Category: Photography

10 Tips for Using a Graphics Tablet for Easier Photo Editing

The post 10 Tips for Using a Graphics Tablet for Easier Photo Editing appeared first on Digital Photography School. It was authored by John McIntire.

In terms of post-processing and retouching, there are a lot of basic techniques that you can use with a mouse (a trackpad is even worse) and a keyboard combo. However, once you get into the more complicated stuff, the amount of precision you need to apply becomes tedious and hard to do with that setup. This is where using a graphics tablet for photo editing comes into its own. Graphics tablets, such as those from Wacom, offer you an enormous amount of control and precision in your retouching. They can also speed up your workflow a lot.

If you’ve never used a graphics tablet for photo editing before, you may wonder if you actually need one.

The answer depends on how much time you spend and the type of post-processing that you do. But I will say, this is one of those pieces of equipment that, once you’ve been using it for a week, you’ll wonder how you ever got on without it.

Left: Not a mouse, but a trackpad. You can still see how the lines are sloppy and less controlled. Right: With a graphics tablet, more consistent lines become much easier to make.

While graphics tablets are (for the most part) intuitive to use and get to grips with, some of the finer aspects of their use can seem a bit tricky. This article will cover a set of tips to help you get the most out of your graphics tablet.

1. Setup

The first thing you should make sure you do with your graphics tablet is to ensure that it is set up properly.

Many devices have plug-and-play functionality and will seem to work by just plugging them in. This isn’t the case.

In most cases, while you may have use of the pen, the full functionality of your tablet won’t be open to you until you install and setup the relevant software. Ensure any you install any relevant drivers for your tablet and if it has a software suite, go through all of the options and make sure it is set up in a way that works for you.

A lot of tablets will seem to work without any software installed, but it is important to make sure that you do install it, or you will be missing out on a lot of features.

Your preferences may change over time. If you find that something could be working better for you, do look in the software to see if any of the settings there can help you solve any issue you might be having.

2. Shortcut buttons

After you’ve set-up the basics, you can now move on to the shortcut buttons.

Most graphics tablets offer a number of programmable buttons that you can program and set to any function you choose. Some cheaper tablets might have only a few buttons, while some of the more expensive ones can be covered in them.

How you program them is up to you. A good way to approach this is to take a moment and examine your normal workflow in Photoshop. What actions do you make the most? Which of those actions would be easier (and suitable) to use at the click of a button?

Once you’ve done that, all you have to do is set-up the buttons in a way that suits you.

You have full control over how your shortcut buttons are setup. Use these in any way that suits the way you work.

Now, I don’t like using the shortcut buttons and they don’t suit me. The only one I use is the one that allows me to rotate the canvas. That may be the case for you too. That’s fine, and you shouldn’t feel obligated to use something that doesn’t suit your needs or approach.

3. Keyboard shortcuts

Even with a tablet, you will still use the keyboard a lot for Photoshop shortcuts. Be sure to memorize any that are relevant to you.

Whether you are using Lightroom, Photoshop or any of the other software packages, you will still be using the keyboard alongside your graphics tablet for photo editing.

These programs hold so much functionality that there’s no way that everything you can do could be contained to a few buttons. As such, do spend some time learning as many of the keyboard shortcuts as you can (or at least the ones relevant to your workflow).

Using both a stylus and a keyboard at the same time can seem counterintuitive at first, but you will quickly find it’s nothing to worry about.

4. Undo

Speaking of keyboard shortcuts, there is one that you already probably use more than any other. That, of course, is Ctrl+z (cmd+z) to undo your last action. Be prepared to use this a lot.

Using a pen allows you to work with precision strokes, and just like in drawing, not all of those strokes are going to be perfect the first time. There is nothing wrong with undoing something over and over again until you get it right, so do get comfortable with ctrl+z (cmd+z) and ctrl+alt+z (cmd+alt=z).

You could always set this to a shortcut button on your tablet if you think that option would be good for you.

5. Brush settings

When you start using a graphics tablet for photo editing, you unlock a few features in Photoshop that were previously unavailable to you.

The most important of these are the brush settings; specifically, they’re the pen pressure settings. By turning these on, you give yourself control of the brush pressure through how much pressure you apply to the tablet.

For example, if you have the Always Use Pressure for Size option clicked, then the brush size will change depending on how hard you press down with the pen.

If it’s the opacity option you are using, then a light touch will result in a low opacity from your brush. Turn them both on, and the effects combine.

Taking control of the pressure settings is one of the most powerful aspects of using a graphics tablet for photo editing.

These settings are powerful, and on their own, one of the biggest reasons to use a tablet if you’re on the fence about them. Get to know these settings intimately as they will define your use of your graphics tablet for photo editing.

6. Tilting brushes

This is a bit of a wild card, as you might never use one of these brushes for retouching photos. However, because they exist, it’s good to know about them before you stumble onto them by accident and think your tablet is broken.

This charcoal pencil brush responds to the way you hold your pen. Here, all of these lines were made by holding the pen in different positions with all of the pressure settings turned off.

These brushes respond to the way you hold your pen and alter the shape and texture of their output. This replicates how a traditional artist would use a brush or pencil (or other tools) to create different strokes and marks.

If nothing else, it is a fun feature to play with, and if you can figure out how to use it with your photography, more power to you.

7. Digital art tutorials

Using a graphics tablet for retouching can be both intuitive and counterintuitive at the same time. If you have any art background at all (I do not), you will find it easier than other photographers without that kind of background, and you can skip this tip.

If, like me, you don’t have any experience with art (either traditional or digital), I highly recommend taking the time to watch and read some digital painting tutorials.

Some of the most useful types of tutorials are:

Drawing lines – These exercises will give you control over your stylus and help you get used to the pressure sensitivity of your tablet. They will also help you make more precise movements, which will overall help to increase the quality of your output.

Following tutorials that teach you how to practice making lines and other marks will help you to gain confidence and experience with using your tablet.

Rendering – Digital painting tutorials that deal with painting with values can be an invaluable asset when your using techniques like dodging and burning. These techniques will help you blend your values better and teach you to make more controlled adjustments.

8. Brushstrokes and control

Now that you have watched some tutorials on the subject, don’t forget to actually practice them.

Taking the time to set up a blank canvas and practice your brush strokes with the various pressure settings will only help you to become proficient with your tablet faster.

The same goes for blending values for the retouching techniques that use them. Practice as much as you can, both inside and outside of retouching.

Don’t just follow the tutorials once. Practice a lot at first and then make it a point to practice some more at regular intervals.

9. Warm-up

This one is entirely optional, but if you’re feeling stiff and not getting the results you want, you can borrow another technique from traditional artists and do some warm-up exercises.

There’s nothing fancy here, just set up a blank canvas in Photoshop and spend time practicing your lines and rendering (two or three minutes might be plenty), or whatever else you will be using in your retouching session.

10. Practice, practice, practice

The best way to get to grips with your graphics tablet is to use it a lot.

Just like everything else in life, if you want to get proficient in using a graphics tablet, there is only one solution:

Use it.

Put in as much mileage as you can as quickly as you can. You should find that any challenges you face in the beginning are quickly put to rest.

The end

There you have it, 10 tips to help you get the most out of using a graphics tablet for photo editing. While there is nothing complicated here, I hope that you will have found something that will help you get the most out of your graphics tablet for photo editing in the early days.

If you have any tips that you feel I have left out, please leave them in the comments below.

The post 10 Tips for Using a Graphics Tablet for Easier Photo Editing appeared first on Digital Photography School. It was authored by John McIntire.

Digital Photography School

March 1, 2020
ISO Has NOTHING To Do With Exposure! What?! (video)
The post ISO Has NOTHING To Do With Exposure! What?! (video) appeared first on Digital Photography School. It was authored by Caz Nowaczyk.

Off the back of one of our previously published articles about the exposure triangle, one of our readers shared his video with us stating that ISO has NOTHING to do with exposure! So technically, does it belong in the “Exposure” Triangle?

What? I hear you say.

Well, check out this video from dPS reader, Chris Lee, aka pal2tech.

?

Chris states that ISO has nothing to do with the light hitting the sensor. It is, instead, “amplifying the electrical charge in the sensor’s photosites…each photosite then sends the electrical charge into the camera’s analog to digital converter, which then turns the voltage into a digital value.”

What? I still hear you say?

Also, Chris states that ISO does not create “noise” but only amplifies what is already there in the image. Phew.

Just watch the video. It makes way more sense, and it has good humor!

Thanks, Chris.

We’d love to hear your thoughts on this. Please share them with us in the comments below.

You may also like:
- What Your Camera Can’t See
- Your Camera’s Metering System Explained
- Image Resolution Explained – Seeing the Big Picture
- RAW Files: Digital Manifestations of the Emperor’s New Clothes
- Color Management Can Be Easy
- Understanding the Basics of Color
The post ISO Has NOTHING To Do With Exposure! What?! (video) appeared first on Digital Photography School. It was authored by Caz Nowaczyk.

Digital Photography School
February 29, 2020
How to Take Vibrant, Razor-Sharp Macro Photos of Flowers
The post How to Take Vibrant, Razor-Sharp Macro Photos of Flowers appeared first on Digital Photography School. It was authored by Ramakant Sharda.

Macro photography is a very interesting subject for photographers. People love to shoot small objects like insects, flowers, waterdrops, etc. With macro photography, a photographer can show the tiniest details about the subject – details that are not possible to see with the naked eye. Today, let’s find out how to amaze viewers by taking colorful and razor-sharp macro photos of flowers.

What you’ll need to capture razor-sharp macro photos of flowers

Camera body

You’ll be taking photographs, which means you will obviously need a camera body. But which camera body is good for macro photography – a full-frame or a crop-sensor camera?

Different photographers have different answers to this question. Each body has advantages over the other. With a crop-sensor camera, you can get a larger focal length with the same lens so that you don’t have to get very close to the subject. A crop sensor also gives you a deeper depth of field as compared to a full-frame body, which means you can keep more of the subject in focus.

On the other hand, a full-frame body reveals more details because of the larger sensor size. It also performs better in low-light conditions. So, ultimately, all bodies are good for macro photography, whether you have a crop-sensor camera or a full-frame camera, or whether it’s a DSLR or mirrorless.

Lens

Lens choice is important in macro photography.

A true macro lens gives you 1:1 magnification, which means the size of your subject can be the same as your sensor size. In other words, if you have a full-frame body that has a 36mm x 24mm sensor size, you can fill the entire frame with a subject that is 36mm x 24mm in size. This gives you the opportunity to get really close to the subject and capture all the details.

However, don’t worry if you don’t have a dedicated macro lens. You can use extension tubes or a reverse ring with two lenses. Alternatively, you can use a cheaper option called macro close-up filters.

Flash and diffuser

A flash is a very important piece of equipment in macro photography. It helps you take razor-sharp pictures and capture bright colors. It also helps you avoid blurry images resulting from the shake of the camera.

A flash diffuser is equally as important as the flash. It softens the light and brings out the details and colors. You can use a mini softbox or domes or MagSphere, or you can simply put a diffuser cloth in front of the flash or bounce it with a white card.

You can use the flash on the camera hot-shoe or, if you have wireless flash triggers, you can use the off-camera flash. This will give you better results, but you will need someone to hold it.

Things to remember:

1. Depth of field

The first thing to remember when it comes to getting razor-sharp macro photos of flowers is depth of field (DOF). DOF is very important in macro photography. If you are shooting with a true macro lens with 1:1 magnification and your aperture is f/4, you’ll get only 1-2mm of total DOF. So, chances are, you won’t get everything you want in focus.

The solution is a smaller aperture. With an f/16 aperture, you can easily get 5-6mm total DOF and have everything you want in focus.

However, with such a small aperture, you’ll need lots of light. That’s why a flash is necessary for macro photography.

2. Focusing

Many photographers suggest that manual focus is better for macro photography, but I disagree with them.

I always use autofocus when taking macro pictures.

Why?

Because it’s easy, it’s fast, and you have fewer chances of taking out-of-focus pictures because both hands are free to hold the camera.

Just make sure that your hands and camera don’t move between focus lock and taking the picture.

3. Background

To achieve razor-sharp macro photos of flowers, you should always consider the background. In most cases, the background will be blurred, but, still, it should be clean and have contrasting colors.

4. Look from different angles

When we take photos of flowers, we usually take them from the top or the side. However, sometimes a flower can be very beautiful from the back, too.

When you are searching for a subject to shoot, always look it from different angles so that you can see and click something extraordinary – something that others can’t.

5. Dead flowers can be great subjects, too

We always try to take photos of fresh flowers, but sometimes dead flowers can be great subjects, as in the following image. When a flower is dead, and all the petals have fallen, it starts preparing seeds.

Sometimes those seeds look very beautiful and can be good subjects to shoot macro.

6. Shoot in RAW

To achieve razor-sharp macro photos of flowers, always shoot in RAW format because RAW files contain more details. Therefore, when you sharpen the image and enhance the colors in post-processing, you’ll get better results.

When you open a RAW image in post-processing software, it’ll look dull and lack sharpness, colors, and contrast. Don’t lose heart after seeing this. After a little bit of post-processing, it can often be better than a JPG image from the camera.

7. Keep your hands steady

A tripod is not a useful tool in macro photography because you’ll need to click at unusual angles.

If you have a moving subject, like insects, chances are, they’ll go away before you set up your tripod. So, it’s better to take photos with a handheld camera. Keep your elbows inside, which will give you support and lower your chances of camera shake.

8. Practice and be patient

If, after doing everything you have read in this article, you take photos that aren’t coming out sharp, don’t be disheartened. Have patience, and keep practicing. Eventually, you’ll get razor-sharp macro photos of flowers.

Keep clicking and share your pictures here. If you need help, just ask me. I am always here to assist.

You may also like:
- 5 Quick Tips for Outdoor Macro Photography
- 7 Different Ways to Approach Macro Photography
- Just Dew It – Fun with Macro Dewdrop Photography
- How to take Great Flower Photos without a Macro Lens
- 5 DIY Macro Photography Hacks for Stunning Macro Photos (on a Budget)
- Reverse Lens Macro – How to Make Macro Photos with “Backward Thinking”
- How to do Extreme Close-Up Photography with a Macro Bellows
- 5 Camera Settings That All Macro Photographers Should Know
The post How to Take Vibrant, Razor-Sharp Macro Photos of Flowers appeared first on Digital Photography School. It was authored by Ramakant Sharda.

Digital Photography School
February 29, 2020
How to Use Radial Composition in Photography to Create Awesome Images!

The post How to Use Radial Composition in Photography to Create Awesome Images! appeared first on Digital Photography School. It was authored by Megan Kennedy.

Radial composition (also known as radial balance) is a tool used to influence balance and impact within a photograph. In this article, we’ll look at some of the in’s and out’s of radial composition in photography.

f/2.8 1/1000 ISO 500

What is radial composition?

The term radius refers to the distance between the center of a circle and its outer edge. Therefore, radial composition means imagery that radiates outward from a particular point.

One common example of this is the wheel, with spokes radiating away from the central hub.

Another example would be flowers, with petals fanning out from the flower head.

By using radially orientated lines, shapes and forms, the eye is attracted to a central point within an image, creating emphasis. In this way, radial composition can appeal to our sense of momentum, generating visual movement. Some radial compositions even trick the eye into perceiving actual movement within in a fixed image.

In addition, lines that diverge into a central point also cultivate a greater sense of depth within a photograph. However, keep in mind that not all radial compositions need to be constructed of circles!

In the right context, you can use rectangles, triangles, waves, lines, spirals, or other forms to cultivate radial composition.

The history of radial composition

Because of its visual energy, radial compositions have been an enduring presence in visual art and culture. For example, ancient petroglyphs carved into rocks depict spirals and labyrinths as well as lines radiating out from a central focal point.

Rich with symbolism and sacred meaning, the mandala features in numerous religions and beliefs. In Greek mythology, the Sun god Helios was often depicted with a crown of radiating lines. These lines were understood to indicate radiant light, signifying the rays of the sun.

During the Renaissance, radial composition was used to emphasize important figures within a scene. In Assumption of the Virgin by Titian, subjects are seen to radiate away from the main figure (Mary) and a circle of radiant light frames her upper body. In Raphael’s School of Athens, famous philosophers are emphasized by the radial properties of the surrounding architecture.

f/4.0 1/640 ISO 320

Modern art

Inevitably, radial composition has been a strong compositional feature in modern visual art. A famous example is Kandinsky’s circle paintings that radiate pulses of color. Dada artist Marcel Duchamp’s Bicycle Wheel also takes advantage of the radial structure of the wheel to evoke both a sense of motion and stasis.

In photography, there are countless variations on the use of radial composition. Taken in 1920, Edward Steichen’s Isadora Duncan at the Portal of the Parthenon makes use of radial composition to emphasize the subject within the ancient Parthenon. In Henri Cartier-Bresson’s Children Playing in Ruins, the child subjects are framed by a hole in a wall within the ruins of a city.

How to cultivate radial compositions

Radial composition relates to visual elements that expand from or center around a central point in an image. Eyes, flowers, snail shells, doorways, fireworks, tree rings…there is an abundance of opportunities to capture radial subject matter.

Fluid radial elements create a harmonious flow throughout the image, whereas sharp, erratic lines generate a scene of energetic movement.

Archways, staircases, reflections, plants…you can find radial features in all genres of photography. You can even create radial imagery through camera movement or abstraction.

2 seconds f/4.0 ISO 100

You can also use radial composition as a tool to emphasize a given subject. Framing an aircraft aligned with the halo of the sun’s rays, or photographing a portrait with the sitter positioned within a window or door frame can seem easy enough. However, incorporating simple radial elements into your composition can add much more depth and impact to your image.

f/6.3 1/400 ISO 100

Conclusion

From landscapes to architecture and everything in between, radial composition can add impact and depth to your photography.

Keeping an eye out for radial compositional opportunities can lead to engaging material that guides the viewer’s eye around the image more effectively.

Do you make use of radial composition? Share your images in the comments below!

The post How to Use Radial Composition in Photography to Create Awesome Images! appeared first on Digital Photography School. It was authored by Megan Kennedy.

Digital Photography School

February 29, 2020
Weekly Photography Challenge – Yellow

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

This week’s photography challenge topic is the color YELLOW!

Photo by dPS writer, Megan Kennedy © Megan Kennedy

This is a fun challenge. You can capture the color yellow in so many ways. You can use street photography, macro, flowers, landscapes, the golden hour, cityscapes (think the yellow cabs of NY), abstracts or people wearing yellow clothing. The yellow can be a major part of the composition or be more subtle. There are so many options!

So, check out these pics to give you some ideas, have fun, and I look forward to seeing what you come up with!

Photo by © Caz Nowaczyk

Photo by dPS writer, Jaymes Dempsey © Jaymes Dempsey

Photo by dPS writer, Megan Kennedy © Megan Kennedy

Photo by dPS writer, Jaymes Dempsey © Jaymes Dempsey

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

Tips for Shooting the color YELLOW

Mastering Color Series – The Psychology and Evolution of the Color YELLOW and its use in Photography

5 Tips for Using Color to Improve Your Photography

The Ultimate Guide to Street Photography

How to Get the Most Out of Photographing at Golden Hour

5 Tips for Golden Hour Photography

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 #DPSyellow 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 – Yellow appeared first on Digital Photography School. It was authored by Caz Nowaczyk.

Digital Photography School

February 29, 2020
How to Use Exposure Compensation and When You Should Use It
The post How to Use Exposure Compensation and When You Should Use It appeared first on Digital Photography School. It was authored by Mat Coker.

Sometimes, no matter what you do, your photos seem to keep coming out too dark or too bright. If only there were a simple way to tell your camera to make them a bit brighter or a bit darker. Well, there is! In this tutorial, I’ll show you how to use exposure compensation so you’ll never have to struggle with stubborn brightness levels again.

Take control over the whole look of your photo with the exposure compensation button.

Using exposure compensation is perfect for people who love aperture or shutter mode but want more control over the brightness of their photos without having to overthink settings. If you aren’t ready for manual mode yet or prefer not to use it, then you’ll love the exposure compensation feature.

Exposure compensation can help you to refine your landscape photos. ISO 250, f/4.3, 1/500 sec.

This is the exposure I was hoping for. I didn’t need to think about ISO, aperture or shutter speed. I merely need to use the +/- button and the camera did the work. ISO 800, f/4.3, 1/500 sec.

The point of exposure compensation

If you’re shooting in auto mode, then your camera makes all the decisions about how bright your photo will be. You know from experience that you’re often unhappy with how your photos turn out in auto mode.

Even if you’re using a partial-auto mode such as Aperture or Shutter Priority, then your camera still makes the final decision about how bright your photo will be.

If you’re frustrated that your pictures keep coming out too bright or too dark, then you should use exposure compensation. It tells your camera to make the picture a little brighter or a little darker than it thinks it should be.

Suppose you take a picture that turns out too dark, simply use the “+” part of the button to make the next photo brighter.

The first photo was underexposed, so I used exposure compensation to increase the overall brightness of the next photo I took.

If your pictures are coming out too bright, simply use the “-” part of the button to make the next photos darker.

The first photo happened to come out overexposed. So I decreased the exposure compensation for a better exposure.

How to use exposure compensation

It’s the little +/- button on your camera that controls exposure compensation. If you need help locating it, just search your camera model and “exposure compensation” on Youtube. You’ll find a tutorial showing you where it is and how it works on your camera.

You’ll need to press this button to activate exposure compensation. Search Youtube for tutorials on how to use it with your camera.

That little button will help you take better pictures, save time editing, and feel more competent as a photographer.

Exposure compensation may not work in auto mode. You may or may not be able to use it in scene mode. It may not be compatible with auto ISO too.

If you’re working in full manual mode, then you don’t need exposure compensation since you’ve already taken full control of your camera.

Begin by choosing either Aperture or Shutter Priority mode.

Aperture Priority mode.

Shutter Priority mode.

If you’re using Aperture or Shutter modes, the exposure compensation button will allow you to adjust the look of your photo without getting confused about the other settings. It’s like a secret shortcut to manual mode without having to actually be in manual mode.

If you are already using manual mode a lot but find yourself getting frustrated with constantly adjusting ISO, aperture, and shutter speed, then exposure compensation will simplify everything for you and reduces the need for full manual mode.

Using exposure compensation to solve exposure problems

Use exposure compensation as a problem solver or to refine your photos.

This photo was taken at dusk. Even though the scene looked right to my eye, the camera’s eye saw the scene as much darker and naturally wanted to brighten up the photo for me. Unfortunately, it was quite overexposed. This happens to me all the time at dusk. ISO 6400, f/1.8, 1/60 sec.

This photo is now properly exposed. Yes, the photo looks a little dark, but it really was this dark in reality. ISO 6400, f/1.8, 1/320 sec.

When your camera always seems to under/overexpose your photos, try exposure compensation. My Olympus Tough TG-6 always overexposes the photos, so I always have exposure compensation activated to darken the photo. My Nikons and Fuji’s always underexpose the photos, so I’ve always got exposure compensation activated to brighten the exposure.

This white blanket appeared very bright to the camera, so it naturally darkened the exposure for me. ISO 1600, f/2.4, 1/500 sec.

I increased the exposure compensation to get a better exposure. ISO 1600, f/2.4, 1/125 sec.

Using exposure compensation for creative effect

Exposure compensation works well to help achieve or avoid silhouette photos.

When you photograph somebody against a bright background, you are almost sure to get a silhouette. I used exposure compensation to make this silhouette even darker. ISO 100, f/5.6, 1/500 sec.

You can increase the exposure compensation to force a brighter exposure and avoid the silhouette look. ISO 400, f/5.6, 1/250 sec.

Exposure compensation is great for a technique called “exposing for the highlights.” It’s when most of your photo looks dark, but the highlights are bright and stand out.

This is a nicely-exposed photo, but I had wanted something more dramatic looking. ISO 800, f/3.5, 1/150 sec.

I used exposure compensation to darken this next photo. Now, just the highlights are shining. ISO 100, f/5.6, 1/500 sec.

This photo was exposed so that the highlights would look just right while the rest of the leaf falls into darkness.

This photo was exposed to capture the highlights on the water while letting everything else fall into darkness. The person in the foreground turns this into a silhouette as well.

Most photographers would rather think about the creative elements of the photo rather than camera settings (although camera settings do contribute to the creative look of the photo).

Using exposure compensation lets you focus more on creativity and less on settings. Save brainpower – don’t think about settings and creativity

I knew that I wanted the sunlight properly exposed, and I wanted her traced in highlights. A combination of composition and exposure compensation helped me achieve that quickly.

As you can see, exposure compensation can help solve a lot of problems when you’re taking pictures. You’ll be amazed at how your photos look better with a little exposure adjustment. And in time, you’ll find it easier to discern when you prefer to use manual mode or exposure compensation.

Checklist

Now that you know how to use exposure compensation, keep this checklist in mind. Exposure compensation works:
- To achieve better exposure in your photos
- While in aperture and shutter mode
- To achieve or avoid silhouettes
- For creative effects like exposing for the highlights
Once you know how to use exposure compensation (and when is the best time to use it), you’ll simplify your process as a photographer. Simplicity is good because it helps you get back to what you really love doing; taking pictures.

The post How to Use Exposure Compensation and When You Should Use It appeared first on Digital Photography School. It was authored by Mat Coker.

Digital Photography School
February 27, 2020
Canon EOS R5 Is Being Developed, But Don’t Forget About the R1

The post Canon EOS R5 Is Being Developed, But Don’t Forget About the R1 appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

The Canon EOS R5 hasn’t yet hit the shelves, but the rumors keep coming regarding Canon’s full-frame mirrorless line.

Rumors which promise something even more exciting (for those of us who can be patient, that is!).

Now, the Canon EOS R5 is plenty thrilling in its own right. It was officially announced by Canon earlier this month and is positioned to correct a number of the much-criticized flaws of the Canon EOS R and EOS RP, Canon’s two major full-frame mirrorless offerings.

In particular, the R5 promises to feature some form of in-body image stabilization, which is considered by many to be a defining aspect of mirrorless technology.

The R5 will also offer dual card slots, 20 frames-per-second continuous shooting with the electronic shutter (this drops to 12 frames per second with the mechanical shutter), and an incredible 8K video recording capability. The R5 is rumored to begin shipping sometime this July.

Canon is calling the R5 its “most advanced full-frame mirrorless camera ever,” and they’re undoubtedly right, though some might claim the EOS R/RP duo set a low bar.

That said, Canon seems determined to push their mirrorless lineups to greater heights. According to Canon Rumors, the R5 is “definitely not the ‘professional’ EOS R mirrorless camera” that Canon is developing, in reference to an action-focused mirrorless camera teased by Canon, one that would potentially rival the Sony a9 Mark II, as well as the Nikon D6 and the Canon 1D X Mark III.

Canon Rumors states that the “professional” camera, dubbed the “EOS R1,” should appear in 2021, and suggests that there may be a reveal in the final months of 2020.

In a sense, this Canon EOS R1 is only interesting as a marvel of innovation. We all want to see Canon push its mirrorless development to the next level (though advanced features do have a tendency to trickle down to lower models). But the EOS R1 will almost certainly be prohibitively expensive, and it won’t be the type of camera the average photographer wants or needs. Instead, it’ll be like its potential competitors, the 1D X Mark III, and the D6: interesting in concept, but relevant only for a niche audience.

The EOS R5, on the other hand, may be positioned much like the Canon 5D Mark IV. The 5D Mark IV is an impressive camera, and while it’s not Canon’s “true” professional option, it’s a body used by plenty of professionals. Many of these photographers hoped to see an upgrade in the form of the Canon EOS R and were disappointed by its lack of IBIS and single card slot.

So maybe, with the EOS R5, Canon will finally produce what was hoped for over a year ago.

What do you think? Are you excited about the EOS R5? How about the R1? If so, why? Let me know in the comments!

The post Canon EOS R5 Is Being Developed, But Don’t Forget About the R1 appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

Digital Photography School

February 27, 2020
Making Sense of the Exposure Triangle – ISO, Aperture, and Shutterspeed Made Simple

The post Making Sense of the Exposure Triangle – ISO, Aperture, and Shutterspeed Made Simple appeared first on Digital Photography School. It was authored by Jackie Lamas.

Ever hear other photographers talking about shooting in manual mode, and using terms like ISO, aperture, and shutter speed and have no idea what they’re talking about? Then this article is for you. While making sense of the Exposure Triangle may seem overwhelming, you’ll learn everything there is to know so that you can get shooting in manual mode quicker!

Canon 6D, 28mm, f/5.6, 1/250, ISO 400

Everything in photography has to do with light

All three settings, ISO, aperture and shutter speed are collectively called the Exposure Triangle. They work together to allow more or less light to enter the camera depending on the light that you see with your eye in a given situation.

For example, the brighter the light outside, the less you need to enter your camera to record the image. The less light around you, the more light you’ll need the camera to capture in order to make the image visible.

Each part of the Exposure Triangle works together to create a good exposure while controlling the camera fully to suit your creative direction.

What is ISO?

When making sense of the exposure triangle, you first need to understand ISO. ISO is the light sensitivity of the camera’s sensor.

So, think of this as your eye. When it’s really bright outside, your eyes tend to be less sensitive and need to strain less to focus, see, and look at the world around.

When it’s particularly bright outside, like in this photo, use a lower number ISO. Camera settings: f/5.0, 1/800, ISO 200, 85mm shot on Canon 6D.

On the other hand, when you’re in a dark location with little to no light, your eyes strain and become more sensitive to any lights in the scene, helping you see better at night as well.

The same thing happens to a camera’s sensor. The more sensitive, the more light you’ll be able to pick up. The less sensitive, less light will enter the camera.

ISO is measured in numbers ranging from 50 to 25,600 on some models. There is usually a button on your camera that is labeled ISO. This is where you’ll be able to change the ISO depending on the lighting situation.

Here, we used auto mode to get an idea of the exposure we would need to take a photo of these stuffed animals setting the ISO at 100.

The ISO also affects the quality of the image, so be careful when you’re using higher ISO numbers. They tend to record a lot of digital noise (or grain points) that you see when zoomed in.

As you can see in this photo, using a high ISO added more light than we needed.

Using a higher ISO can help you in low light situations when you want to keep a relatively fast shutter speed to avoid camera shake. However, you need that boost in light to help expose correctly.

When you use a high ISO, your camera is more sensitive to light and causes digital noise – little points on your image that make it look grainy.

Aperture

When making sense of the exposure triangle, you need to understand aperture next. Aperture, is the opening and closing of the lens. Measured in F-numbers, it affects both the amount of light entering the camera, and the depth of field in your image.

Camera settings f/2.5, 1/100, IS0 400, 50mm. In order to get the baby’s hand in focus and nothing else, we had to use an open aperture of f/2.5.

The depth of field is how much is in focus from foreground to background. A lower f-number will open your lens and let more light in, but it will also give you a narrower focus range (a shallow, or small depth of field). While a higher f-number will close your lens, and lessen the light entering, it will give you a wider focus range (a wide, or large depth of field).

This is especially important to keep in mind when taking portraits so that you can determine how much you want in focus.

For an individual portrait, any f-number between f/2.8 and f/5.6 works great. You still have your subject in focus but you do get some bokeh (blurry background due to a low f/number).

Here we have a more open aperture and therefore less is in focus.

For groups of people, you’ll want a high f-number like f/8 or f/11 because, at a lower f/number, you have less depth of field. This means your plane of focus is narrower. If you have people standing outside the plane of focus, they will be blurry. Therefore, in order to have everyone in focus, a high f/number is best because it gives you a wider plane of focus.

Here we are using a closed aperture, allowing more to be in focus.

Again, opening and closing of the lens affects how much light enters the camera. Eventually, in manual, you’ll have to compensate with one of the other two settings to make up for the lack of light or excess of light entering your camera.

To capture the bird and the landscape surrounding it, we used an aperture of f/9. Other camera settings are ISO 400, 1/250, at 28mm.

Use Av or A mode on your camera to play with aperture. The camera will set the shutter speed for you to maintain correct exposure. However, you’ll be able to see a noticeable difference in your depth of field and in light entering your camera.

Shutter speed

When making sense of the exposure triangle, shutter speed is the next thing you need to know. Shutter speed dictates the length of time that the shutter is open.

To get a silhouette, you’ll need a fast shutter speed. This image has a shutter speed of 1/1000, f/16, ISO 400, 28mm.

Shutter speed is measured from seconds to fractions of a second (slow to fast shutter speeds). The slower the shutter speed, the longer it stays open to capture light. The faster it opens and closes, the less light is captured to make your photo.

For example, on a really bright afternoon, use faster shutter speed in order to create a good exposure. In a low light situation, like a nighttime scene or a dark cafe, a slower shutter speed can help capture enough light to make the photo.

In these two photos, we only changed the shutter speed and kept the other camera settings the same. You can see a significant difference in light.

Keep in mind, the slower the shutter speed, the more chance of camera shake occurring. Camera shake is an accidental blur due to the camera shaking, either in your hands, or due to some other force.

At slower shutter speeds, usually 1/125th of second or slower you are more likely to get camera shake. At faster shutter speeds this isn’t a problem as the camera opens and closes too quickly to register the shake.

Using a slow shutter speed can give you interesting images with movement. Camera settings f/6.3, 1/13, ISO 400, 50mm.

Shutter speed also allows you to show movement in your photos or freezes moments. Slow shutter speed will show more movement, for example, a child running or playing. While a faster shutter speed will freeze the moment or action that you’re capturing.

Manual Mode

Manual mode is where you have to set all three adjustments manually, therefore, giving you complete control of the light and look of your photo.

Think of these three as a pulley system, all working together. When one is moved, one or both of the other settings must also adjust and compensate.

The photo on the left has a slow shutter speed, an open aperture, and low ISO. The slow shutter speed and open aperture help light enter. It also allows the camera to pick up the movement of the water.

In the photo on the right, we get more of an action shot of the water. This is because we have now changed the ISO to 1/2000 sec – a pretty fast shutter speed. With this fast shutter speed, we had to compensate for the loss of light from the fast shutter speed. So, we added light by using a higher ISO and a more open aperture. Even so, it wasn’t enough to get a correct exposure as the photo is a little dark.

The best way to get started in manual mode is to think about what kind of photo you want to make. Are you shooting still life? Is there enough light? Do you want to control your focus range? Is this a portrait? All of these things can help you to determine where to start.

For example, you’re taking photos of your kid’s soccer game in the early evening, and there is still a lot of light left, but it’s not harsh. You want to freeze the action of the game, and so you’d start by setting a fast shutter speed first.

If you’re taking a portrait of someone, then you’d start with the aperture in order to control your depth of field. Then you’d adjust the other two settings accordingly.

Camera settings f/5.6, 1/100, IS0 400, 53mm.

For landscapes, you’d likely start with aperture and shutter speed. You may need a small aperture (eg f/11) to capture a wide plane of focus. Depending on whether there is water in your landscape, you may want to freeze the water or give it a silky look by slowing your shutter speed right down.

Knowing what you’re shooting and type of light will give you a starting point

Also, in manual mode, there is a built-in light meter. This meter looks like a tiny ruler either at the bottom of the live view or inside the viewfinder. It helps you determine if your photo is too bright (metering to the right), or too dark (metering to the left).

When the line is in the middle, or at zero, you’ve got what the camera considers a perfectly-exposed photo.

The ruler at the bottom of the live view, or through the viewfinder, can help you expose your photos correctly. To the right of the ruler your photo will be brighter, and to the left, it will be darker.

Aim to keep it in the middle as you practice in manual mode. Sett one of the adjustments and then move the other two to add or take away light accordingly until the meter is in the middle.

It’s all about practice and really getting to know what each setting does on its own before switching to full manual. This can feel overwhelming, so try using one of the other modes, like Tv/S or Av/A modes first. Doing so may give you a better understanding of the settings and more control over your photos.

Camera settings f/22, 30 seconds, ISO 200, 28mm.

Camera settings f/10, 1/640, ISO 400, 50mm.

Conclusion

The technical side of photography can sometimes seem overwhelming and it seems like there is always something new to learn before feeling confident. Making sense of the exposure triangle will set your creativity free and give you full control of your camera.

The post Making Sense of the Exposure Triangle – ISO, Aperture, and Shutterspeed Made Simple appeared first on Digital Photography School. It was authored by Jackie Lamas.

Digital Photography School

February 26, 2020
Viewing Images in Lightroom – What Are The Options?
The post Viewing Images in Lightroom – What Are The Options? appeared first on Digital Photography School. It was authored by Kevin Landwer-Johan.

Digital photographers can tend to take tons of photos. Viewing images in Lightroom can be a tedious and time-consuming task if you are not familiar with the various tools available to you. In this article, I’ll outline some techniques and tools to help improve your post-processing workflow.

Viewing many images in Lightroom

The most common way of viewing images in Lightroom is by using the Grid View option. You can also use the Filmstrip option.

In Grid View, your main panel in Lightroom is populated with the thumbnails of photos stored in the folder you have open. To select the folder with images you’d like to view, open the left module panels. To do this, you can press F7 on your keyboard, or click on the triangle to the left of your main panel. Then navigate in the Folders tab to the folder you want to open.

Alternatively, you can use the Filmstrip. This shows up below your main panel when you press F6 or click the triangle at the bottom. Using the Filmstrip module, you are limited to viewing the thumbnails at only one size.

In Grid view, you are able to alter the size of the thumbnails. Three ways you can do this are by:
1. Using the Zoom slider below the main panel and to the right
2. Using the + and – keys
3. Holding down the Ctrl key (cmd on Mac) and scrolling your mouse wheel.
Below the main panel, you will also find the option for choosing how Lightroom sorts your images. By default, it uses Capture Time, but you might find it more convenient at times to change this. There are lots of options including File Name, File Type or Label Color.

You can customize the way your Grid View looks.

To do this, go to View in the top menu then click on View Options. Alternatively, you can press Ctrl+J (or cmd+J on a Mac). Here you have a lot of control over how the information about your photos is displayed. It may seem overwhelming if you are new to viewing images in Lightroom, but keep in mind these options. They will be good to visit again later when you are more familiar with the software.

Selecting and viewing more than one image in Lightroom

There are various options for ways to view images in Lightroom when you want to compare images. To select the photos you want to compare, click on one, and then, while holding down the Ctrl (Cmd on Mac) key, click on the other photos you want to select.

When you have selected more than two photos, you can press the “N” key. This will bring you into Survey View, where you will only see the photos you have selected. I use this feature often when I am initially culling my photos. Being able to view a limited number of images helps compare them and then select the best one.

If you select only two images, you can use the “C” key to bring you into Compare View. This can help you see the differences between two very similar photos. You can view the images side-by-side, full size, and you can zoom in. When you are zoomed, you can use the hand tool to drag around and view different parts of the photos. Both images will move together when you do this. You are also able to change the Candidate image using the arrow keys at the bottom right.

Viewing images with Loupe View

Viewing images in Lightroom using Loupe View allows you to see them much larger. Loupe View gets its name from the magnifying loupe used to view slides and negatives on an old fashioned lightbox. To switch to Loupe View from Grid View, use the “E” key or the spacebar.

When you are in this mode, you can view other images in Lightroom by using:
- The arrow keys
- The scroll wheel on your mouse (when you are not zoomed in)
- Or the film strip panel
You can zoom in on an image using the slider under the main panel. Or you can hold down Ctrl (Cmd on a Mac) and use the scroll wheel on your mouse. Once you are zoomed in, you can use the hand tool to move the image around.

You can also choose to show a Grid overlay on your images in Loupe View. This option is at the bottom right. If you cannot see one of these options, click on the triangle to the lower right to bring up the panel to display the available tools.

Viewing images in Lightroom Develop Module

The Lightroom Develop Module is where you make adjustments to the way your photographs look. In this module, it’s’ good to be familiar with some of the ways you can view your photos.

One of the functions I use the most in the Develop Module is the “\” key. Hitting this backslash key will show you what your original image looked like prior to you making any adjustments. This helps you see what you are doing and guide you towards further steps you might take.

Another similar option is to use the “Y” key. When you’ve made some changes in the Develop Module, hitting the “Y” key will bring up your original image alongside one with the changes you have made. Once again, when you are zoomed in, you can move the images around in tandem using the hand tool.

Viewing image information

One more handy tip is to use the “I” key to bring up a display of image information about the photo you are currently viewing. This will show you EXIF data from the image.

You can control and change what you see. To do this, go to View in the top menu and then click on View Options. In either the Loupe View or Develop option panel, check the boxed for the information you’d like displayed.

Conclusion

I hope you’ve picked up at least two or three useful tips from this article. I’m sure there are many more ways of viewing images in Lightroom. Please share some of the techniques you employ in your regular Lightroom workflow.

The post Viewing Images in Lightroom – What Are The Options? appeared first on Digital Photography School. It was authored by Kevin Landwer-Johan.

Digital Photography School
February 26, 2020
Laowa 65mm f2.8 2X Ultra-Macro APO Lens Review
The post Laowa 65mm f2.8 2X Ultra-Macro APO Lens Review appeared first on Digital Photography School. It was authored by Matt Murray.

When I was offered the chance to review the Laowa 65mm f2.8 2X Ultra-Macro APO lens, I must admit I wondered what all the fuss was about. From a quick look, it appeared roughly the same size and price as the Fujifilm 60mm f2.4 R macro lens – but it is a manual focus lens.

Then I realized I had misread the specs – this is not a 1:2 macro like the Fujifilm XF 60mm f2.4 R lens, where objects appear half their size on the sensor. Nor is it a true 1:1 macro like the Fujifilm XF 80mm f2.8 R LM OIS WR lens, where objects appear their actual size. The Laowa Ultra Macro lens boasts 2:1 magnification. That’s right! It can take photos where objects appear up to twice their actual size.

The Laowa 65mm f/2.8 2x Ultra Macro APO lens mounted on my Fujifilm X-T2.

In this gear review, I put the Laowa 65mm f2.8 2x Ultra Macro APO lens through its paces on my Fujifilm X-T2. If you’re not a Fujifilm shooter, keep reading anyway, Laowa has released lenses for many full-frame and APS-C mount systems.

Background

Venus Optics has made Laowa lenses in China since 2013. Most of the lenses they’ve created so far have been for full-frame cameras. Their line-up boasts an impressive range of lenses, including fisheye (fancy a 4mm f2.8 lens?), probe, ultra-wide, and ultra-macro lenses for a variety of camera systems.

These flowers are tiny, measuring less than 10mm (3/8 inch) across. I found the bokeh of the lens to be very pleasant. Fujifilm X-T2 with Laowa 65mm f2.8 2X Ultra-Macro APO lens.

The Laowa 65mm f2.8 2X macro APO is the first macro lens that Venus Optics has launched for non full-frame cameras. While this review is for the Fujifilm X-Series mount lens, it’s also available for two other mirrorless camera systems: the Sony E-mount and Canon M-mount.

Laowa specs

Let’s take a look at the specs for this lens, the Laowa 65mm f2.8 2x Ultra Macro APO.
- The focal length is 65mm, which is approximately 97.5mm in a full-frame equivalent when you take into account the 1.5 crop factor of APS-C cameras.
A light blue soldier crab on the beach. It’s a wonder I managed to get a shot like this, these little guys move so fast, and they don’t like people! I had to prefocus before the crab came into view. Adults measure 25mm (1 inch). Fujifilm X-T2 with Laowa 65mm f2.8 2X Ultra-Macro APO lens.
- 2x Ultra Macro refers to the magnification of this lens – it’s possible to take images where objects appear twice as large on the sensor as real life.
- Typically, a macro lens is considered a true macro when it achieves 1:1 magnification. So with double that magnification, it seems the Laowa offering is worthy of the title “ultra macro.”
- APO stands for apochromatic optical design. The lens has 14 elements in 10 groups, including three extra-low dispersion glasses to minimize chromatic aberrations across the frame.
- Apertures range from f/2.8 to f/22, which you control via the aperture ring on the lens. It focusses from 17cm (2X life-size) to infinity.
Close up of the peeling paintwork on a boat. Even when shooting at f/16, you won’t be able to achieve a wide depth of field at such a short working distance with macro lenses. Fujifilm X-T2 with Laowa 65mm f2.8 2X Ultra-Macro APO lens.

The Laowa is slightly bigger in size and weight to Fujifilm’s 60mm macro lens, but is still very compact. It measures 57mm in diameter, 100 mm long, and weighs 335g. It takes 52mm filters.

What’s in the box

The lens comes attractively packaged in a sturdy box. Rather oddly, the lens seems to have two different names. On the website, it’s the Laowa 65mm f2.8 2X Ultra-Macro APO lens. On the packaging and on the lens itself, it’s the CF 65mm F2.8 CA-Dreamer Macro 2X.

The lens is attractively packaged and is all metal, apart from the plastic lens cap.

Removing the sleeve from the box, there’s an illustration of the lens on the lid. Inside the box, there’s plenty of foam to protect the lens, which comes wrapped up in a plastic bag with a drawstring.

Build quality

The build quality of the lens – especially at this price point – is excellent. Unlike many other lenses at this price point that are plastic, this lens is an all-metal construction. Even the lens hood is metal, with only the lens cap being plastic.

Using the lens

The Laowa 65mm f2.8 2X macro APO is a manual focus lens – there’s no communication between the lens and the camera body. You achieve focus by rotating the lens until the subject comes into focus.

Given that the lens has quite a wide range of magnification (from infinity to 2x life-size), sometimes it feels like you are twisting the barrel quite a lot to get your subject in focus at different distances.

Select your aperture on the lens and twist the barrel to achieve focus.

If you’re new to manual lenses, don’t be put off. A lot of macro photography work is done using manual focus, anyway.

At first, I did find it difficult to determine exactly what was in focus and what wasn’t, but this is more due to my eyesight more than anything else. As soon as I turned on focus peaking on my X-T2, things became much easier. I did find that at very close distances, focus peaking didn’t seem to work at all.

When using the lens, remember to check the barrel to see which aperture you’re using. As there’s no communication between the lens and the camera body, this won’t show up in your viewfinder display.

You may also want to keep notes on which apertures were used for your images, as these won’t record in the metadata either.

The lens has a nice click as you change aperture across the range. My only issue is that the settings for f/16 and f/22 do look a little alike at first glance due to the design of the indicators.

Depth of field at even the narrowest aperture of f/22 is very shallow when shooting up close. You may want to consider focus stacking to get a sharp image across the frame.

There are some stunning sample images on Laowa’s website, but I’d guess they achieved them with both focus stacking and possibly even extension tubes.

Boats on the beach. I’m really happy with the sharpness, colors, and contrast of the images taken with this lens. Fujifilm X-T2 with Laowa 65mm f2.8 2X Ultra-Macro APO lens.

Image quality

I’m really impressed with the image quality of photos taken with this lens. As well as being sharp, they display good color and contrast.

I took the lens down to my local beach and took a lot of images of boats, items on the beach, as well as very fast-moving soldier crabs. I took the images of the boats handheld but shot the close-up images using a tripod and remote release. These two items are essential when working at such close distances, where shutter speeds may be slower than 1/60 second, and where any tiny movement may blur the shot or change focus.

Boat close-up shot. Fujifilm X-T2 with Laowa 65mm f2.8 2X Ultra-Macro APO lens.

Rope detail. For this second shot, I moved my tripod to the minimum focus distance to get this shot. Fujifilm X-T2 with Laowa 65mm f2.8 2X Ultra-Macro APO lens.

Value for money

The lens sells for around $ 399 USD. This is very good value considering the image quality, and build quality, and the fact that you’re unable to achieve this magnification with any other lens available at present.

Conclusion

The Laowa 65mm f2.8 2X Ultra-Macro APO lens boasts some impressive specifications. The most impressive, of course, is its ability to produce images of objects that are up to twice their actual size.

Image quality is very good, I’m happy with the results the lens gave me on my Fujifilm X-T2. Photos were sharp and displayed good color and contrast.

The lens is light and compact, has an excellent build quality, and is competitively priced.

Although I’m not a specialist macro photographer, I really enjoyed using the lens. If you enjoy shooting macro images, I’d recommend giving it a go. It’s certainly a great lens for flora and fauna enthusiasts, keen to get up close to the action.

I took the lens down to my local beach to see what I could photograph up close. Pine cone on the beach. I was impressed with the results from this lens. Fujifilm X-T2 with Laowa 65mm f2.8 2X Ultra-Macro APO lens.

You may also like:
- Review: Laowa 17mm f1.8 Lens with Micro-Four-Thirds Mount
- Review of the Venus Laowa 15mm F/4 Wide Angle Lens for Landscape Photographers
The post Laowa 65mm f2.8 2X Ultra-Macro APO Lens Review appeared first on Digital Photography School. It was authored by Matt Murray.

Digital Photography School
February 26, 2020