Category: Photography

Ways to Correct Perspective in Photography
The post Ways to Correct Perspective in Photography appeared first on Digital Photography School. It was authored by Glenn Harper.

Back in pre-digital days, the only way to correct perspective in architectural pictures was with a tilt-shift lens. Using such a lens remedies the “keystoning” effect you get when pointing a lens upwards at a building, where all verticals in the picture converge.

A Nikon 19mm f/4 PC-E tilt-shift lens. Photo: Jeffrey M Dean at English Wikipedia [CC BY-SA]

The main disadvantage of a tilt-shift lens has always been its price, especially if you stick to marque brands like Canon or Nikon. That hasn’t changed. With perspective correction now being widely available in editing software, why would you even think of buying such a lens today?

Tilt-shift lens vs digital perspective correction

Two benefits spring to mind when comparing a tilt-shift lens to digital perspective correction:
- Image quality suffers when you digitally alter perspective in editing software. The degree to which this is noticeable varies and is likely to be trivial for most purposes. But, you’ll often notice mild degradation at 100%.
- Most digital perspective tools crop the image, effectively reducing the resolution of the image sensor. And because the image is cropped, you lose WYSIWYG (what you see is what you get) predictability when taking photos.
These factors are serious if you’re a pro photographer creating architectural photos for commercial clients. A tilt-shift lens maintains image quality and full resolution. You’d normally use a tripod with such a lens.

Using Adobe software to correct perspective

Correcting perspective has been possible in Photoshop for a long time, but it became easier from CS2 onwards. That edition introduced the Lens Correction tool.

Fixing perspective using the Lens Correction tool of 13-year-old Adobe Photoshop CS3.

In 2013, Adobe introduced automatic perspective correction, which saved considerable time compared to manual adjustments. Even today, many of Adobe’s competitors do not offer this luxury. You can fix the perspective in ACR or Lightroom within seconds.

If this feature is important to you but you don’t necessarily want to sign up for Adobe software, what else is out there?

Correct Perspective in Other Software

The idea for this article came about when I decided to break away from my Adobe subscription. I take a lot of building photos, so perspective-correction tools are useful to me. Programs vary a lot in what they offer in this regard. (In fact, a lot of the stuff you take for granted with Adobe goes AWOL if you go-a-wandering.)

DxO Viewpoint

I was using DxO Viewpoint a decade or more ago. It’s been around a while. At that time, it seemed quicker to use than Photoshop for perspective correction. Then, as now, ViewPoint worked as either a plugin or a standalone app.

I shot this from below, so there was keystoning in the original image. The auto controls in ViewPoint 3 have fixed it, making it look like I shot the Art Nouveau sign from directly in front.

DxO Viewpoint also blends seamlessly into DxO PhotoLab as a module. It’s a little controversial that DxO makes you pay extra for perspective correction, but maybe that modular system helps keep the entry price down.

A short time ago, I upgraded from ViewPoint 1 to ViewPoint 3. The latter offers automatic corrections, so I no longer have to place anchor points on each image. Sometimes it’s necessary to correct perspective manually, but the auto function saves a lot of time.

Paintshop Pro 2020

Paintshop Pro has a good perspective tool that is akin to perspective cropping in Photoshop. While it’s not a one-click solution, it’s still quick and easy to use. A grid inside the crop area lets you check all the lines as you work. This is like using ViewPoint manually, where you force parallelism by setting the position of vertical and/or horizontal lines.

If you’re only fixing verticals with the Paintshop Pro perspective tool, you must keep the horizontal lines in the grid level (or vice-versa).

By checking the “crop image” box before applying your adjustment, Paintshop Pro will automatically crop the image to its largest usable dimensions. One thing you can’t do is adjust the intensity of the effect after applying it. You’d have to go back and redo it if you weren’t happy with the result.

ACDSee Photo Studio Ultimate 2020

I’m fond of ACDSee Photo Studio Ultimate for its comprehensive dual-set of editing tools and its DAM capabilities. But how is it for perspective control? Like many photo editors, the tools are all manual whether you’re in Develop or Edit mode.

If you’re only looking to correct verticals, you can achieve that easily with the vertical slider in Develop mode. This mode is really meant for raw files, but you can run rendered files through it just like you can with ACR.

An adjustment of the vertical slider in ACDSee’s Develop mode has fixed some mild keystoning here.

In ACDSee’s Edit mode, you get perspective cropping like that of Photoshop, but it differs in one notable way. As you drag the corner points, the perspective changes in real-time, so you get to preview the result before saving it. A downside is the lack of auto-cropping. That means you need to crop separately if you drag points inside of the image frame.

Hugin

The main purpose of Hugin is to stitch photos together for panoramas, but it also corrects perspective. And, it’s free!

There are downsides.

You have to go through the motions of creating project files, the software doesn’t preserve aspect ratio, and it strips out EXIF data. You also lose a chunk of the image to cropping, but that’s normal. Hugin will give you the largest usable area after the correction.

I fix verticals in Hugin by creating a fake one-image panoramic.

If you’re familiar with Hugin and know ways around the problems mentioned above, please let me know. Since auto perspective correction is absent from many high-end photo editors, this program is worth knowing about. Although its chief role is creating panoramic photos, perspective correction is an inherent part of that process. Hugin is good at it.

Below is a quick summary of the Hugin process (or the one I use) to correct verticals:
- Open the panorama editor, then open the simple interface
- Click on “Load Images” and load the file you want to correct
- Agree to add image to current project if a dialogue box pops up
- Click on “Align”
- Click on “Create panorama” even though you’re not creating one
- Set output parameters
- Save project
- Hugin says it is stitching – it isn’t, but it is processing the file. You’ll see “batch successfully completed” in another window.
That’s it. Your corrected image awaits.

You can also perform vertical and horizontal perspective corrections as per this article. I tend not to make drastic corrections because they have a negative effect on image quality. If you shift the subject a lot, a large part of the image will look soft.

A final Hugin corrected image with original in the inset.

Darktable

Darktable is a raw processor of amazing depth. Its learning curve is steep, but it deserves a place in this article for its perspective correction module. You can correct perspective with one click, which is rare in free editing software. It might be unique. As well, there’s automatic cropping with “original aspect ratio” or “largest area” options.

A “get structure” button color codes lines in the image and tells you what the software has concluded about them. For example, a green line is a relevant vertical converging line, while a red line is vertical but not included as one of the converging verticals. You can adjust the status of these lines if you think the software has made a bad call.

This is what appears if you hit “get structure” in Darktable. You can see the software is pretty good at telling true verticals (green) from false angled or curving verticals (red).

The only thing you can’t do in Darktable is back off the auto adjustment if you want a slightly converging result. You’d have to edit manually for that. But still, this feature is superb.

Honorable mentions

Naturally, other photo editors also include perspective correction. Capture One is one of the most evolved pieces of photo software I’ve seen. Its perspective control is like that of ViewPoint in manual mode, where you line up verticals or horizontals by hand to correct the image.

Programs like ON1 Photo Raw, Luminar and Exposure allow perspective control via a familiar system of sliders. You align the architectural lines of a photo with the lines of a grid. It works, but there’s no auto mode.

Am I obsessed with auto mode? Kind of, because it’s fast and does a good job. If you can tweak the result, so much the better.

The clean interface and “Canvas” toolset of Luminar 4, including perspective sliders.

Bottom Line

If you’re straying from Adobe and need perspective correction, I’ve gotta give top prize to DxO ViewPoint 3.

You can manually adjust perspective to your heart’s content or have the software swiftly do it for you. Importantly, you can back up a bit from auto results if the verticals look too forced.

The standalone ViewPoint 3 also includes an attractive browser, corrects for volume deformation and offers a tilt-shift “miniature effect”. What’s not to like?

The ViewPoint 3 browser.

For those that don’t want to pay extra for this functionality, look at Darktable. You might be scratching your head at its vast array of modules, but persistence pays off. Its perspective control is great at this price point!

All the software mentioned is eminently usable, so it’s a question of how valuable one-click corrections and versatility are to you. I hope I’ve helped in a few decisions.

Do you know any other software that helps correct perspective in photography? Share with us in the comments!

The post Ways to Correct Perspective in Photography appeared first on Digital Photography School. It was authored by Glenn Harper.

Digital Photography School
January 29, 2020
Getting Started with Off-Camera Flash in Photography: Equipment
The post Getting Started with Off-Camera Flash in Photography: Equipment appeared first on Digital Photography School. It was authored by Carl Spring.

When you are just getting started with it, off-camera flash in photography can feel incredibly difficult. You then look at all the amazing work of others and begin to wonder why your photos never look like that.

In this short series, we will look at getting you started with off-camera flash. We’ll take you from a complete novice through to someone who will feel confident and able to get the most out of their flash.

Let’s start with the things that I will cover in this series:
1. How off-camera flash works
2. What gear you will need
3. The technical bit
4. Using modifiers
5. Adding more flashes.
Off-Camera flash in photography is something that can take your portraits to the next level. It is also not as scary as you might think.

The Gear

If you are getting into off-camera flash, you have several options. Some of you may have a flash for use on-camera, some of you may not. For this article, I will go through what you need.

If you are looking for a shopping list, it is as follows:
- A flash
- Flash triggers
- A flash stand
- Umbrella bracket
- A flash modifier
I will then suggest a setup for those on a budget and a setup for those with a little more cash to spare.

As with all recommendations for gear, I am not paid by any brand to push their gear (I should really push this out with a plug shouldn’t I? hit me up camera companies!!) And they are my opinions, so please let’s not argue about this in the comments guys.

Right, Let’s go through each item one by one.

A Flash

The Vivitar 285Hv, AKA “The Tank.” Smashed, missing pieces and hit by skateboards. It still works fine. I even replaced the flash foot with a metal one when I snapped it.

This can be any flash. You can use an old manual flash bought for under $ 20 on eBay, through to the latest and greatest speedlite from your camera company, which will cost you over $ 400. Going even further, you could get a battery-powered studio strobe. What you need or want will depend on your budget and your needs.

There will be very little difference in these in terms of light quality. The difference will be in the ease of use and the power of the light.

The temptation may be to go with the same brand as your camera, but in all honesty, you can get much better value for money.

Now at the budget end, you can still get great mileage out of an old, fully-manual flash like the Vivitar 285. This flash is an ugly beast of a thing that is full manual. It doesn’t even have an LCD screen.

However, it is built like a tank, and you can buy it for around $ 20 to $ 30 on eBay. You can also get old flashes by Canon and Nikon for a little more. Remember, when using manual flash, you do not need to worry about which brand you are using. You can just as easily use a Canon flash on a Nikon camera and vice versa.

If you have more money to spend, then you really cannot look at flash these days without looking at the Godox brand. Godox produces a great range of flashes in all shapes and sizes. They also come with triggers built-in. This means you only need to buy a trigger for your camera and you are good to go.

By going with something like the Godox system, you also have the luxury of being able to change your flash power from the camera. This makes the process a lot easier, but it does come at a cost.

If you are buying a new flash from Godox or similar, make sure you invest in the flash specific to your camera brand.

A great mid-range flash would be the Godox 860II. This flash has Godox’s wireless system built-in and uses a Li-ion battery and recycles quickly even at full power. You also get a huge amount of flashes per charge (over 500) that will last even the most eager photographer for a full day of shooting.

From here, you can get bigger options with more power, but my honest recommendation is that, when starting out, you generally won’t really take advantage of what these units offer. Save your money and then invest in these later as you need them and, more importantly, once you know why.

Two of the most popular flash triggers made by Godox. they are rebadged under several names. In this case, PixaPro.

Flash triggers

Okay, you have the flash, now you need to trigger them.

Flash triggers come in many varieties. From a super simple trigger and receiver, through to a controller with an LED screen that allows you to see exactly what setting your flash is on and change them remotely.

What you need here depends on the type of flash you have (or purchase). For the budget option – old school flash with no built-in trigger – we will stick with the basic, but functional, option.

You can get a set comprising of a receiver and two triggers for around $ 20. They are as basic as they sound; however, they generally do the job and are pretty reliable. There is no screen, and from past experience, you may need to carry both triggers even when using one flash as they can occasionally be temperamental. There is no control of the flash at all. If you need to change your flash power, you need to go to your flash and change it by hand. It does the job and does it well without any bells or whistles.

Stepping up, look at the Godox trigger.

When you add the Godox trigger to a Godox flash, you can change the power remotely, and as you get more advanced, you get to do other things such as change groups, and high-speed sync. Basically, this trigger will allow you complete control of your flash from wherever you are shooting.

You will expect to pay around $ 50 and up for the trigger. You won’t need a receiver in this setup as the flash has one built-in (one less thing to forget to put into your bag). Overall, you get much more control here.

The more you invest in a trigger system, the more reliable it will be. For an amateur, this isn’t a huge issue, but if you are doing paid work, it really is worth investing in a decent set of flash triggers.

Flash stand

Unless you have an understanding friend or family member, you need a stand to put your flash on. If you are doing this on a budget and already have a tripod, you can use that as an interim measure, but flash stands are cheap. You can get a flash stand for $ 15 to $ 20. When stepping up in price, the main things you gain are better build quality, better quality knobs, and air cushioning.

Air cushioning means, if you undo the stand, the light doesn’t simply drop, it is cushioned by air, reducing the risk of damage to your flash. However, this is designed more for larger, studio-style flashes, so there is not a huge benefit in this for a speedlite-style flash, especially if you are looking to save money.

A flash stand by a company such as Manfrotto will cost you in the region of $ 80-$ 100. However, these are a purchase for life. Unless something major happens, a good-quality flash stand will last you for years and never need software updates.

Two different types of umbrella bracket. The metal cold shoe is the reason I had to put a new foot onto the Vivitar 285 you saw above.

Umbrella bracket

This is the key piece of equipment that allows you to fix your flash to your light stand. It also allows you to add modifiers to your flash, such as umbrellas and softboxes.

As with light stands above, the only difference with flash brackets is the build quality and the quality of the knobs.
A good umbrella bracket will cost around $ 20 to $ 30. I would suggest investing in this straight away. You can get cheaper, but not by much. It is worth the extra few dollars to buy a higher quality one.

A thing to remember here is that you may also need to buy a cold shoe for your umbrella bracket. This screws into the umbrella bracket via a spigot and has a shoe for your flash to mount to. These only run at a few dollars and some umbrella brackets have them built-in. Make sure you check and purchase as necessary as you may end up incredibly frustrated if your shiny new gear turns up, and you cannot connect your flash to your light stand. Trust me; I’m talking from experience here.

With a cold shoe, the main question is do you go for a metal or plastic one. Personally, I prefer plastic. The reason being that if your flash does happen to take a tumble and you are on a plastic cold shoe, it will usually snap. This may seem like a bad thing, but with a metal cold shoe, physics means it will snap at the weakest point. This is usually the base of the flashgun. Instead of snapping the cold shoe, you will snap the base of your flash off.

Now hopefully, your flashes never take a tumble, but I know mine definitely has. A gust of wind can come from nowhere. I have replaced several plastic cold shoes, but have luckily never snapped the base off a flashgun yet (touch wood, fingers crossed, etc.)

One of the first off-camera flash portraits I shot. Simple gear can create great results.

Modifiers

Softboxes, beauty dishes – there are many different modifiers, and the prices range from the insanely cheap through to the incredibly expensive.

I would always advise starting with umbrellas as a modifier as they are cheap, cheerful, and versatile. Also, learn one modifier inside and out before investing in more. When you know a modifier, you can use it in several ways and will allow you to create a variety of looks as you get used to working with it.

You can buy a 30” convertible umbrella for under $ 10 (you can shoot through it or shoot it reflectively). You will not get a better price-to-performance ratio from any other modifier.

It is tempting to buy a bucket load of modifiers if you have the money to invest, but what happens is, you become unfocused and try different modifiers, not really knowing the uses of each.

Buy one, learn it, then buy another. Don’t waste your money buying fancy gear just for the sake of it.

Extras

Please, please invest in (or make) a sandbag. A sandbag goes onto the bottom of your light stand and holds everything down, which means a minimal risk that your nice new equipment gets smashed on the floor.

You can make one of these incredibly cheaply, but they are worth their weight, literally. If you don’t have one (or have forgotten to get one), a camera bag will do in a pinch.

When using an umbrella outside, it is like having your flash gear attached to a kite. If you don’t weigh it down and the wind catches it, you may be picking your flash kit up in pieces.

Buy one and use it. If you don’t, don’t say I didn’t warn you.

So, how much are we talking about?

I have priced these beginner kits for those on a tight budget, and those with a bigger budget. Please note, I haven’t gone crazy with the larger budget. What you see here is what I truly believe to be the best beginner kit for getting started.

You will gain nothing from spending lots of money. The aim here is getting the gear to get started without over-complicating things.

The cheap and cheerful

This shot was taken on a setup almost identical to the one below.

Flash: Vivitar 285HV from eBay: $ 30

Triggers: Alzo Trigger Set $ 21 (There are several weird and wonderful companies producing this type of trigger, check Amazon/eBay for them.)

Flash Stand: $ 23

Umbrella Bracket: $ 10

Convertible Umbrella: $ 7.50

Sandbag: Use your camera bag

Total: $ 91.50

You read that right, $ 91.50. You can get started in off-camera flash for the price of a meal out.

A little to invest

This portrait was taken with only one light and a reflector. There is so much to learn when getting started in off-camera-flash photography that adding more lights will add problems.

Flash: Godox 860ii: $ 179

Trigger: Godox XPro C: $ 69

Air Cushioned Flash Stand: $ 29.65

Umbrella Bracket: $ 29.48 plus cold shoe $ 9.95

Convertible Umbrella: $ 7.47

Sandbag:$ 21.95

Total: $ 346.50

What do you get for the extra cash?

More control.

You can control the flash output directly from the camera plus advanced features such as add groups when you add more flashes in the future. You also get a flash that will take a lot more shots and recycle much quicker between photos. Lastly, if you don’t get on with off-camera flash, you have an awesome flash to use on your camera.

Right, so now you have your shopping list for off-camera flash in photography, next up comes the science part. I’ve just got to go out and get myself a new lab coat, so enjoy this article and see you next time.

Is there a set up that you use for off-camera flash in photography? Please share with us in the comments.

You may also like
- How to Use a Small Softbox With Your Flash to Transform Your Portraits
- Why You Should Prioritize Spending on Experience Before Gear
- Simple Tips to Improve Your Portrait Photography Immediately
- Getting to Grips with Fill Light in Portrait Photography
- 10 Tips to Create Emotive Portraits
- What Size Beauty Dish is Right For Your Portrait Photography?
- How to Use a Photography Ring Light in Unconventional Ways
- Understanding Broad and Short Lighting in Photography
The post Getting Started with Off-Camera Flash in Photography: Equipment appeared first on Digital Photography School. It was authored by Carl Spring.

Digital Photography School
January 29, 2020
Nikon Z50 Hands-On Review – The Best Mirrorless Camera for Beginners? (with bonus video)
The post Nikon Z50 Hands-On Review – The Best Mirrorless Camera for Beginners? (with bonus video) appeared first on Digital Photography School. It was authored by Suzi Pratt.

In November 2019, the Nikon Z50 debuted as an entry-level mirrorless camera for beginners. It is the first crop-sensor (DX) camera of the Z-series line, and it is much smaller and cheaper than the Nikon Z6 and Z7. This Nikon Z50 review will go over some key features of this camera and ultimately answer the question, “should you buy this camera?”

I tested this camera through the Nikon Yellow Program that allows you to try out the Nikon Z50 for 30 days, or return it for a full refund. This is a temporary pilot program that only lasts through March 2020, but I hope Nikon lets it run longer. The mirrorless camera market is a crowded one, and the only way for potential customers to truly know if a camera is suitable for them is to test it out for themselves.

Nikon Z50 Specs

The Nikon Z50 features are competitive with many modern APS-C mirrorless cameras such as the Sony a6400, Canon EOS M6 Mark II, and Fujifilm X-T30. Compared to the rest of these cameras, the Z50 is the largest and heaviest, but it offers some features that the competition does not.
- 20.9MP CMOS sensor
- Up to 11 fps shooting with AE/AF, 5 fps with live view
- 4K video at up to 30p and 120fps slow-motion capture at 1080p
- 2.36M-dot OLED viewfinder
- Rear touchscreen tilts up by 90° or down by 180°
- Built-in flash plus hot shoe mount to add external flash if desired
- Single SD memory card slot
- Deep grip for a comfortable hold
- Approximately 300-shot battery life
- Bluetooth-enabled Wi-Fi (via Snapbridge app)
- Compatible with the FTZ mount adapter to use F-mount DSLR lenses
- Priced at $ 860 (body-only) or $ 1000 (with 16-50mm) or $ 1350 (with 16-50 and 50-250)
Along with the Z50 camera body, Nikon also released two DX Z lenses to use with it. The Nikkor Z DX 16-50mm f/3.5-6.3 VR kit lens is super compact and basically a pancake lens. It’s a great size to keep your camera kit very small.

Meanwhile, the Nikkor Z DX 50-250mm f/4.5-6.3 VR is a telephoto lens with a great zoom range.

Both lenses are very plastic but lightweight and affordable as a result. If you want the maximum flexibility with the Nikon Z50, and don’t have any F-mount lenses to use, get both of these lenses.

One little quirk about both lenses: you have to rotate the zoom ring to extend the lenses before shooting with them. It only takes a few extra seconds, but it’s a strange thing to get used to.

Ease of Use

Camera layout

The Nikon Z50 has a pretty straightforward layout.

All of the buttons and controls are on the right-hand side of the camera, making it easy to use one-handed. The biggest dial on top of the camera lets you select camera modes. There is Aperture Priority, Shutter Speed Priority, and Manual to appeal to the experienced photographer.

But the Z50 shows its colors as a beginner-friendly camera with the addition of several auto functions on the dial.

In addition to “P” and “Auto” modes, the Z50 has SCN or “Scene Mode” to automatically adjust the camera settings for a variety of situations, including Portrait, Landscape, Food, Night Portrait, Snow, Close up, and more.

There is also a dial selection “EFCT” for shooting in “Special Effect Mode,” where you can automatically see effects such as Night Vision, Super Vivid, and Pop applied to the scene before you snap a photo.

Many cameras have a similar scene and special effect modes in their settings, but they are usually buried deep in the menus and hard to find. On the Nikon Z50, these modes are literally at your fingertips, making them very accessible.

Touchscreen LCD

While you can use the physical buttons and dials on the camera to control settings, you don’t have to. The Nikon Z50 LCD touchscreen is very responsive and lets you select settings, set autofocus points, and swipe and pinch to zoom when previewing images.

The LCD screen also can flip down so you can see yourself when taking a selfie or filming a vlog. This is a feature that seems great at first – until you realize you can’t see the LCD screen if the camera is attached to a tripod. Ideally, the LCD screen would flip out to the side as it does on most Canon and Panasonic mirrorless cameras.

Speaking of selfies, I used the Z50 to snap a few family group portraits where I had to set the camera on a timer and run to be a part of them. A useful feature was the self-timer setting that included the option to take up to 9 photos in a row. This is so helpful in group settings when you will inevitably have closed eyes or goofy faces in some shots.

Autofocus

The Nikon Z50 comes with hybrid (phase and contrast detection) autofocus (AF) with 209 AF points. It also includes Eye AF and Subject Tracking. When paired with its 11 frames-per-second continuous shooting mode, this makes for a decent portrait and sports photography camera, in theory.

In practice, the autofocus performed decently, but still pales in comparison to other cameras, namely Sony, which is still king of autofocus. However, this is only a negative point for shooting fast-moving subjects. When working with still or slow subjects, the Z50’s autofocus is generally good.

I found the camera performed the best when left in single-point autofocus, where I could select the focus point myself. Word of caution – there is not a joystick for autofocus point selection. Instead, use the wheel or touchscreen.

Wireless transfer and smartphone connection

With the inclusion of extra auto modes and a flip screen, this is a camera geared toward influencers and those wanting to post photos and videos to social media.

Luckily, the Nikon Z50 is equipped with built-in Wi-Fi and Bluetooth, making it easy to transfer media to your phone. All you need to do is download the SnapBridge app to your phone and enable the Wi-Fi connection on the camera.

When using a Samsung Galaxy S10, photo transfer was very fast and intuitive; video transfer took a bit longer, which is understandable considering the larger size of video files.

Another cool feature is the ability to use your smartphone as a remote monitor to control the Z50. This function also worked very seamlessly.

Image Quality

When it comes to colors and image sharpness, the Nikon Z50 does not disappoint. For those who gripe about Sony color science, you won’t be disappointed with Nikon’s. Photos are great as JPGs straight out the camera, but you can also shoot in RAW format for more flexibility when editing photos in post-production.

As an APS-C camera, the Z50 does not have the best low light performance when compared to a full-frame camera. However, images captured at ISO 6400 are acceptable with just mild color speckles and image grain.

Nikon Z50, Nikkor Z DX 50-250mm f4.5-6.3 VR, Focal length: 250mm (in 35mm: 375mm), 1/400 sec, f6.3, ISO 12800, Aperture Priority, pattern metering

Video features

For those interested in filming, here is a quick Nikon Z50 review of the video features. Just like its big brothers, the Z7 and Z6, the Z50 can film in up to 4K30p resolution, plus 120fps slow motion at 1080p.

Unlike the Z6 and Z7, the Z50 lacks IBIS (in-body image stabilization). This means that shooting handheld video or photos at low shutter speeds will be more challenging on the Z50.

However, this can be slightly alleviated if shooting with a lens that has VR (vibration reduction). Note that VR on lenses must be enabled via the Optical VR setting in the camera as the lenses do not have a VR switch.

The Z50 comes with both an Interval Timer Shooting Mode and a Timelapse Movie Mode. Both of these settings result in a timelapse, but the former will produce individual images that you must edit and stitch together in post-production.

Meanwhile, Timelapse Movie Mode automatically creates a timelapse video in-camera, and it is a wonderful feature that is very easy to use.

While the Z50 has a mic jack for attaching an external microphone, it lacks a headphone jack for simultaneously monitoring audio.

In terms of ports, the Z50 has only two: a micro HDMI port for adding an external monitor or viewing media on a TV, and a micro USB port for charging. It’s puzzling why a micro USB port was added instead of a USB-C port, but very helpful in that you can charge the camera via a wall plug or external battery.

Nikon Z50, Nikkor Z DX 16-50mm f3.5-6.3 VR, Focal length: 15mm (in 35mm: 25mm), 1/50 sec, f3.5, ISO 2000, Aperture Priority, pattern metering

In conclusion

If you are on the market for a beginner-friendly mirrorless camera, you have a LOT of options out there. As of January 2020, the Nikon Z50 is the newest of them all, and it offers many of the same features you’ll find on other similar cameras.

While it is not the best camera when it comes to features like autofocus, it is still a very capable camera that will give you high-quality stills and video in a small form factor. Its usability is also very intuitive, and its extra auto settings will get you up and shooting fairly quickly, even if you are a photography novice.

If you have any Nikon F-mount lenses, the Z50 is a great option, since you can use those lenses with the FTZ adapter. Even if you don’t have any lenses, the two optional DX kit lenses are a great deal and result in an ultra-lightweight kit with a flexible zoom range.

I hope you enjoyed this Nikon Z50 review. Please leave any thoughts or questions in the comments below!

Nikon Z50, Nikkor Z DX 16-50mm f3.5-6.3 VR, Focal length: 16mm (in 35mm: 24mm), 1/25 sec, f3.5, ISO 3200, Aperture Priority, pattern metering

Nikon Z50, Nikkor Z DX 16-50mm f3.5-6.3 VR, Focal length: 29mm (in 35mm: 43mm), 1/50 sec, f6.3, ISO 280, Aperture Priority, pattern metering

Nikon Z50, Nikkor Z DX 16-50mm f3.5-6.3 VR, Focal length: 29mm (in 35mm: 43mm), 1/80 sec, f6.3, ISO 280, Aperture Priority, pattern metering

Nikon Z50, Nikkor Z DX 50-250mm f4.5-6.3 VR, Focal length: 210mm (in 35mm: 315mm), 1/800 sec, f6, ISO 250, Aperture Priority, pattern metering

Nikon Z50, Nikkor Z DX 50-250mm f4.5-6.3 VR, Focal length: 75mm (in 35mm: 112mm), 1/320 sec, f6.3, ISO 250, Aperture Priority, pattern metering

Nikon Z50, Nikkor Z DX 50-250mm f4.5-6.3 VR, Focal length: 250mm (in 35mm: 375mm), 1/400 sec, f6.3, ISO 1100, Aperture Priority, pattern metering

Nikon Z50, Nikkor Z DX 50-250mm f4.5-6.3 VR, Focal length: 105mm (in 35mm: 157mm), 1/1250 sec, f6.3, ISO 250, Aperture Priority, pattern metering

Nikon Z50, Nikkor Z DX 50-250mm f4.5-6.3 VR, Focal length: 250mm (in 35mm: 375mm), 1/640 sec, f11, ISO 250, Aperture Priority, pattern metering

Nikon Z50, Nikkor Z DX 50-250mm f4.5-6.3 VR, Focal length: 50mm (in 35mm: 75mm), 1/250 sec, f11, ISO 250, Aperture Priority, pattern metering

Nikon Z50, Nikkor Z DX 16-50mm f3.5-6.3 VR, Focal length: 31.5mm (in 35mm: 47mm), 1/50 sec, f5, ISO 2500, Aperture Priority, pattern metering

Nikon Z50, Nikkor Z DX 16-50mm f3.5-6.3 VR, Focal length: 34mm (in 35mm: 51mm), 1/320 sec, f5, ISO 320, Aperture Priority, pattern metering

Nikon Z50, Nikkor Z DX 16-50mm f3.5-6.3 VR, Focal length: 16mm (in 35mm: 24mm), 1/800 sec, f6.3, ISO 320, Aperture Priority, pattern metering

Nikon Z50, Nikkor Z DX 50-250mm f4.5-6.3 VR, Focal length: 125mm (in 35mm: 187mm), 1/200 sec, f5.3, ISO 2200, Aperture Priority, pattern metering

Bonus video: The Nikon Z50 review.

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The post Nikon Z50 Hands-On Review – The Best Mirrorless Camera for Beginners? (with bonus video) appeared first on Digital Photography School. It was authored by Suzi Pratt.

Digital Photography School
January 29, 2020
What to Post on Instagram When You’re Out of Ideas

The post What to Post on Instagram When You’re Out of Ideas appeared first on Digital Photography School. It was authored by Charlie Moss.

Ever find yourself stuck knowing what to post on Instagram? I’m sure we’ve all read the guides that tell you to use apps to plan and schedule your social media presence weeks in advance. But despite best intentions, I still only ever manage to post as and when I think about it!

ISO400, 35mm (50mm equiv.), f4, 1/60th sec

That often leaves me with a block, not knowing what to post. And I know I’m not alone in this.

The truth is, if you’ve not created any new photographs for a while that you can share, then you might be wondering if it’s worth posting anything at all.

The answer is almost always yes. It’s always worth posting something! But what to post?

Here are some ideas for what to post on Instagram that you can create from your image archive.

Behind the scenes shots

If you’re shooting with a buddy, always get them to take a behind the scenes shot of you with your camera. In fact, get them to take a few and return the favor! If you make an effort to take these shots as often as you can, you’ll never be short of images that you can post when you’re stuck for what to post on Instagram.

The benefit of these kinds of behind the scenes images is that your audience will get to know you and feel connected to both you and your work. They’ll feel like they’re a part of your creative process and, therefore, have a more emotional investment.

Original image shot on an iPhone in natural light.

If you tend to shoot by yourself, then this gets a little tricker, but I’ve had good success in posting my tabletop and studio setups to Instagram stories. Sometimes I’ve even posted images that I’m halfway through retouching to my stories – as long as the subject doesn’t mind. It gets people interested, asking questions and starting conversations.

#FollowFriday

Something that I’ve noticed on Instagram over the years is that the more time you spend building others up, the more you will be repaid in kindness (and likes – of course).

ISO400, 35mm (50mm equiv.), f4, 1/40th sec

The ‘followfriday’ hashtag is a great way of building other people up, promoting their work, and also providing a useful service to the people who follow you. Everyone wants to find more interesting people to follow on social media. By recommending those people whose work you love to your followers, you’re helping them discover new and exciting people to follow.

I usually do #followfriday shout-outs in my Instagram stories. By choosing a photograph that I love from the other persons’ feed and sharing it to my stories, I find that I get great engagement from my followers. And at the same time, if I have an important announcement to make about my work, I can post it, and I know that more eyes will see it than usual.

#ThrowbackThursday

Who doesn’t love digging through the old photo albums to find some real gems from the past? As true as this is for finding embarrassing family photos, I like to do it with my photography work too!

The original image was shot in the studio with a beauty dish.

‘Throwback Thursday’ is a great opportunity to showcase some older work that has been somewhat forgotten. It’s a global hashtag that people with all kinds of interests and backgrounds both post on and follow. If you’re wondering what to post on Instagram, this can be a fun exercise in delving back into your archive to see what you might have forgotten about or even missed the first time around.

If your Lightroom catalog is organized, this shouldn’t be a tough task. All the photos should be there and laid out for you in a logical way, ready to sort through and find (old) new pictures to post on Instagram.

Hopefully, you’ll gain some new and unexpected followers when you do post from the archives!

Tips, tricks, and tutorials

Even a photographer who is a relative beginner has a neat trick or tip that they’ve learned and that they can share. Think about your workflow when it comes to taking photos – what have you come up with that is a neat little hack that could help others?

Original image shot in the studio with a beauty dish.

I love to post these kinds of little short lessons on Instagram stories as a short series. Using the tools right on my iPhone, like Image Markup, I can draw on pictures to illustrate the point I’m making.

In order to make it work, you need to find something simple that will fit into just four or five slides. In the set above, I also included a photo of a Rembrandt painting for comparison.

The tip you’re giving should be easy to understand in less than a minute. Otherwise, you might find it’s better to write a blog post or use another longer-format approach.

Keep it coherent

If there’s one thing that’s true when it comes to Instagram, it’s that coherent profiles are usually the most successful. That’s easier said than done if you’re a beginner as it takes a while to establish a consistent style.

Don’t forget that Lightroom presets can be a great way to make your images look like they belong together.

As you start to see a coherent look emerge that you like, stick to it! People will come to expect a particular look and feel from your Instagram posts, and it’ll be one of the reasons that they keep coming back for more.

The small circles at the top of the grid are the Story Highlights. You can use them to keep important stories at the top of your Instagram profile page.

Don’t forget to use Instagram stories. You can create “Story Highlight” sections on your Instagram profile page to keep all the interesting content you’ve uploaded, together in one place. This extends the life of a story that you post from 24 hours and giving it a permanent place on your profile page.

I use this as a way to bookmark useful info I’ve posted or small portfolios that I might want people to look at. You could keep all your tutorials in one, and your #ThrowbackThursday stories in another!

Most importantly, though, when you’re wondering what to post on Instagram, just post something! Consistency is key on social media. Keep posting, and your work will stay at the forefront of people’s minds!

The post What to Post on Instagram When You’re Out of Ideas appeared first on Digital Photography School. It was authored by Charlie Moss.

Digital Photography School

January 28, 2020
Photography Gear You Will Need for Different Types of Photo Shoots

The post Photography Gear You Will Need for Different Types of Photo Shoots appeared first on Digital Photography School. It was authored by Lily Sawyer.

Have you ever wondered if there is specific photography gear that you will need for different types of photoshoots?

It has now been over a decade since I started shooting professionally. Over the course of that time, I have often been asked for advice on what camera to buy to take professional images. Now, if you’re into photography, I think you’d agree with me that this is the wrong question to ask. There are far more important factors to consider when taking an amazing image rather than the latest shiny camera.

My answer to the above question is always the same: it’s not the camera (given that camera manufacturers churn out new models year in year out). But instead, it’s two other things – the lens and the photographer.

A camera is no good if the photographer doesn’t know how to use it properly to achieve the image they have in mind. Equally, what good is a new latest-tech camera if the lens used for the purpose is not the correct lens? An example being, using an ultra-wide lens to capture a portrait.

Therefore, the better question to ask is, “which is the appropriate lens to use for a particular photoshoot?”

In other words, it is crucial that you, as the photographer, match your gear to the needs of the photoshoot. This will enable you to achieve the image you have in mind.

This article discusses the photography gear you will need for different types of photoshoots.

However, I know that we each have our own ways of doing things and our own preferences, so bearing this in mind, what I have written below are suggestions and based on what I do as a photographer.

What’s in my gear bag depends on what I’m shooting. I have a variety of photography bags for this reason. As a side note, it is worth investing in proper photography bags to protect your gear.

The Staples

But first, the staples. If you are (or want to be) a professional photographer, this is my recommended minimum photography gear you will need.

For photoshoots, always carry at least 2 camera bodies, ensuring you have one for back-up in case something happens to the other one.

Make sure you sync the times for both cameras, and that the settings are the same.

Also, fully-charge your batteries in both cameras. My cameras are all full-frame. If you have a camera with a crop sensor, this changes the way you capture your images. Here is a helpful article on the difference between full-frame and crop-sensor cameras.

On top of the camera and lenses, I always bring at least 2 flashguns with me and make sure I have spare batteries (or fully charged if they are rechargeables). I use a diffuser cap with my flashguns and generally use these to bounce light both indoors and outdoors rather than directly at the subjects unless I’m shooting backlit.

1. Family photoshoot

In general terms, the ideal set of lenses for a family photoshoot includes a wide, medium, and a long range of lenses.

My preference is for prime lenses, as they are usually small and handy, and give me sharper and cleaner images.

Good prime lenses can be heavy and also a little expensive. I carry the 35mm f/1.4G, 85mm f/1.8G (also available in 1.4G) and the 105mm f/2.8G. Because these are used on a full-frame camera, the lenses capture their expected focal range accordingly, that is, that a 35mm lens has a 35mm effective field of view. If your camera has a crop sensor with a crop factor of 1.3x for example, then the 35mm will have an effective field of view of a 46mm, the 50mm will have the 65mm and the 105mm will be 135mm. Therefore, you would then need to consider more wiggle room when shooting.

These are important to bear in mind, especially when shooting in small spaces indoors.

The 105mm gives not only a long-range but also macro capability. I like having a macro lens with me, which works wonderfully to capture details.

You can also have zoom lenses in your bag instead of primes. Zoom lenses can be very versatile. For example, the 24-70mm lens will allow you to capture wide and medium-range images with just one lens.

However, they are a little bulky in comparison to primes, especially if the lens is professional and has a fixed aperture. That would also mean better optics, and it would be heavier too.

If you just want to use one lens that covers this range, then there is the 24-105mm Canon lens option.

2. Event Photography

For events such as birthday parties, product launches, conferences, and suchlike, my preference is to go for zoom lenses rather than primes. Events are usually fast-moving, and I don’t have the time to keep changing lenses.

Often I will have both cameras on me with a double rapid strap. One camera will have the 24-70mm, and the other has the 70-200mm. These are usually sufficient.

I always carry a macro with me, though, just in case. However, with both bulky zooms that cover wide to long-range, I use my nifty 60mm micro lens for extreme close-up and macro shots.

In addition to the above, I also carry with me wireless transceivers that enable me to shoot with off-camera flashes. Transceivers are wireless transmitters and receivers that enable you to control your flash remotely. This also means you need stands for the flashes. So, carrying a monopod and a gorilla pod, or a tripod if you need more stands.

3. Weddings

If I’m shooting a wedding alone, I pack all the above minus the 35mm and the 50mm as the zooms already cover these focal ranges.

Needless to say, I pack my entire arsenal and the kitchen sink when shooting weddings with a second photographer, as with two of us, more gear and back-ups are needed. That means at least four camera bodies, at least six lenses, a minimum of four flashes (sometimes six), and all the transceivers and stands required.

I have written an article on wedding photography gear you will need when starting out on here.

4. Portraits

Portrait photography is a specialty that requires a different set of lenses.

For flattering images of a person, I would always use the 85mm for headshots, the 50mm for medium shots, and the 35mm for full-body shots.

You may not need to use all three, so plan ahead of what you might be shooting, so you don’t bring unnecessary gear.

Again if you want the zooms as opposed to the primes, you could always use the 24-70, 24-105, and the 70-200. Just make sure that you shoot within the range mentioned above as a guide.

Longer focal ranges compress the background resulting in a more flattering look compared to using a wide lens. For example, if you use the 24mm, you are shooting so close to the person, you will end up with image distortions.

Depending on the portrait session, I may or may not use off-camera flashes which would require the transceivers. A small reflector is also really handy for portraits, especially when controlling shadows. I have written an article on gear essentials for portrait photography when starting out here.

5. Landscape

Landscape photography is the opposite of portrait photography, and the lenses and accessories required are different.

You would need wide lenses, such as a 16-35mm or a 24mm to capture wide, expansive shots. You may also want to invest in a telephoto to capture long landscapes with great background compression if you are shooting mountains, for example.

If you plan on doing long exposure photography to achieve soft, blurred waterfalls and waves, you will also want to invest in a tripod and some filters, such as ND and graduated filters. This will enable you to reduced the amount of daylight coming into your lens so that you can slow your shutter speed down without completely over-exposing your image. You would also need a cable or remote shutter release so that you don’t introduce camera shake by pressing the shutter button.

To find out more about landscape photography, read these helpful articles here.

6. Travel

When speaking of travel, my only experience in this type of photography is family holidays. For professional travel photography, read these articles.

If you are just after good holiday photos that capture memories of your family, then I can help with that. I have tried various holidays with only one lens. One time I just took the 85mm. Another time, I took just the 35mm, the 50mm on another holiday, and, more recently, the 60mm. Following on from these experiences, my personal travel lens is now the 60mm.

The 50mm is also a favorite.

7. Product

Occasionally, I do some product photography. My go-to lenses for these are the 24-70 and the 60mm micro.

I use off-camera flashes and transceivers and some flags. When shooting small items in a white seamless background, using a white lightbox will help you achieve this easily.

For more tips on product photography, read this article.

8. Interiors

For interior photography, my go-to lenses are the 24-70mm and the 50mm. You can read more in-depth as to why I use the 50mm here and how I use the 24-70mm especially for shots of an entire room scene.

I hope this article and the further links provided have helped you think through what photography gear you will need for different types of photoshoots. If you have any suggestions to add, write them on the comments below.

The post Photography Gear You Will Need for Different Types of Photo Shoots appeared first on Digital Photography School. It was authored by Lily Sawyer.

Digital Photography School

January 28, 2020
News: Irix Offering 15mm f2.4 Lens with Edge IFH-100 Filter Holder Combo

The post News: Irix Offering 15mm f2.4 Lens with Edge IFH-100 Filter Holder Combo appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

If you haven’t heard of Irix, you should check out their products; the lens company combines fresh, modern designs and stellar optics to create some amazing third-party lens options.

And until February 14th, Irix is offering an equipment combo deal:

When you purchase the Irix 15mm f/2.4 Blackstone, you can pay just one extra Euro and receive the Irix Edge IFH-100 filter holder (normally 69 Euros in value).

Irix produces the 15mm f/2.4 Blackstone lens for three camera mounts: Canon EF, Nikon F, and Pentax K. It’s a fast prime lens that has received raved reviews, which makes it a perfect choice for landscape or architecture photographers looking to add an optically-impressive prime to their bag, not to mention astrophotographers.

The Irix 15mm f/2.4 is a manual focus only lens, which means it isn’t optimal for fast-paced genres such as street photography. But street photographers rarely shoot at ultra-wide focal lengths anyway, and all the photographers that would actually appreciate a 15mm prime probably work in manual focus most of the time.

One more thing you’ll appreciate about the Irix 15mm f/2.4 is the build quality. Irix is unique among lens manufacturers in that it offers two versions of the 15mm f/2.4: A rugged “Blackstone” lens, and a less rugged “Firefly” lens.

While the optics in the two versions are identical, the Blackstone is perfect for photographers who frequently take their gear into rough situations and who don’t have time to baby their equipment.

As for the Irix Edge IFH-100:

It holds 100mm square filters, including Irix’s hard and soft graduated neutral density filter lines. And it’s billed by Irix as “the lightest filter holder in its class.”

The Irix Edge IFH-100 should mount on lenses with a diameter between 52mm and 95mm.

So if you’re interested in grabbing a high-quality wide-angle prime, as well as a square filter holder, then take a look at Irix’s offer.

But act fast, because the deal expires 14th Feb 2020!

The post News: Irix Offering 15mm f2.4 Lens with Edge IFH-100 Filter Holder Combo appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

Digital Photography School

January 27, 2020
Tips for Overcoming the 5 Biggest Photography Fears

The post Tips for Overcoming the 5 Biggest Photography Fears appeared first on Digital Photography School. It was authored by Tim Gilbreath.

“Most inventors and engineers I’ve met are like me. They’re shy and they live in their heads. The very best of them are artists. And artists work best alone…” – Steve Wozniak

While fear can affect anyone and cause undue stress in their daily lives, creative people (including photographers and other artists) are often introverted and can be susceptible to fear more than others.

Whether it is simply a hobby, passion, or profession, photography involves proficiency in both the artistic and technical realms, creating a perfect environment for anxiety and fearfulness to form.

But like with most other things in life, knowledge is a powerful ally. Learning what anxiety-inducing things you might deal with, as well as what you can do to alleviate them, can help you with overcoming photography fears. It also allows you to better and more confidently enjoy the craft.

Let’s take a look at 5 of the biggest fears we might encounter as photographers.

1. Interacting with people

This is something I can definitely speak to personally. Many of us have difficulty being comfortable interacting and communicating with others for several different reasons. It could be anything from simple shyness or a lack of confidence, or in my case, social anxiety disorder, where fear of social interaction can cause physical symptoms and impede daily life.

Because photography is something we choose to do, we can also choose our level of involvement and what facets of the hobby (or job) we participate in.

For me, I know that I don’t always feel comfortable communicating with people. Because of this, I don’t do many portrait sessions as I know that communicating in real-time with the client is necessary to produce photos that they will love.

Many photographers deal with the fear of interacting with clients. (50mm, f/4, ISO 100, 1/250 sec)

Instead, my photography focuses on landscape and nature scenes, which lets me be comfortable while enjoying my work. I take on the odd portrait job when I feel ready to do so.

Of course, many of us want to learn to embrace that fear and conquer it. The best way to do this is to expose yourself to the thing that makes you uncomfortable. Learn what about it makes you feel that way until you no longer have the same fear for it.

Work on becoming more comfortable around people on a small scale, so that you’ll be ready to speak confidently to your clients.

Know your gear well, and be knowledgeable about the particular service you’re providing. This will give you something stable to hold onto while interacting with your customers.

2. Shooting in public

Street photography is a popular form of photography, and some of the biggest names in our hobby dabble in it, at one time or another.

However, it also exposes the photographer more than some other forms and can make us feel nervous and vulnerable. This is because many people don’t care to have their photograph taken. Knowing that can make the photographer reluctant to open themselves up and capture the beautiful moments they see before them, for fear of being called out or confronted.

Many street photographers deal with these issues by using gear that is better suited for those situations. Small, light, and inconspicuous mirrorless cameras and smaller lenses are readily available. These make the photographer and their actions less visible. It allows them to be more comfortable and focus on making great images.

Shooting in public, in view of others, is another common fear of photographers. (50mm, f/8, ISO 400, 1/640 sec)

It is also helpful and important to know the rules and laws regarding photographing people in public or other spaces. That way, if someone does confront you or question what you’re doing, you’ll be well-prepared to answer them.

The bottom line is to respect everyone’s wishes, whether it’s a legal issue or not. If someone is uncomfortable with you photographing them, be a decent person, and just stop. You don’t have to delete the images or anything that extreme, as they are your images, but don’t continue photographing them. An upset subject isn’t going to make for a good photo anyway.

At the end of the day, keep in mind that there are thousands of people out there right now, taking pictures of daily life, people, places, and events. Chances are, you’ll go out and enjoy the experience without any problems, and you’ll bring home some unique images.

3. Rejection and failure

This is a common fear for many people, and unfortunately, it is one that we all experience at times. Rejection of your work or failure to produce work that you consider great will be a commonplace occurrence throughout your relationship with photography. Even the great ones dealt with rejection at times, and they often used these failures to learn more and make adjustments to be even better.

Although there is nothing you can do to completely avoid rejection or avoid producing an imperfect image, you can certainly learn to cope with it and overcome photography fears.

Conquer your fear of failure by tackling challenging situations. (iPhone, 4mm, f/2.2, ISO 640, 1/4 sec)

Firstly, don’t try to block out the emotions that come with rejection or failure. You need to know what it feels like and embrace that feeling. It will make you stronger, and you will be better for it.

Keep in mind that failure is an exception, not the norm.

Also, remember that repetition is the key to improving.

Tackle some challenging situations, such as a dark and challenging lighting scenario. Go through the possible solutions and execute them until you’re confident that you can solve that problem in a dynamic, on-demand environment.

And, talk to someone.

Talk to anyone who knows you and understands how passionate you are about your craft. Friends, family, and colleagues who lift you up and encourage you can provide tremendous help. They can remind you that rejection can happen to anyone, and is a learning tool to improve your skillset.

4. Cameras and gear

The title of this section might need a little explanation. Of course, we’re talking about the fear of using your cameras and gear, not fear of your camera itself! That would be weird.

The equipment we use can come in various levels of complexity. Regardless of your familiarity with cameras in general, it may inadvertently become another source of anxiety.

Fortunately, the days of being stuck with nothing more than a printed manual are gone (isn’t it nice when we still see them, though?). The current digital age allows us to learn everything we need to know about our cameras from many sources.

Blogs like Digital Photography School, digital manuals and online resources from camera manufacturers, Forums such as Reddit, and YouTube all provide endless means of learning about the ins and outs of your equipment.

Knowing your camera and other gear inside and out can help bolster your confidence. (50mm, f/4, ISO 100, 1/640 sec)

The bottom line is, the more you know about the equipment you’re using, the more confident you’ll be in the field or studio. The more informed you are about the camera, the less an arising problem will shake you.

Learn all you can as early as you can. Like one of my favorite old sayings goes, knowledge is power.

5. Knowledge of business and marketing

Last in the tips for overcoming photography fears is our knowledge of business and marketing. Many of us have a fear of the business side of our passion for photography.

If you intend on working as a professional (meaning you make any amount of money off of your photography, regardless of your time input), you are going to need to understand the basics of how business works.

You need to know how to price your products and services, and how to interact with clients on all levels.

Again, through the wonder of technology, the internet is a treasure trove of information (often free) that can give you a good background and bolster your confidence with knowledge.

Many people feel that it’s tough to get a good working understanding of how small business works without taking classes or even having a business degree.

Fortunately, that’s not the case. A quick Google search will reveal many free blogs and other resources that can help you, and many of these are even specific to the business side of photography.

dPS has a great e-book on Going Pro – Making Money from Your Photography.

Fear not, my friends

Overcoming your photography fears may not seem simple, but I hope this article has helped you identify some of your fears and worries when it comes to being a photographer. Maybe it even pointed you in the right direction of overcoming those photography fears.

Remember, this is your passion, and you do it because you love to, not because you have to.

At the end of your day, there is nothing to be afraid of, because you’re doing something that makes you happy.

Are there other fears you experience that we didn’t cover here? Sound off below and share them with the rest of us. You’ll probably be surprised to find how many other people feel the same way!

The post Tips for Overcoming the 5 Biggest Photography Fears appeared first on Digital Photography School. It was authored by Tim Gilbreath.

Digital Photography School

January 26, 2020
How to Migrate Your Lightroom Catalog into Capture One Pro

The post How to Migrate Your Lightroom Catalog into Capture One Pro appeared first on Digital Photography School. It was authored by Darina Kopcok.

When it comes to high-end studio work, Capture One Pro is the choice of professionals. If you’re doing advertising or product photography, COP gives you certain tools and functionality that don’t exist in Lightroom.

The tethering feature in COP is far superior and allows you to work tethered with Live View and use layout overlays. This is a crucial feature to have when working on things like product packaging shoots or magazine cover portraits. You’ll be provided layout overlays to use as a guide in how to frame your shots to get the subject to fit with the artwork.

There is no right and wrong when it comes to your favorite RAW processor. It comes down to preference.

However, if you take the time to play around with a trial version of Capture One Pro, you may decide the sophisticated tools and incomparable color rendering will make you want to make the switch from Lightroom.

Great! But what about the thousands of images in your Lightroom database?

The idea of migrating your Lightroom catalog to Capture One Pro may seem intimidating, but it’s actually very simple and involves only a few quick steps.

Migrating a catalog from Lightroom to Capture One Pro

The most important thing to know before you get started is that migrating your Lightroom catalog to Capture One Pro will not have any impact on your Lightroom catalog. You can continue to use it as you ordinarily would, and it will stay in the same place.

Before you can migrate your catalog, make sure you know its location.

If you’re not sure where your current Lightroom catalog lives, simply go to your Lightroom menu, and click on “Catalog Settings.”

This will bring you a dialog box with the tabs “General,” “File Handling,” and “Metadata.”

Choose “General.”

Under location, it will tell you the name of the catalog and where you can find it. Click on “Show” to navigate to the catalog location.

For example, mine is located on an external disk. I have all my photos and documents on two external 4TB hard drives to avoid clogging up my computer’s hard drive.

The other thing you should be aware of that every single property from your Lightroom catalog may not carry over. This mostly refers to color adjustments. Things like exposure, white balance, rotation, and orientation are usually switched over seamlessly when migrate your Lightroom Catalog into Capture One.

When you start the import process, COP will also notify you of any incompatible files in a dialog box.

Catalog vs Sessions

COP has two file management systems: Catalogs and Sessions.

As with Lightroom, a Catalog in COP is a database containing information about your images, such as metadata and ratings. Catalogs are most suitable for organizing large volumes of images.

A Session functions more like a Lightroom Collection. It provides a more simple, folder-based workflow and the ability to browse any folder on your computer without having to import images. Adjustments are placed in a subfolder next to the images.

Sessions are great for on-set workflow and tethered shooting, and are generally seen as the more efficient option. Sessions allow you to store all the files from a single project together.

Once you have migrated your Lightroom Catalog into COP, you can build and structure your photos into sessions if you choose.

Use the following steps to migrate your Lightroom Catalog into Capture One.

Steps to migrate your Lightroom Catalog into Capture One Pro.

Step 1

Start by creating a new catalog in Capture One Pro

Open COP and go to File -> New Catalog.

Step 2

After you have created the new Catalog in COP, you need to import the LRCAT Lightroom file.

Go to File -> Import Catalog -> Lightroom Catalog.

This is when a dialog box will notify you about any offline or incompatible files so that you’re aware.

Hit “Continue.”

Step 3

This is where you get asked to name the catalog as you want it to appear in COP.

Give your catalog a name and hit “Enter.”

Under “Location,” navigate to the Lightroom catalog you wish to import. Click on the folder and then hit “OK.”

COP will start the import process.

It will tell you how many files it’s reading and how long the import will take.

If you have thousands of images, note that migrating your Lightroom catalog to Capture One Pro can take some time.

Conclusion

As you can see, migrating your Lightroom catalog to Capture One Pro is a simple and fairly seamless process. If you have more than one Lightroom catalog, follow these steps to import each catalog.

Once you have your catalogs in COP, you can further organize them into Sessions.

Do you have any other tips to migrate your Lightroom catalog into Capture One, or had experience doing with this process? Share your thoughts in the comments below.

The post How to Migrate Your Lightroom Catalog into Capture One Pro appeared first on Digital Photography School. It was authored by Darina Kopcok.

Digital Photography School

January 26, 2020
How to Use Camera Calibration Tool in Lightroom (video)
The post How to Use Camera Calibration Tool in Lightroom (video) appeared first on Digital Photography School. It was authored by Caz Nowaczyk.

In this video from Lucy Martin, you’ll learn how to utilize the camera calibration tool in Lightroom to help with your post-processing workflow and get your photos looking awesome!

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How to use the Camera Calibration Tool in Lightroom

The Camera Calibration tool is at the bottom of all your panel tools.

You want to use the camera calibration tool right at the beginning of the editing process, as this will inform the colors in your image.

Open the panel so that you can see the Shadows, Red Primary, Green Primary, and Blue Primary Sliders.

These sliders allow you to adjust the Tint of the Shadows and the Hue and Saturation level of Red, Green, and Blues (the RGB colors).

What you change in this panel will affect all the pixels of your image because every pixel is made up of RGB values.

If you hover over a section in your image, check the histogram, and it will show you the RGB values. Understanding this will give you a better understanding of how the camera calibration panel works.

It works differently to the HSL panel that specifically targets just the individual color ranges.

Again, color Camera Calibration affects everything.

Each camera renders color slightly different depending on the brands. They will each have a different idea of what a true red, blue, or green is. You may want to alter these slightly to what you see, or you may like to get creative with it.

Lucy likes to bring up the saturation of the Blue Primary slider to give more life to her images. She also works with the Green Primary by changing the Hue and Saturation for landscape photos.

The Red Primary is great for working with skin tones and warm sunset photos.

This is a great starting point before making further edits.

Lucy also gives you some other examples of creative editing using these sliders. So check it out to see what you can do to make your photos pop!

Bonus: If your image has a red, green, or blue color cast, you can use the saturation slider of that primary color and reduce it to remove the cast.

You may also like:
- RAW Photo Editing in Lightroom: How to Make Your Photos Look Real to Life
- Why Using Smart Previews in Lightroom CC and Classic is a Good Idea (and How to Set Them Up)
- Understanding the HSL Panel in Lightroom for Beginners
- Unlocking the Power of the Basic Panel in Lightroom
- The Basics of Simulating Vintage Film in Lightroom
- Tips for Understanding the Lightroom Adjustments Panel
- How to Use the New Enhance Details Feature in Lightroom
- How to Use Import and Export Presets in Lightroom Classic CC
The post How to Use Camera Calibration Tool in Lightroom (video) appeared first on Digital Photography School. It was authored by Caz Nowaczyk.

Digital Photography School
January 25, 2020
Weekly Photography Challenge – Music

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

This week’s photography challenge topic is MUSIC!

Try to capture the essence of the music. Here, Daniel Champagne performs live at the 2016 Illawarra Folk Festival. His performance is heavily based around his guitar, and I sought to capture that. © Caz Nowaczyk.

Music can cover so many things. You can go out and shoot live performances by musicians, crowds at a gig, or photograph musical instruments or sheet music as part of a still life composition.

They can be color, or black and white. They can be a small part of a wider composition or you can focus in on their fine details – the decision is yours! Try using negative space, or simply capture the action, emotion and atmosphere.

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

You can take close ups of instruments and sheet music or capture the action. 2016 Illawarra Folk Festival © Caz Nowaczyk

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

Tips for Shooting MUSIC

Tips for How to Photograph a Rock Concert or Show

11 Ideas for More Unique Concert Photos

Tips for Doing Concert Photography like a Pro

10 Must-Have Camera Settings for Concert Photography

How to Photograph a Concert From the Cheap Seats [With a Point & Shoot]

Your Guide to Posing Bands in Photography

How to Photograph Bands in Bars – Equipment

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 #DPSmusic 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 – Music appeared first on Digital Photography School. It was authored by Caz Nowaczyk.

Digital Photography School

January 25, 2020