Photoshop Actions! You can save all the adjustments for easy one-click applications later.
Perhaps the best part of creating the false-color infrared effect is that it preserves the unique effects of this sort of analog film photography, which as of 2007, is no longer produced.

It’s a dying art that we can enjoy for years to come with our digital photography. Again, it’s not for everyone, but it is a great way for you to create stunningly-surreal color images that will stand out from anything else.

Also be sure to check out my very first experience using an infrared-converted DSLR here!

Try out this effect of simulating false-color infrared photography in Photoshop, and please share your resulting images with us in the comments section. We’d love to see them.

The post Simulating False-Color Infrared Photography in Photoshop appeared first on Digital Photography School. It was authored by Adam Welch.

Digital Photography School
March 15, 2020
A Look at the Fujifilm X100V in Action for Street Photography (video)
The post A Look at the Fujifilm X100V in Action for Street Photography (video) appeared first on Digital Photography School. It was authored by Caz Nowaczyk.

In this video from Moment, Taylor takes the puts the new Fujifilm X100V in action on the streets to see how well it performs.

For street photography, the camera is the perfect size and weight to carry with you anywhere you go. The flip screen allows you to shoot from the hip – which is a great advantage when shooting street photography less obtrusively.

The fixed 23mm lens on an APS-C sensor is the equivalent of a 35mm lens on a full-frame camera.

Also, the famous Fujifilm film simulations are another great feature of this little camera.

So check out some of the images that come from this camera.

You may also like:
- Your Guide to the Fujifilm JPG Film Simulations (with Sample Images)
- 1 Year with the Fujifilm X-T3 – Was It Worth Buying?
- Best Fujifilm X-Series Kit for Urban Portraits
- The Fujifilm X-Pro 3: Marvellous or Mistake?
- The Best Fujifilm X-Series Kits for Travel Photography
- Fujifilm X-T3 versus Fujifilm X-H1: The Best Mirrorless Camera for You?
- Street Portraits vs Street Photography: What is the Difference?
- The dPS Top Street Photography Tips of 2018
- How to Avoid Distracting Backgrounds in Street Photography
Have you got your hands on this camera yet? If so, share your thoughts with us in the comments.

The post A Look at the Fujifilm X100V in Action for Street Photography (video) appeared first on Digital Photography School. It was authored by Caz Nowaczyk.

Digital Photography School
March 14, 2020