Category: Photography

Technique vs Artistic Creativity in Photography – How Important is it to Find a Balance?

The post Technique vs Artistic Creativity in Photography – How Important is it to Find a Balance? appeared first on Digital Photography School. It was authored by Kevin Landwer-Johan.

Discussion about technique vs artistic creativity in photographic circles can cause tensions. Much of what’s focused on when learning photography is camera technique. Creative aspects are often left out, even after you’ve picked up some camera skills.

Developing a balanced approach to photography is important. If you’re content to just document what’s in front of you, don’t worry about it. You need to know how to operate your camera competently to be creative with it. Camera technique vs artistic creativity is a matter of engaging both brain hemispheres.

© Kevin Landwer-Johan

Left brain vs right brain functions

It’s said that the left hemisphere of our brain is more academic and logical. The right hemisphere is more imaginative and artistic. Technique vs artistic creativity seems to separate somewhat in our thinking.

Learning to work with a camera well requires a good understanding of its basic functions. Controlling the amount of light entering your camera is essential to master. Of course, you can leave this left brain function to the camera’s artificial intelligence (AI). This happens when you use any of its auto or semi-auto modes.

Relying on the camera’s AI takes away some of the technical challenges in camera use. It also inhibits the full expression of the right brain hemisphere’s artistic creativity. When your camera chooses the exposure setting, you relinquish much of your creative expression.

© Kevin Landwer-Johan

Photography means ‘drawing or painting with light’

Camera’s don’t take fabulous photographs, fabulous photographers do. Just as an artist’s brush doesn’t make a beautiful painting on its own, a camera is only as creative as the person using it.

The word ‘photography’ comes from the Greek language. It means ‘drawing or painting with light’.

The amount of light entering your camera affects the way your ‘digital canvas’ will appear. Understanding how the camera captures light requires left brain function. Leaving the camera to determine the ‘right’ amount of light negates much of the function of the right brain in creative photography.

If you can’t manage your exposure well it doesn’t matter how good your composition or timing is, your photos will lack creativity. Painting with light requires a good deal of creative decision making.

© Kevin Landwer-Johan

Master your camera

When you have mastered your camera, you’re in a stronger position to balance technique vs artistic creativity. Learning how to control the essential functions of your camera frees you up. Then you can concentrate more on the creative aspects of taking photos.

Frequent camera use and study will give you the ability to use your camera fluidly. The more you learn and practice with your camera, the less you will have to concentrate on it.

It can be like learning to touch type or drive a manual-shift car. At first, these are difficult and require a lot of concentration. Plenty of mistakes happen. Spelling mistakes happen. The car will bunny hop and stall. But, with a dedication to learning, the errors become minimized. You can begin to focus your attention on other things. You no longer have to look at where you are placing your fingers on the keyboard. Driving becomes smooth and you can enjoy the scenery.

Camera use is no different.

Once you study and practice enough you will free up your mind to concentrate on the creative aspects of photography. The technical actions required to take photos will consume less of your attention.

© Kevin Landwer-Johan

Release your creative expression

Once you’re comfortable controlling your camera, you can be more creative with it. When you understand how it captures images, you’ll be able to manage the settings artistically. Knowing how the sensor responds to light will give you the ability to control it with more innovative expression.

Leaving the exposure up to the camera’s AI will most often result in rather bland results. Your photos will look like everyone else’s who uses and auto mode. This is because the AI is not creative. It’s all algorithm-based and calibrated in a technical lab.

Your camera does a pretty good job of exposing your photos. It aims to provide an even exposure, not blowing out highlights or diminishing shadow detail. This does not, however, often make the most expressive exposures.

Manually exposing a photograph well adds depth and feeling to the picture. Scene modes on some cameras will include options for portraits, landscapes, action, and the likes. I have never come across a camera that offers automatic modes to create dramatic, happy or somber photographs. Controlling your camera manually allows you to make creative choices.

Being in control of your exposure allows you to make choices based on what your main subject is. Your camera does not know what it is. Some AI systems in cameras will guess what you are photographing and return exposure results on this presumption.

You will know exactly the nature of your composition and, when you have some understanding of light, you’ll expose it the way you want it to look.

© Kevin Landwer-Johan

Push beyond what’s considered correct

Technique vs artistic creativity teaching is often dominated by those whose aim is to take technically correct photos. Photos that don’t fit in the technically correct ‘box’ are scorned.

For creative photographers, ‘correct’ photos are usually perceived as dull, no matter what the subject. Whether a particular composition rule applies does not matter to them. If the whole image is not evenly exposed the photo is still acceptable.

I’ve met far too many photographers who think their photos must reach certain technical standards to be any good. This is what they focus on, and often, their photos lack creative expression.

Knowing how to manage your camera settings well is vital to creative photograph. The technique is very important, but the rules are not.

© Kevin Landwer-Johan

Conclusion

Aim to use your camera without consciously thinking about it – much the same way you’ll drive a manual shift car after enough practice.

Instead of thinking about your shutter speed and aperture settings, focus on how you are feeling. What do you want to express in the photographs you are taking? Be present within the moment and relate more to your subject than to your camera. Then you will find the balance between technical vs artistic creativity.

Share your thoughts on this in the comments below.

The post Technique vs Artistic Creativity in Photography – How Important is it to Find a Balance? appeared first on Digital Photography School. It was authored by Kevin Landwer-Johan.

Digital Photography School

January 12, 2020
Stunning Photo Ideas Using Coffee
The post Stunning Photo Ideas Using Coffee appeared first on Digital Photography School. It was authored by Caz Nowaczyk.

Check out this video from our friends over at Cooph, for some creative photo ideas using coffee!

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Stunning Photo Ideas Using Coffee

1. Grain textures
- Use your best blends
- Grind if necessary
- Arrange as desired
- Build piles
- Use natural light
- Stack cups
- Mirror reflection
2. Smoke
- Light some incense and let the smoke rise above a spoonful of coffee beans.
- Make a still life with a cup of coffee and use the incense to make the coffee look steaming.
3. Splish Splash
- Fill a cup of coffee to the brim.
- Shape a projectile and have someone drop it in to create a splash.
4. Still life
- Collect some props such as newspapers, books and cups.
- Repurpose your coffee bag and use it as a DIY reflector to throw window light back onto your subject.
5. Fluidity
- Load your coffee machine, and capture it filling your cup.
- Set up a positioning ring to keep the focal distance.
6. Contrasts
- Unload your beans on a light surface and shape them into straight lines using book edges or similar. Use a cup of coffee as an anchor point and to shoot contrast.
- Elevate your cup to separate it from the surface to make it look like it is floating.
7. Raw Materials
- Play with surfaces like stone or wood, and place a coffee pot onto it and shoot from above.
- Use chopped wood for the fire and sprinkle coffee beans to add atmosphere. Then add your cup of coffee and take pictures.
You may also like:
- DIY Food Photography Props on a Budget
- The dPS Ultimate Guide to Food Photography
- Simple Methods for Creating Better Still Life Images
- One Light Set-Up For Food Photography
- Five Essentials of Doing Dark Food Photography
- How to Light and Photograph Smoke and Steam in a Home Studio Setting
- How to Understand Light and Color to Improve your Photography
The post Stunning Photo Ideas Using Coffee appeared first on Digital Photography School. It was authored by Caz Nowaczyk.

Digital Photography School
January 11, 2020
Don’t Be Afraid to Say These Things to Your Photography Clients

The post Don’t Be Afraid to Say These Things to Your Photography Clients appeared first on Digital Photography School. It was authored by Simon Ringsmuth.

Shooting photos for clients is an interesting business. People pay you to take great photos, but you also have to balance your photographic goals with the very human side of the job. You can’t just boss people around and expect them to come back or give you positive word-of-mouth. On the other hand, you can’t let your clients walk all over you. There’s a fine line between assertiveness and rudeness. However, as long as you are polite and respectful you should never be afraid to say these things to your photography clients.

Nikon D750, 86mm, f/4, ISO 2800, 1/400 second

“I don’t offer discounts”

If you have been in this business for a while, you have almost certainly had clients ask you about some kind of sale, discount, sweetheart deal, or other tactic to get you to lower your prices.

I used to feel self-conscious about these sorts of requests, thinking I had some kind of obligation to accommodate my clients who didn’t want to pay full price. The thought of not offering a discount made me feel arrogant and cold-hearted.

The truth is, you are worth your price. If people want to hire you to do your best work, then there is no shame in asking them to pay for it. If someone asks for a special deal, politely but firmly decline. Tell them that your prices are competitive and you will take beautiful photos for a reasonable fee.

Nikon D750, 92mm, f/4, ISO 220, 1/180 second

Additionally, don’t use the phrase “I’m sorry” when discussing your prices. You should never have to apologize for charging what you are worth!

You might think you are being polite, but you have nothing to apologize for. So you shouldn’t feel obligated to say it.

I have had several situations where potential clients have asked me about offering discounts. At first, I felt uncomfortable sticking to my guns. However, every single time I declined to go down in price, I have felt good about the decision. Plus, the clients were still happy with my photos.

Recently someone asked me about taking photos of her daughter’s graduation. When I told her my price, she winced and asked if I offered any type of discount. I said no, and she eventually went with another photographer who had a cheaper rate.

While a part of me wishes I could have gotten this woman’s business, I think of the ramifications if I had gone down in price.

Nikon D750, 110mm, f/2.8, ISO 160, 1/125 second

She would have expected a similar discount on future sessions, and she would have almost certainly told her friends about this great photographer she knows who gave them a really good discount.

That would have started things off on the wrong foot with other potential clients who might be expecting me to drop my price.

The implications for lowering your prices can be much worse in the long run. So you should never feel bad for saying these things to your photography clients.

“You have something on your face”

There are many ways to fix blemishes, pimples, dust, dirt, and other imperfections in Photoshop.

I have had clients joke about taking ten pounds or twenty years off in Photoshop. That always makes me a little uncomfortable since I think my clients look great just as they are.

With almost every photo session, there is some type of artificial issue that can easily be fixed right on the spot.

If not addressed right away, these things can add hours to your post-processing time.

Nikon D750, 135mm, f/2.8, ISO 500, 1/350 second

You might feel a little nervous or uncomfortable telling your clients that they have a stray hair on their cheek or a spot of dirt on their shoulder. I know what that’s like, having been in the situation many times!

Kids are fussy, the wind is blowing, rain is starting to fall, and you feel like you’re adding yet another burden to your clients by telling them they’ve got something on their face.

On the contrary, don’t be afraid to say these things to your clients! Every time I have neglected to mention an issue while taking pictures, I have regretted it afterward.

If you fix a blemish on a single photo, you have to fix it on all the photos. If it takes one minute to fix the first time, multiply that by 20, 50, or 100, and the simple task quickly turns to tedium.

Nikon D750, 92mm, f/2.8, ISO 400, 1/250 second

Not once have I had a client get upset, offended, or otherwise bothered when I told them about a problem like this. If anything, they have appreciated my watchful eye and attention to detail!

Kindly and politely tell them that they have a leaf on their dress, a speck on their forehead, or a butterfly resting on their shoulder. (I’m not kidding, it has happened!) You can deal with it in a few seconds and move on, instead of worrying about it and then wasting hours of your time editing it out on your computer.

“Sure, let’s try your idea”

Any time I prepare for a photo shoot, I always make sure I know the location, the types of photos the clients want, and other pertinent information. I even built several custom photo benches that I bring with me in case people need a place to sit. Basically, I try to have all my bases covered so I can make sure the session goes smoothly.

However, sometimes clients have other ideas. When that happens, I used to get defensive – I’m the professional, my clients need to listen to me!

On a sports team, it’s the players’ job to listen to their coach, and if every person on the field did things his or her own way, the game would be lost in short order.

Nikon D750, 112mm, f/4, ISO 1600, 1/250 second.

A photo session isn’t a sporting event, and you are a photographer, not a coach, and certainly not a dictator. You have great ideas for how to carry out the session, but your clients might too. It also behooves you to show them you care and will listen to their suggestions.

Even if you might not particularly like an idea that your clients have for poses, locations, or props, you might be surprised at the results. At the very least, it will send a message to your clients that you are flexible and willing to listen to them.

Even if the photos aren’t your favorite, word of mouth from your clients will help build a good reputation for you!

Nikon D750, 50mm, f/1.8, f/2, ISO 320, 1/250 second.

The image above is one example of how this can work out well for you and your clients. After I shot this family in the middle of a park, one of them told me he wanted to get a picture by a bridge. I was a little hesitant since the lighting and location weren’t my favorite, but I was happy to oblige. These photos turned out to be their favorite from the entire session!

“I have a location I prefer”

This seems a little counter to the last bit of advice since the idea here is to not take your clients suggestions into account. If you shoot outdoors, as I and many others do, you probably have some particular spots you like to use. Your locations have good lighting, pleasant surroundings, few people, and no bothersome elements like trash cans or street signs. You have used these locations many times, and they work great!

Your clients might have other ideas, though, and this is when it’s important to push back a little. I have had clients ask to do photos in spots that might look great for social media selfies, but they just aren’t well suited to a formal photo session.

In these situations, there’s nothing wrong with gently but firmly steering them to a location you prefer.

Nikon D750, 200mm, f/2.8, ISO 280, 1/250 second

It might seem harsh or uncaring to say these things to your photography clients, but it’s all about setting expectations.

When it comes to choosing a location, you know things your clients don’t. You pay attention to aspects of lighting and composition they would never think about.

If a potential client is insistent on using a spot that you would rather not use, show them your portfolio and explain the reason that you want to do it at another location.

Ultimately it’s your call – you can go with a spot they want, and the pictures might turn out great. But there’s a good chance you will encounter unforeseen obstacles, distractions, and other issues that will lead to sub-par photos.

If your client is insistent, you can politely tell them you won’t be able to meet their needs and recommend another photographer instead. Or you can do the session anyway, but make sure to scout the location first so you can prepare for what awaits.

Nikon D750, 150mm, f/4, ISO 1100, 1/250 second

“Photos will be ready in two weeks, but not sooner.”

Your own timeframe for this might differ, but you must be honest with clients about these types of expectations.

They might have other ideas in mind based on experiences their friends have had with other photographers. If you need a specific amount of time to deliver the photos, then make sure to stand by what you say.

Be sure to explain this early when you establish a relationship with your clients, so they know right away what to expect. You don’t want them complaining on social media because they thought you would deliver their photos the very next day!

Let them know that you need time to carefully cull, edit, and even print their photos. A few extra days of work can mean the difference between good photos and frame-worthy portraits to hang on a living room wall.

Fuji X100F, 23mm, f/5.6, ISO 320, 1/125 second

Expectations

One trick is to under-promise and over-deliver. I let my clients know that they will receive their final images within three weeks. I almost always send their photos in two weeks. So in their eyes, I have not only met their expectations but vastly exceeded them.

Your clients might want photos quickly, but if you need time to do your post-processing, be firm and stick to your guns. Quality takes time, and you’re not just slapping on a filter like you would see on some social media apps.

And if you need a few weeks to work your magic, then make sure your clients know what to expect.

Nikon D750, 50mm, f/1.8, f/5.6, ISO 6400, 1/90 second. (Using a +4 close-up filter)

Conclusion

At the end of the day, this is all about establishing a positive, healthy, and productive relationship with your clients.

Always be respectful, and always treat them how you would prefer to be treated yourself. If you say these things to your photography clients it will help send the message that you are a serious professional. Moreover, they will likely want to keep working with you well into the future.

We hope Don’t Be Afraid to Say These Things to Your Photography Clients will help you on your photographic journey. Do you have other things that you feel can be said to clients that can help the session run smoother? If so, share it with us in the comments!

The post Don’t Be Afraid to Say These Things to Your Photography Clients appeared first on Digital Photography School. It was authored by Simon Ringsmuth.

Digital Photography School

January 11, 2020
Capture One 20 Review: Time to Make the Switch from Lightroom?
The post Capture One 20 Review: Time to Make the Switch from Lightroom? appeared first on Digital Photography School. It was authored by Carl Spring.

It’s that time of year – time for a Capture One 20 review.

In a huge change to the schedule, Phase One took the bold step of renaming it Capture One 20 instead of the unlucky for some Capture One 13. Let me know your thoughts on this bombshell below!

Okay, I admit it. That is simply an excuse to get you to read on. But is there more than a simple name change to this update? A coat of polish if you will?

Well, honestly, yes and no.

The best thing is that, unlike last year, they have added Catalina support in version 12. This means that Mac owners don’t have to upgrade this year unless they want to. I (and may others) appreciate things like this, bravo Phase One, bravo.

Capture One themselves said that this update aimed to make the software more accessible and easier to use. Simply put, they are after Lightroom users who are unhappy with Adobe.

This update does make Capture One 20 feel more Lightroomesque (yeah, I made that word up). It improves the workflow for existing users as well as adding some useful tool updates.

Another Year, Another Capture One release. Could this be the one that makes you change?

Overview

So let’s start with the list of new features list.
- New user interface
- Faster culling of images
- New HDR tools
- New color editor
- New crop tool
- Improved copying of layers
- Improved noise reduction
- Improved support for DNG files
Now, these all seem to be small changes when taken individually, but do they add up to a whole package that makes it worth the upgrade? Or perhaps more importantly for many of you, is this the upgrade to make Lightroom users make the jump?

Let’s look at these upgrades individually.

New user interface

You can tweak the layout until you find your perfect workspace. The new scrolling area makes a huge difference.

This is one of the little things many users of Capture One have been asking for what feels like forever. (Finally, Capture One!)

Actually, it even has a scrollable section. Better than that, you have a pinned area, where you can keep tools you always need, along with a scrollable area. That means you no longer need to keep minimizing and maximizing tools.

However, this does mean there is a workflow change for regular users of Capture One. You can no longer simply scroll on a tool to change sliders. Now you need to hold down the alt key to alter tools.

To me, this is great as it stops any mistakes when editing. However, you can alter this in the preferences and use the Alt/Option key to scroll through tools instead.

I do love this update – it means you can customize it to exactly how you want your tools and not have the hassle of minimizing tools. I am sure there are Lightroom users who are thinking, “What the hell! You call this an update?”

Well, yes. This is one of the features that will make moving across from Lightroom easier and more intuitive.

Faster culling of images

Culling of images in Capture One 20 is now much faster. As a wedding photographer, it makes a world of difference to my workflow. You can set the software to automatically move to the next image once you rate it, either by star rating, color rating, or both. This simple tool saves a lot of time.

A new color editor

The color tool redesign is a welcome addition.

Well, they say it is new. In reality, it is another user interface update that makes the tools more user-friendly. Along with full layer support, it is more useable.

Capture One 20 has reduced the real estate that the basic color editor takes up. You now have 8 color segments with sliders for Hue, Saturation and Lightness. These are customizable, so if you are looking to isolate a specific range, and the standard segment just doesn’t work, you can simply customize it.

Direct color editor

This is a nice touch that again helps speed up workflow (sensing a theme yet?).

When selecting a color within a photograph, if you continue to hold your mouse button down, you can alter the settings of the selected color range with your mouse (and the alt key).

By sliding your mouse vertically, you alter the saturation. Move it horizontally, and you change the hue. Finally, hold down the Alt/Option key whilst moving horizontally to change the lightness of the color.

New crop tool

So many upgrades this year make Capture One 20 smoother to use. The crop tool is a perfect example of this.

I’m beginning to sound like a broken record. This is by no means groundbreaking – it should have been fixed several versions ago – but cropping is faster and easier than ever before.

When you hit the Crop tool, the first thing you notice is the bold handles. This means it is much easier for you to grab the handles and crop the image. These handles also disappear when you are cropping in or out of the image, which is a nice touch.

Capture One 20 also allows cropping to the center of the image by holding down the Alt/Option key. It also freezes crop ratios when using the unconstrained option by holding down the shift key.

Lastly, it is easier to switch to the rotation of the image. Instead of having to change to the Rotate tool, you simply move outside of the crop area, and it becomes active. It is also noticeably smoother (on my computer at least) and easier to fine-tune than ever before.

Improved support for DNG files

Capture One 20 also offers better color profiling for DNG files. The improvements are subtle, but they are there. If you use DNG files, you will see a slight improvement in the rendering of colors, with them appearing more natural. However, how much of an improvement will depend on the camera the DNG comes from.

Improved copying of Layers

The ability to choose which layers to copy across is a great improvement in this current version.

There are three really great improvements to working with layers in Capture One 20.

Firstly, it is the ability to decide which of the layers you want to copy across. This is great for when you want to have layers that do not want copying across, such as specific retouching layers, or you want to copy your color edits across to a series of images, but not everything else.

This brings me to perhaps the biggest improvement, it pastes copied layers on top of any existing layers. This is huge and removes one of the previous frustrations when using layers in Capture One.

Lastly, you can now easily copy layers between cameras. This can be useful if you have two photographers on a shoot using different cameras. This is a tool that, if you need it, is great. But for many users, this won’t be a deal-breaker.

Improved noise reduction

A small but noticeable improvement to the way the software handles noise is seen in Capture One 20

Okay, it’s time to bring out the big ones – the two new feature updates aimed at getting existing users to upgrade.

First is the improved noise reduction.

They have changed the noise reduction algorithm in Capture One 20. There is definitely an increase in performance here, both in the standard reduction applied at import and when using the tools. The colors in high ISO images tend to look nicer (especially skin colors), and you can reduce more noise than in the previous version.

This is one of those tools that suddenly make this upgrade a no-brainer if you shoot a lot at high ISO.

New HDR tools

The New HDR Tools allow fine-tuning that has been missing from Capture One for years. This has several users excited. Those looking to move from Lightroom will feel much more at home.

Again, this is more of a “finally!” moment than a “WOW” moment.

The new HDR tools include a black and white point slider. This makes things so much easier in a practical sense and especially if you are moving from Lightroom. Also, the redesign of the sliders mean you can darken shadows rather than just recover them and the same with highlights.

It is great to have this feature, but it should have been developed a while ago. It makes working with shadows and highlights in Capture One 20 so much better.

This finally means no more tweaking the levels just to get the right black point. Again, this is something that Lightroom users have had forever, which brings me nicely to my conclusion.

So, Is it Worth The Upgrade?

This is one of those upgrades that really isn’t exciting. Just like when Apple revealed IOS12, this is not going to be full of new features. Instead, it’s about making the workflow better and making it much more intuitive for Lightroom users to move across.

I think the fact that Phase One updated Capture One 12 to run on Catalina OSX says a lot. In the past, you needed to upgrade to the newest version to use the latest operating system.

As someone who uses the software constantly, the updates are worth the price tag. It really makes editing quicker and easier.

I no longer find myself wishing for fixes to tools quite as much. The new user interface is much nicer than previous versions too. The addition of a black point and white point in HDR tools is great, while the big plus is the noise reduction improvements.

But is it worth the $ 159 to upgrade?

It is going to be hard to justify for a lot of people. The best advice, as always, is to try it for 30 days and see. There may be features that either individually or collectively make it worth your while. However, you may be able to invest that money more wisely.

Should I move from Lightroom?

No Capture One 20 review is complete without the Lightroom question. This is the bigger question and, in my opinion, the main point of this upgrade from Phase One’s perspective.

They have made the software much more user-friendly. The UI tweaks really are good. They are very Lightroom-like, meaning that you will find it much easier to come over to this software.

I have never got on with Lightroom. I tried it briefly when Apple stopped supporting Aperture but found myself preferring Capture One. To me, it is a better piece of software.

Phase One is definitely trying to persuade you to switch over to them, with this upgrade more likely to push more people to Capture One. It gives a more polished performance than ever and fixes some UI issues that long term users have wanted for a while. They even have a monthly subscription model if you don’t want to pay upfront.
It may seem like an expensive outlay at $ 299, but if you are a Fuji or Sony shooter, you can purchase Capture One 20 for $ 129. At that price, it really should be something you look into.

So, if this version can’t persuade you to switch from Lightroom, nothing will.

Have you tried Capture One 20? What are your thoughts? Are you looking to make the switch from Lightroom? Share with us in the comments.

The post Capture One 20 Review: Time to Make the Switch from Lightroom? appeared first on Digital Photography School. It was authored by Carl Spring.

Digital Photography School
January 11, 2020
Weekly Photography Challenge – Snow

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

This week’s photography challenge topic is SNOW!

The Cathedral at Mt Buffalo National Park, Victoria in Winter by Caz Nowaczyk, Focal length: 130mm, ISO 100, f/6.3, 1/500th

For people in the Northern Hemisphere, it is Winter and, for many, that means snow.

So, this week’s challenge is to go out and shoot any pictures that include snow.

They can be dark and moody or light and bright, color or black and white. They can be stark or busy, close ups or distant landscapes. You get the idea!

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

Bridge over Bullock’s Head Creek from Link Road, Kosciusko National Park by Caz Nowaczyk. Focal length: 17mm, ISO 125, f/8, 1/1000th

Near Yarrangobilly Caves in Kosciuszko National Park by Caz Nowaczyk. © Focal length: 200mm, ISO 125, f/5, 1/250th

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

Tips for Shooting SNOW

How to Capture a Winter Wonderland – Essential Tips for Photographing Snow

13 Snow Photography Tips: A Beginner’s Guide

Tips for Photographing Snow

Snowed In? Here’s One Way to Pass the Time

5 Uncommon Snow Photography Tips That Can Transform Your Winter Scenes.

How to Stay Motivated to Photograph Nature after Months in the Snow and Cold

Why Is The Snow In My Pictures So Blue?

Important Things to Consider When Photographing Winter Scenes

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 #DPSsnow 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 – Snow appeared first on Digital Photography School. It was authored by Caz Nowaczyk.

Digital Photography School

January 11, 2020
Nikon has Announced the D780, an Update to the Hugely Popular D750

The post Nikon has Announced the D780, an Update to the Hugely Popular D750 appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

If you’re an enthusiast photographer wedded to your Nikon DSLR, then you’re in luck.

Because Nikon has just announced a new DSLR, dropping at the end of January:

The D780.

The Nikon D780 comes as a long-awaited upgrade to the Nikon D750, a powerhouse camera that packed a full-frame sensor into an affordable body. The D750 offered full HD video at 60p, excellent low light performance, impressive autofocus, dual card slots, and a tilting LCD, features that won over a slew of photographers back in 2014.

But can the Nikon D780 build off of the D750’s success? And what can a new midrange DSLR offer in a world where DSLRs are becoming less and less valued?

In some ways, the D780 doesn’t seem like a big step up from the D750; it offers a full-frame sensor with 24.5 megapixels (compared to the D750’s 24.3-megapixel sensor), a 51-point AF system with 15 cross-type points (specs that are identical to the D750’s AF system, though the D780 packs the D5’s focusing algorithm), and 7 frames-per-second shooting (compared to the 6.5 fps on the D750).

But in other ways, the D780 more than lives up to expectations. While the megapixel count is nearly identical to the D750’s, the sensor itself is borrowed from the Z6, one of Nikon’s two full-frame mirrorless offerings, and an impressive camera in its own right. This means we can expect a jump in ISO performance, which should excite Nikonians who often find themselves shooting in low light.

We can also expect significantly improved Live View autofocus, given that Nikon has imported the D780’s 278-point Live View AF straight from the Z6.

Not to mention the enhanced video performance on the D780: with 4K video at 30p with a full pixel readout, full HD video at 120p and 60p, and features such as focus peaking, this is the most powerful Nikon DSLR for videographers to date.

So if you’re an enthusiast photographer who is looking to upgrade to full-frame, or you’re simply looking for a great full-frame option, then the Nikon D780 is worth a look.

It will begin shipping at the end of January for $ 2300 USD (or $ 2800 with a Nikkor 24-120mm f/4G lens).

The post Nikon has Announced the D780, an Update to the Hugely Popular D750 appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

Digital Photography School

January 9, 2020
Your Camera’s Metering System Explained

The post Your Camera’s Metering System Explained appeared first on Digital Photography School. It was authored by Herb Paynter.

Your camera’s metering system “reads” the light reflecting from surfaces in front of the lens and reports its findings both in the viewfinder and on the LCD display.

This information serves as a guideline for accurately setting your camera’s exposure controls. It’s quite important that you know what information your camera is providing, and how to best make use of that data if you wish to achieve accurate color.

f/3.2, 1/60, ISO 3200, Lumix Vario G 12-35/2.8, 17mm, Pattern Metering

Your camera’s metering system suggests the amount of light that will be needed to expose middle gray, or typical skin tone in a scene, as measured in the techie term of luminosity. Luminosity is a geeky word that describes light as visual volume.

That means that the reading taken by the meter reflects (pun intended) the correct exposure setting needed to render either a specific spot, or the average lighting range within an entire scene, with the correct amount of light to deliver a proper exposure.

The exposure your camera is looking for is referred to as the 18% gray balance. This particular tone is approximately the reflective density of middle gray to human sight. That is the reason why professional photographers usually pack an 18% gray card as a reference in their camera bag.

f/2.8, 1/3200, ISO 400, Lumix Vario G 12-35/2.8, 32mm, Pattern Metering

Colors are seriously influenced by tonality, which is the balance between dark and light tones. The same colors seen in ample light as bright and colorful tend to appear dark and muted in dim lighting. This is quite a natural occurrence that happens with your eye just as it does with your camera.

Remember, your eye uses the color-insensitive rods to see images in dimly-lit areas because the color-sensitive cones don’t see well in the dark.

Setting your camera to capture specific lighting conditions requires accurate feedback from your camera’s light metering system.

Metering systems

Your camera provides at least two types of reflected light analysis: matrix and spot.

Some cameras offer several variations of these two systems. The one you choose will make a significant difference in your photo.

Matrix metering involves light that is averaged or integrated from the entire scene. Spot Metering measures light in a specific part of the scene.

You should understand the fundamental difference between the way your eyes register light and the way your camera’s metering system measures light.

First, your eyes…

When viewing a subject in a dimly-lit area of a scene, your mind tells your eyes where the subject is, and your eyes then focus on that particular area.

This allows the iris (your eye’s equivalent to your camera’s aperture) to dilate, or open. Then adjusting to the dim light and admitting a sufficient volume of light into your eyes it allows you to see the dimly-lit subject in all its detail.

In this way, your eyes actually use a “spot metering” system.

Your camera, on the other hand, must be specifically set to read distinct areas of an image. If your camera is set to Matrix metering, reading a specific spot requires some nimble fingers and quick thinking.

Some of the trickiest pictures to capture involve extreme lighting contrast, that is, scenes that contain both bright sunlit areas and important detail in the dark shade.

Spot Metering

Capturing accurate color when the subject is located in the shadow areas of a scene generally requires setting your camera to Spot Metering and centering the viewfinder on the subject.

f/4.5, 1/80, ISO 200, Lumix Vario G 12-35/2.8, 26mm, Spot Metering

Spot Metering concentrates on a small “spot” area in the middle of the viewfinder to evaluate light. You can usually set the size of this “spot” in your camera’s Preferences.

Spot metering requires your camera to register the light reflecting from a specific area, assuring you that that particular element will be perfectly exposed.

Matrix Metering

Matrix metering considers all lighting in the scene as equally important, with greater importance directed toward the center of the frame. Matrix lighting is usually a digital camera’s default metering mode.

When a scene contains several different areas of light intensity, your camera has to decide on how important that light is to the overall exposure. It delivers a reading that will attempt to capture the full range of light in the scene.

When a bright light appears in the corner of a scene, that light only proportionately influences the overall exposure in the image. When the center of the frame (as seen in the LCD preview window) is darker, and the outside edge of the frame is lighter, the center portion of the scene (usually being the center of focus), heavily influences the overall exposure, allowing more light to enter the lens.

The opposite lighting scenario influences the exposure in the other direction, reducing the overall exposure to favor the lighting in the center portion of the frame. DSLR cameras allow this lighting “favoritism” to be overridden, or redirected, by the photographer.

Matrix metering looks at a scene in segments and makes calculated decisions based on the mix of lighting in the various segments.

While each camera manufacturer has its own patented (and quite secret) metering configurations, most cameras employ some form of matrix metering as their standard exposure system.

f/3.5, 1/160, ISO 200, Lumix Vario G 12-35/2.8, 26mm, Matrix Metering

Cameras cannot expose individual segments of the picture separately, but by keeping stray light from entering your camera’s lens and using your camera’s matrix metering system, the tonal curve (the determination of the middle tone of the scene) can be shifted in such a way as to place more light on the subject.

Matrix and Spot metering modes allow your camera to measure the color and set the proper exposure even in challenging lighting conditions. Most cameras provide this dual-metering capability and provide very specific controls over exposure even though some camera owners are not aware of it.

But remember, relying too much on any of your camera’s Auto functions can compromise an otherwise spectacular color picture. If your camera has both Spot and Matrix metering capabilities, it’s better to choose whether the scene, the subject, or a small portion of the subject should determine your camera’s exposure.

f/5, 1/800, ISO 800, Lumix Vario G 35-100/2.8, 93mm, Center weight-Average Metering

Centre-Weighted Metering

Somewhere between Spot and Matrix Metering is a light metering system called Center-Weighted Metering. This system reads lighting from several points around the frame but gives more preference to an enlarged area in the center of the frame. This form of metering was very prevalent before the more advanced development of Matrix-Metering Systems, and still offers a very viable method of addressing scene lighting.

Regardless of which system you use, the composite (averaged) light value actually measured by your camera will indicate the equivalent tonal value typically assigned to skin tones.

Professional photographers use a handheld meter to read the light reflecting from a subject’s face because human skin color is the general tonal value on which all camera exposures are determined.

f/1.8, 1/2000, ISO 25, iPhone XR,1.8, 4.25mm, Centre-Weighted Metering

Pattern Metering

Always remember that the area which your camera ultimately reads will be captured as a middle-tonal-value. Setting your reading on extremely dark tones will produce those tones as a medium tonal value and thus render lighter tones as very light.

Extremely light areas will, in turn, be exposed as if they were significantly darker than they actually were. They could completely lose detail in the darker areas of the image. So, be very careful about where you take your readings.

Conclusion

Most cameras offer exposure compensation controls that allow the photographer to adjust the overall exposure to override your camera’s metering system. This feature usually provides adjustments, in both increasing and decreasing values, in one-third stop increments. They can be helpful if, and when, the metering system provides consistently under or over-exposed images.

Learning to control your camera’s metering system and apply the correct mode will deliver more attractive and dynamic results. Take control, and you’ll be very pleased with the outcome.

The post Your Camera’s Metering System Explained appeared first on Digital Photography School. It was authored by Herb Paynter.

Digital Photography School

January 9, 2020
Answers to Your Most Common Lightroom Questions

The post Answers to Your Most Common Lightroom Questions appeared first on Digital Photography School. It was authored by Darina Kopcok.

Adobe Lightroom offers ease of use as well as high functionality for novice users and professionals alike. Although many photographers use Photoshop for retouching, they continue to use Lightroom, not only as a global editor but also for its robust organizational capabilities.

Even if you’ve been using Lightroom for a while, you still may be confused about how to get the most out of the software.

Certain questions crop up again and again with Lightroom users. Here are some answers to your most common Lightroom questions.

Should I use Lightroom CC or Lightroom Classic?

Pardon the pun, but this is the “classic” question when it comes to Lightroom, especially with the changes and updates over the last couple of years.

The current “Lightroom” app was formerly known as Lightroom CC. This is a version that is heavily marketed by Adobe but is not necessarily the best version for the serious photographer.

Lightroom Classic is what used to be known as Lightroom CC.

Are you confused yet?

No worries, because this is the most common Lightroom question!

The current Lightroom CC stores your photos on their servers and charges you $ 10 per terabyte. If you shoot a lot, this can really add up quickly.

It also doesn’t offer you full functionality, like the ability to print from Lightroom or export files in any format other than DNG or JPG.

Lightroom CC also doesn’t contain the Map, Book, Print, Slideshow or Web modules. Essentially, it’s suitable for the entry photographer. Beyond that, you’ll find it won’t give you the full suite of tools you need.

Lightroom Classic, on the other hand, is the subscription-based model that you get with your photography plan.

Not only does this version give you great value, but it also provides you with the complete functionality you expect from a post-processing program.

To find out which version you currently have, just go up to –>Help in the top toolbar and select –>System Info from the dropdown menu.

What color space should I use?

The conversation about color space is a lot more lengthy than what can take place here, but you should be aware of the differences and those most optimal for what you’re trying to accomplish with your photography.

The most common color spaces are sRGB and Adobe RGB.

sRGB is the defining color space of the digital world. Anything involving digital graphics, whether it be video games or photographs, is built on sRGB.

If your photos will appear online, you’ll need to use sRGB. If you upload an image in AdobeRGB, it will look desaturated and dull because the browser will convert it to sRGB and do a poor job of it.

However, if you anticipate your work being professionally printed at all, you’ll most likely need AdobeRGB files. This is a color space developed by Adobe Systems and HP to be compatible with CMYK printers.

Stock agencies often request files to be upload in AdobeRGB because they can be converted to sRGB. Just note that the reverse isn’t true.

Both sRGB and AdobeRGB have the same number of colors but the range is narrower in sRGB. AdobeRGB has a 35% wider color gamut, which means prints will be more vibrant and saturated.

ProPhotoRGB encompasses the largest color space available and is ideal when using Lightroom with other programs like Photoshop to process 16-bit photos. 8-bit cannot use the whole available color range. Prophoto is also ideal if you are printing your photos with a professional printery that uses a printer that can print between 7-10 colors.

sRGB vs AdobeRGB on a computer screen

How can I speed up Lightroom’s performance?

An important factor in keeping Lightroom running smoothly is to set it up for optimal performance.

One common Lightroom question is how to speed up Lightroom’s performance.

To start with, as with any software program, you should always make sure it’s updated and that you have enough hard drive space. You need at least 20% free space for Lightroom to run optimally.

Also, make sure your catalog is optimized. Lightroom continually updates the catalog file, but eventually, the data structure becomes less optimal over time. It has an “optimize catalog” option you can enable to improve performance.

To access this option, go to Lightroom -> Preferences and click on -> Performance.

Then click on -> Optimize Performance.

Set up Lightroom to back up on a regular schedule, and set it to optimize the catalog following the backup.

Another tip for improving performance is to import your files as DNG files.

DNG is short for Digital Negative. It’s a RAW file format created by Adobe.

When you convert a file into DNG, Lightroom adds Fast Load Data to the file. This results in a partially processed preview that allows Lightroom to render faster previews in the Develop module.

Adobe claims that a DNG file with Fast Load Data can load up to eight times faster.

Another benefit of converting to DNG files is that they are smaller files than other RAW formats and take up 20% less space on your hard drive.

To enable this Fast Load Data under your Lightroom Preferences tab go to -> File Handling and check off Embed Fast Load Data. Make sure you have DNG selected as the file extension.

Should I use one or multiple catalogs?

Another of the common Lightroom questions is how many catalogs users should use, and often garners much debate.

Some photographers vehemently proclaim that you should only use one catalog, while others insist one catalog is an accident waiting to happen.

When you use one catalog, you risk it becoming corrupt from, for example, constant opening and closing the catalog. It’s actually a rare thing, but it has happened to me a couple of times.

The antidote to this is backing up every day and keeping only the last couple of backups so they don’t clog up your computer.

Catalogs can be a nice way to organize your images. You can, at the very least, have one for your personal photos and another for professional photos.

But you can also have one catalog by utilizing Collections. To me, the whole point of Lightroom is to keep you more organized, so this is a large part of the functionality of the program.

When you have several catalogs, you have to make sure each is properly backed up, which is tedious and adds to your workflow. Also, you cannot have more than one catalog open at a time.

So, in my opinion, it’s easier to back up and manage one master catalog and that you make the most use out of the Collections feature.

Where should I save my files?

The key to success with Lightroom is to keep things as streamlined as possible. It functions as a powerful photo database, but a few missteps can result in a mess.

One of the most common Lightroom questions is where should I save my files?

I recommend that you have a hierarchical folder structure where you have a top-level folder, and in that folder, you have a folder for the year, month, and shoot name – in that order.

This folder structure will make it easy makes it easy to locate certain photos quickly.

It will also allow you to easily back up your photos or copy them to an external hard drive by copying the top-level folder

For example, if you want to back up your entire photo collection to another hard drive, it’s as simple as copying the top-level folder.

Conclusion

Despite how user-friendly Lightroom is, it contains a fair amount of complexity. Knowing all the ins-and-outs will help you get the most out of the software program. Hopefully, this article has clarified some of your most common Lightroom questions.

The post Answers to Your Most Common Lightroom Questions appeared first on Digital Photography School. It was authored by Darina Kopcok.

Digital Photography School

January 8, 2020
How to Plan Your Year in Photography so You Can be More Productive
The post How to Plan Your Year in Photography so You Can be More Productive appeared first on Digital Photography School. It was authored by Simon Bond.

It’s always good to have a plan. Having a structure to what you do in life leads to success, and this is also the case in photography. In this article, you’ll learn how to focus your attention on the things that will progress your photography. Read on and discover how best to plan your year in photography. It’s a simple process, and you’ll find when you have a plan those unexpected moments that make a great photo occur for you more often as well.

Knowing seasonal flowers bloom can help a lot.

Look back to plan your year in photography

The very first thing you need to be doing ahead of planning your year in photography is to take a look at the past. This will help you in several ways, and these you’ll learn about now.
- Avoid mistakes – Reviewing your work to see the things you did wrong means you can plan better for the future.
- Return visit – It’s always good to plan a return visit, perhaps somewhere would look much better in the snow?
- Improvements – Related to eliminating mistakes, but slightly different. In this case, when you learn a new photographic skill, this can be brought into your work.
- Knowledge – Looking through all your work from the previous year will give you a lot of knowledge that you can then use in the planning phase for the upcoming year.
It’s always worth a return visit, and the sun sets in a different position in the sky later in the year.

When is the best season?

One of the most important aspects of planning your year ahead is thinking about photographs that are seasonal. That doesn’t just relate to the changes in the season either. There can be other factors that can either make or break a photo when it’s taken at a specific time.

When you plan your year in photography, you’ll need to consider the following factors. Then make a plan to be at the correct location at the right time to take advantage of your planning.
- Seasons – Spring and Autumn are perhaps the most popular seasons to photograph in, with fall leaves, and flower blossoms popular among photographers. Even in the tropics, the change from dry to wet season can have a dramatic impact on the type of photo you can take. Make sure you know when the monsoon season is!
- The sun – Where the sun sets and rises changes throughout the year. This change is most dramatic the further away from the equator you are. Plan your photo so the sun is in exactly the right place within your frame. You can use a program like suncalc to do this. One of the most dramatic examples of this is when the sun shines down the blocks in New York during Manhattanhenge.
- Milky way – As with the sun, the position of the milky way changes through the year. In the northern hemisphere, it begins the year as a pre-dawn photo and ends the year as an early evening photo. More than this, though, you need to think about the moon. The optimum time to photograph the milky way is during the new moon. So, you need to plan month-to-month to photograph the milky way.
Knowing when festivals will be is important.

Which trip will you take?

Unless you’re very lucky, you’ll only be able to plan a few big trips away per year. You may not even be able to do that, but hopefully, you still have time to visit somewhere amazing that’s more local. The big question, however, is where to go, and when?

Where should you go?

The location you choose will very much depend on the type of photographer you are. Other factors, like the needs of your family, if this trip is a family vacation, also need to be thought of.

If you’re a landscape photographer, then visiting places with incredible landscapes will make a dream trip. That means countries like Iceland, New Zealand, or Vietnam might be top of your list.

On the other hand, if you enjoy street photography, then going to India, and the back streets of somewhere like Calcutta could be for you.

Think about how you want to add to your portfolio, and then plan your trip accordingly.

Festivals offer unique moments that don’t present themselves at other times.

When to go?

Now the next step is planning when to go. Making a trip somewhere is exciting. For some, it’s often once a year, so you’ll want to get this right. What factors will elevate your photography of a particular location above other peoples?
- Seasons – Already mentioned, but worth mentioning again. A location can be transformed by fall tree colors. Your time in a location could equally be ruined by a constant monsoon deluge, and perhaps even flooding.
- Festivals – When you choose a place to visit, do an additional search to see if there are any famous festivals. Festivals offer the chance to take photos that only happen during that festival, offering you the chance for more unique photos.
- Tourists – Can you go at a time that avoids crowds of tourists? Admittedly if you’re photographing a festival, you’ll be surrounded by lots of tourists. However, at other times, it’s best to avoid peak times. It’s cheaper to travel, and you’ll have an easier time taking photos without crowds in them.
This photo needed to be taken when high tide coincided with sunrise. Planning is needed for this.

Try something new

Every year it’s worth thinking about learning something new. What new photography technique or post-processing workflow will take your photography to the next level? Do you need to buy a course, or attend a workshop to realize this improvement? Here are just a few ideas you could try, if you haven’t done so already.
- Light painting – The world of light painting is huge. Get a tripod, and try out some of the night time fun yourself!
- Infra-red – The easiest way to get started with this is through using an IR filter. If you really love it then convert your camera for specific IR use.
- Lensball – Lensballs have become much more prevalent in recent years. Have you tried this interesting form of photography yet?
- Digital blending – The best post-processing technique to take your landscape photography to the next level.
- Cloning – Get creative and try cloning multiple objects into the same photo.
Cloning yourself into photographs multiple times can be fun.

Make a monthly calendar

Now you know what you want to achieve in your photography, it’s time to lay it all out in an organized way. That means using a calendar, so you can clearly see where things fit in your plan for the year.

If you plan to have a project such as the 52-week project, then this would be a great time to lay everything down in terms of what you’re photographing from week to week.

The spring and autumn seasons can be short in terms of peak conditions, so also plan for that when you’ll be out photographing in the best locations.

It’s time to plan your year ahead, and make sure you don’t miss those fall photos!

How will you plan your year in photography?

Whether you’re a generally organized person or not, a plan is always a good idea.

How do you go about planning your year in photography? Are there any tips you would share that will help other members of this community?

Perhaps it involves committing to a photography project of some description. Here at digital photography school, we’d love to get your feedback, together with any photos you have taken in the last year or plan to take this year.

The post How to Plan Your Year in Photography so You Can be More Productive appeared first on Digital Photography School. It was authored by Simon Bond.

Digital Photography School
January 8, 2020
10 Top Creative Photography Instagram Profiles you Should Follow

The post 10 Top Creative Photography Instagram Profiles you Should Follow appeared first on Digital Photography School. It was authored by Jackie Lamas.

Want to add a little more inspiration to your Instagram feed? We’ve compiled the 10 top creative photography Instagram profiles you should follow that will make scrolling much more inspiring!

Listed in no particular order, these profiles can inspire creativity and imagination as they photograph the world around them, either real or created. Check it out!

1. Paul Nicklen

First, in the top creative photography Instagram profiles you should follow is Paul Nicklen. Paul is a wildlife photographer whose work has been featured in National Geographic as well as many other exhibitions throughout the world. Most known for his exploration and documentation of polar bears and arctic wildlife, Paul is a suburb fine art photographer and one to follow on Instagram!

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A post shared by Paul Nicklen (@paulnicklen) on Dec 16, 2019 at 4:07am PST

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A post shared by Paul Nicklen (@paulnicklen) on Nov 27, 2019 at 10:26am PST

2. Laura Zalenga

A creative photographer that combines reality with imagination and great storytelling, Laura Zalenga is one to follow along through her creative journey. She is also an Adobe Creative Resident giving followers an insight into what it means to have a residency at Adobe.

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A post shared by laura zalenga (@laurazalenga) on Apr 12, 2019 at 8:42am PDT

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A post shared by laura zalenga (@laurazalenga) on Dec 9, 2019 at 9:02am PST

3. Humans of NY

Part documentary, part humanitarian, Humans of NY is an account that inspires us to tell stories about the most unlikely of people. The photographer also travels and tells stories of people from all over the world. Sharing lots of different perspectives of ordinary people who sometimes don’t show their faces and whose stories connect with many followers.

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“My husband hasn’t been home in 153 days. There’s a legal case right now, so I can’t say exactly what happened. But he suffered a catastrophic brain injury in July. And so many of his memories are gone. Some days I’ll go visit him and it just won’t stick. He still remembers my name, but his memories about me are all wrong. Or the details are mixed up. But he’s one hundred percent convinced they’re true. He can’t be corrected. He’s steadfast in his memories. Right now I feel like we’re on two different tracks. I’m just trying to find the places where they merge. He recognized our wedding ring yesterday, even though it was around my neck—that was big for me. It was a moment when our realities came together. Our 45th anniversary is this Saturday. I’m just hoping it will be as normal as possible. I’m going to cook him dinner. Hopefully he’ll eat. And maybe we can share some of the same memories. I’m not sure if that’s enough for me, but it has to be. It has to be enough. Because he’s not going anywhere. And neither am I. We’re in this together.”

A post shared by Humans of New York (@humansofny) on Dec 19, 2019 at 11:15am PST

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“I vividly remember watching cartoons as a kid and seeing Bugs Bunny standing on a lily pad, playing ‘Hello My Darling,’ with a banjo in his hand and a drum on his back. I’ve always wanted to play music myself. But it’s so hard to make a living at it. For awhile I was playing the banjo in restaurants. But I couldn’t make it work. So I thought I’d try the Bugs Bunny thing.”

A post shared by Humans of New York (@humansofny) on Dec 4, 2019 at 4:16pm PST

4. Minh T (thismintymoment)

Minh T is a superb photographer combining geometric architecture with a clean portrait creating a style all of his own. Minimalistic in nature but drawing the eye to the focal point using negative space and clean lines. This is a profile on Instagram worth following.

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Lost in an Escher dream ?

A post shared by Minh T (@thismintymoment) on Oct 22, 2019 at 4:31pm PDT

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A new set of images inspired by the bold diagonal lines of the most provocative letters of the alphabet, the letter X, which happens to be the namesake of this seductive scent from the house of @clivechristianperfume. Spicy and woody, it leaves a strong impression — full of strength and sensuality . #CliveChristianPerfume #DiscoverClive #CliveChristianX #sponsored #architecture #icons

A post shared by Minh T (@thismintymoment) on Nov 15, 2019 at 7:01am PST

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A post shared by Minh T (@thismintymoment) on Jul 20, 2018 at 6:31am PDT

5. Tropicophoto

This duo brings color, creative imagination, and narratives that tell stories to a whole different level. Their entire feed is an explosion of color.

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A post shared by Forrest & Michelle (@tropicophoto) on Nov 17, 2019 at 7:11am PST

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A post shared by Forrest & Michelle (@tropicophoto) on May 7, 2019 at 4:59am PDT

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A post shared by Forrest & Michelle (@tropicophoto) on Dec 7, 2019 at 6:59am PST

6. Eva Kosmas Flores

Eva is a food stylist, cook, and photographer that brings moodiness and a bit of warmth to her photography. She also gives workshops on how to better your food photography even if you’re not a photographer. Her presets also set her photos apart giving them that dark and inviting feel.

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A post shared by Eva Kosmas Flores ? Photo Food (@evakosmasflores) on Dec 5, 2019 at 8:16am PST

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A post shared by Eva Kosmas Flores ? Photo Food (@evakosmasflores) on Oct 22, 2019 at 8:57am PDT

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A post shared by Eva Kosmas Flores ? Photo Food (@evakosmasflores) on Nov 17, 2019 at 8:41am PST

7. Peter Hurley

Peter Hurley is a renown headshot photographer giving workshops all over the world to photographers helping them master headshot portraiture. He is down to earth and fun to follow along in Insta Stories for behind the scenes of his shoots, travels, and life.

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A post shared by Peter Hurley (@peter_hurley) on May 9, 2019 at 10:23am PDT

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A post shared by Peter Hurley (@peter_hurley) on May 15, 2019 at 12:43pm PDT

8. Stormy Solis

Stormy is a portrait photographer who has carved her own style creating beautiful images of connection, love, and intimacy among families and couples. Truly captivating her imagery inspires her followers to take a more intimate approach to portrait photography.

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A post shared by Stormy Solis (@stormysolis) on Dec 12, 2019 at 8:13am PST

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A post shared by Stormy Solis (@stormysolis) on Oct 4, 2019 at 8:31am PDT

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A post shared by Stormy Solis (@stormysolis) on Dec 2, 2019 at 12:36pm PST

9. Reuben Wu (itsreuben)

Reuben Wu is the creator of the Aerogliph. Using the light from drones and slow shutter speed, he light-paints in mid-air creating the most interesting and thought-provoking images.

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A post shared by Reuben Wu (@itsreuben) on Nov 15, 2019 at 11:19am PST

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A post shared by Reuben Wu (@itsreuben) on Mar 18, 2019 at 5:55am PDT

10. Donatella Nicolini (donatellanicolinistudio)

And finally, in the top creative photography Instagram profiles you should follow is Donatella Nicolini. Donatella is an Italian portrait photographer focused mainly on fine art maternity. Her images are paint-like and breathtakingly timeless!

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A post shared by DONATELLA NICOLINI (@donatellanicolinistudio) on Jul 2, 2018 at 7:09am PDT

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A post shared by DONATELLA NICOLINI (@donatellanicolinistudio) on Mar 24, 2019 at 11:25am PDT

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A post shared by DONATELLA NICOLINI (@donatellanicolinistudio) on Jan 11, 2018 at 8:41am PST

In conclusion

Instagram is a great source of inspiration and there are some great photographers making incredible photographs! Add these Instagram profiles you should follow to your list of inspiring photographers on Instagram!

Do you have others to add to ‘Instagram Profiles You Should follow’? If so, please share in the comments!

The post 10 Top Creative Photography Instagram Profiles you Should Follow appeared first on Digital Photography School. It was authored by Jackie Lamas.

Digital Photography School

January 8, 2020