Category: Photography

Black Friday and Cyber Monday Photography Deals
The post Black Friday and Cyber Monday Photography Deals appeared first on Digital Photography School. It was authored by Darren Rowse.

It’s that time of the year – if you’re looking for a good deal, then you’re sure to be on alert for the next few days! Here at dPS we save our best deals for our dPS Holiday Deals over 12 days in December. But in the meantime, here’s a great saving on one of our most popular collection of eBooks.

Save 70% on our Black Friday Cyber Monday Portrait Photography Bundle
Tens of thousands of photographers from all around the world have significantly improved their portrait photography with this series by Gina Milicia. This is your chance to own all 5 eBooks plus some great bonuses:

In this bundle you get Gina’s
- 5 portrait photography eBooks
- 14 recipes for amazing portraits
- 67 printable portrait posing guides
- 12 bonus Lightroom presets
All up it’s worth $ 123 but today it’s yours for just $ 37!

That’s a SAVING of $ 86 (70% Off).

Check out full details on the books and bonuses now
LEARN MORE

More deals from our partners

And some of our trusted partners have deals of their own too, for which we receive an affiliate commission.

Photzy always have great deals and if you’ve previously missed out on their famous Snap Cards you can get them for 87% off and the newer Action Cards set for 88% off right now on their Black Friday Deals page.
If you recently did our Landscape and Nature Photography course, then definitely check out Johny Spencer’s “Ultimate Lightroom Workflow Bundle”, just $ 37 (save 53%). You’ll get:
- 80 Lightroom Workflow Presets
- 10 videos and case studies
- Member-only discounts on 3 Colors products
- The original RAW files so you can edit along with the videos
Or save 71% on Picture Correct’s Photography Tutorial eBook. An in-depth eBook on how to capture amazing photography anywhere. Over 250 pages of photography tips & tricks from industry insiders.
Looking for Photography Gear Deals?

We took a quick look at what Amazon is offering. We get a commission if you buy anything through our links below, at no extra cost to you.

There is a big sale happening in their Camera, Photo and Video section. Their specials are changing all the time so do check back later to see what else they’ve added. Or take a look at our most popular digital cameras and gear page for some hints as to what others are buying. Many of the cameras listed there are currently on sale at Amazon too.

Also, B&H Photo’s Black Friday Deals can instantly save you $ 600 on a Canon EOS 5D Mark IV DSLR Camera Body with Accessory Kit or $ 700 on an Apple 27″ iMac with Retina 5K Display (Mid 2017), plus many more deals!

Happy clicking!

The post Black Friday and Cyber Monday Photography Deals appeared first on Digital Photography School. It was authored by Darren Rowse.

Digital Photography School
November 28, 2019
How to Print a Professional Portfolio So You Can Impress Your Clients

The post How to Print a Professional Portfolio So You Can Impress Your Clients appeared first on Digital Photography School. It was authored by Darina Kopcok.

Marketing yourself as a commercial or editorial photographer means that you need to print a professional portfolio and promotional materials to show clients such as ad agencies, magazines, and major brands that you want to work with.

There seems to be a perception out there that marketing is done solely online these days and that photographers no longer need to print a professional portfolio.

This is not true.

Some established photographers have a roster of repeat clients that they rely on to keep their businesses afloat. But if you’re looking for new clients, or just entering the industry, you need a printed book to show prospective clients your work.

Yes, a website is an important selling tool, but bringing an iPad to an agency meeting can be perceived as amateurish.

These kinds of top-echelon clients want to see how your work holds up in print, which is far less forgiving than a computer screen. They also enjoy experiencing your work directly through a tangible medium like a printed book.

Maybe you’re not a commercial photographer but shoot consumer, like wedding or portrait photography. In this case, having prints or a printed book to show your clients can also have a positive impact. It can drive your client to buy from you and they are likely to perceive you as a photographer who is head and shoulders above the rest.

Types of books

Before we dive into the variables around printing your work, let’s talk about the portfolio itself.

As a commercial photographer, your best bet is to purchase a screw-post portfolio where you can add and subtract pages every time you update it with new work.

My portfolio, pictured above, is a bamboo cover screw-post portfolio manufactured by Shrapnel Design. The company is based in Vancouver, Canada, but ship to most countries via FedEx or TNT.

Other companies make similar portfolios for photographers, so do your research and find the best one for you.

The point is that you want to be able to update your portfolio periodically by printing pages of new work and swapping them out.

You can also get a portfolio printed in a photo book. This is a less expensive option, but you’ll need to re-do the whole thing if you want to update your portfolio. Which you should do periodically.

Just be sure to get a high-quality book printed. The design and paper are very important. It needs to be a visual and tactile experience.

A couple of suggestions are the books by Artifact Uprising and Saal Digital.

Get a lay-flat book in landscape orientation and in a large size, such as 14X11.

Choice of paper

Your choice of paper for your printed book is very important.

The type of paper you choose will really depend on the genre you shoot and which paper will show your work to the best advantage. There are a variety of finishes and weights available.

For my portfolio, I used Smooth Matte Pina Zangaro paper by MOAB. It’s scored and punched for use in all standard format screw-post binders. The paper is archival quality, pH neutral and water-resistant.

Archival quality paper is meant to last. Your prints will not fade and shift quickly when exposed to light.

Some might argue that archival paper is not necessary because you’ll be routinely swapping out your pages if you get a screw-post portfolio. But most good papers are archival quality anyway. Archival paper is more important when you’re selling prints to hang on a wall.

Before you settle on a paper, order some samples from the supplier to check quality or go to the printer you wish to use and take a look at their papers.

Also, make sure that they’ll punch and score the paper for you if it doesn’t already come that way. Otherwise, you can make a mess out of your prints if you don’t know how to do this yourself.

If you purchase a photo book, Eggshell matte paper, like Mohawk Superfine, is a great choice.

Where to print

Unless you’re already a printing dynamo and have an awesome printer that you paid at least $ 1K for, get your book printed by a professional printer that caters to photographers.

Do your research and, if you can, ask other photographers you might know in your community for their recommendations.

It’s important that you don’t spare expense. Get the best quality printing that you can. The quality of inks can make a big difference in the portrayal of your work.

There are a lot of great online services, but a professional printer in your community can give you personalized service that will make the difference in how your prints turn out. They can advise on papers and inks and any potential problems.

Make sure that you print one of the spreads as a proof before committing to handing over the whole project.

Monitor calibration

Before you start designing your portfolio, you have to prepare your images.

It goes without saying that you should be working on a calibrated monitor.

This is a step that a lot of people tend to skip, but unless you’re working on a monitor that is rendering colors correctly, you can end up with tones and colors that are way off base once you print them.

Each device will display colors differently. Calibrating your monitor will make sure what you’re seeing is correct, and that you and your printer are both following a standard that will ensure the same result.

A color calibration device like Color Munki is easy to use. Calibrate your screen regularly and definitely before you print anything or send images to clients. If they complain that the images don’t look right, you’ll know that what you sent them is correct.

Color management and resolution

You need to prepare your images properly when sending them to a printer.

Always check with your printer before preparing your files. Ask them the format and color space that they need your files in.

This will be dependent on the type of printer they use. If they use a printing press, they will likely require your file in CMYK.

However, if they use large format printers with up to 10-inks, they may require anything from Adobe RGB through to ProPhoto.

Using the TIFF file format is usually better than using the JPG format, as it does not compress the image data. But again, check with your printer.

You’ll also need to send the printer high-resolution images, with at least 300 dpi (dots-per-inch). The more dots, the higher the quality of the print in terms of detail and sharpness.

For more in-depth information on this, read: How to Prepare Images For Publication – Part One

Conclusion

To print a professional portfolio can be very costly. This is a case where you need to spend money to make money. If you want to attract the clients with the deeper pockets, you’ll need to get in front of them with a professional-looking book that shows your beautiful photography in the best light.

Do you have any other tips on how to print a professional portfolio that you’d like to share? Do so in the comments section!

The post How to Print a Professional Portfolio So You Can Impress Your Clients appeared first on Digital Photography School. It was authored by Darina Kopcok.

Digital Photography School

November 27, 2019
8 Tips to Minimize Memory Card Problems

The post 8 Tips to Minimize Memory Card Problems appeared first on Digital Photography School. It was authored by Megan Kennedy.

Memory cards are a crucial component of digital photography. Here are 8 tips to help minimize memory card problems.

The unfortunate result of a memory card issue

What is a memory card?

A memory card is a storage accessory that records the image data you make while taking photographs with a digital camera.

Square or rectangular in shape, a memory card slots into your camera and reads/writes each image file you create.

At the end of a shoot, the memory card can be removed from the camera and connected to a computer where images are then transferred for viewing, editing and storage.

There are many different memory cards built to suit different needs, camera models and budgets.

To have an in-depth look at memory card specifications, check out our article here.

Memory cards are no doubt an amazing piece of technology, but they do require care. Fortunately, a bit of research can help minimize memory card problems.

1. Use a good card reader

As I mentioned before, there are various types of memory cards, each with different specifications and levels of quality. There are also card readers of different qualities to match.

Card readers are the devices that transfer data from the memory card to your computer.

While card readers seem like a pretty straight-forward piece of equipment, you don’t want to run the risk of corrupting files as you upload them to the computer.

Investing in a good memory card reader can save a lot of stress down the road.

2. Purchase quality cards

Uh, oh…the result of using a cheap memory card. Unfortunately, this image couldn’t be saved.

Purchasing a good memory card is key to safeguarding your images. While quality cards may be more expensive, a cheap memory card can compromise your photography.

Brands like SanDisk and Lexar are a go-to for professional photographers. Steer away from deals that look ‘too good to be true’ or obscure brands with poor reviews.

3. Eject your memory card from the computer safely

While it might seem harmless to remove your memory card from the computer without ejecting, you could be putting your next shoot at risk.

Not ejecting your card may result in corrupted data or card failure. To minimize memory card problems, always eject your card through the computer before removing it.

4. Turn your camera off before removing your memory card

Another simple way to minimize memory card problems is to turn your camera off before removing your card. Removing your memory card while the camera is still on can interrupt the writing process and potentially corrupt your image files.

In addition, avoid shooting while your camera battery is low. If your camera runs out of power while reading/writing it can be detrimental to all the data on your memory card.

5. Don’t completely fill your card with images

It sounds counter-intuitive, if you have the space, why not fill the card…right?

The fact is, just like a maxed-out hard drive, a card nearing capacity under-performs, and this can compromise your images.

To avoid this issue, invest in a large memory card, keep an eye on your image-count, don’t fill your card over 85-90% capacity, and always have a spare card at the ready.

6. Don’t switch devices without formatting

Switching a memory card into different camera devices risks compatibility issues that can corrupt the data of the whole card.

If you need to change equipment, formatting a card before use or using a new memory card is the safest way to go.

7. Don’t delete files in-camera

If you take a photograph you aren’t too keen on, it’s tempting to erase the image then and there. However, deleting photographs individually in-camera can result in corrupted images.

Going through and deleting images can also soak up valuable shooting time. Wait till you have uploaded your files to the computer before you start deleting content.

8. Format your memory card before using it

At the start of a new shoot, you want a memory card that is ready to read/write plenty of new data.

To do this properly, it’s a good idea to format your card in-camera first.

Selecting the format option in your camera menu will clear the card, readying it for new image files.

Formatting before a shoot also minimizes the likelihood of scrambling new images with lingering data left on the card from previous shoots.

Conclusion

Memory cards are amazing little pieces of technology. With a few simple steps, you can minimize memory card problems, allowing you to focus your attention on image-making instead!

Do you have any other tips for minimizing memory card problems? Or have you had corrupted cards and lost files? Share with us your tips and stories in the comments.

The post 8 Tips to Minimize Memory Card Problems appeared first on Digital Photography School. It was authored by Megan Kennedy.

Digital Photography School

November 27, 2019
Back to Basics: Deciphering Shutter Speed and Motion
The post Back to Basics: Deciphering Shutter Speed and Motion appeared first on Digital Photography School. It was authored by Adam Welch.

One of the things I love about photography is its simplicity. Now, I know that might be a contested statement in today’s seemingly endless world of digital photography. There are hundreds of cameras, likely thousands of lenses and virtually limitless combinations of the two. Not only that, but there are so many ways we can use our cameras. Landscapes, portraiture, street photography, architectural, abstract, wildlife, nature…the list continues. And yet, for all it’s technological and creative facets, the basics of photography remain alarmingly simple even today.

The principles of aperture, shutter speed, and ISO constitute something called the “Exposure Triangle” and yes, I know, you’ve probably heard of it before today. The thing is, it is often these most fundamental nuances of photography that present themselves with the most difficulties, especially for beginners (and some pro) in photography.

It’s shutter speed and motion that we will be discussing today in this edition of “Back to Basics”. To be more precise, we’re going to be talking about the ways shutter speed relates to motion so that you will gain a more concrete understanding of how shutter speed affects your photos.

Shutter speed or shutter time?

Many years have passed since then, but I still remember how confused I was the first time I understood that shutter speed had absolutely nothing to do with how fast the shutter of my camera opened and closed.

Up until then, I had intuitively assumed that some cameras were simply made with faster shutters than others. I mean, come on, give me a break! I was new.

Anyway, I finally realized that shutter speed refers to the amount of time the shutter remains open…and not how fast it mechanically opens or shuts. So many concepts about shutter speed seemed to click (pun intended) in my mind.

One of the greatest epiphanies brought about by this sudden revelation was the direct relationship between the time the shutter is open and how apparent subject motion became within my images. In reality, Einstein was right when he put forth that everything is indeed relative.

So, in a way, there are no slow or fast shutter speeds. There are only longer or shorter shutter times relative to the inherent motion of your camera and subject.

Let’s drill down a little deeper on this.

Shutter speed and the effects of motion

For just a moment, let’s pretend you are the fastest runner in the world – absolutely no other human can beat you in a race. That’s great.

But now I want you to picture yourself running next to a cheetah.

Suddenly, your speed doesn’t seem quite so fast, but let’s not stop there. Let’s say that cheetah decides to race the world’s fastest jet plane, and the jet wins every time. Then put that furiously fast jet up against the speed of light, and, well, you get the idea.

The point is, your camera’s shutter speed interacts with motion in the exact same fashion.

A shutter speed (or think shutter time) of 1 second is no problem at all when your camera is mounted securely on a tripod. Take the camera off the tripod and shoot handheld at the same shutter speed, and it becomes difficult not to introduce camera shake into the image.

The same is true for subject movement; we can blur or freeze motion depending on our selected shutter speed.

Perceivable subject motion is due to the relationship between the amount of time the shutter is open and the speed of the subject itself.

Practical examples

Let’s pick a shutter speed randomly; we’ll say it’s 1/60th of a second. If you’re shooting a still object which has absolutely no motion in relation to your camera, like this switched off ceiling fan, then everything appears calm and still.

For the time being, we’re just going to pretend that you love shooting photos of ceiling fans. So you decide to snap another image with the fan now switched on, and the situation changes.

The blades of the fan are now moving through space much faster than 1/60th of a second shutter speed can capture with the result being perceived blurring of the blades.

At 1/60th of a second, the blades have blurred

This is where Einstein sweeps in to save us. All we have to do to take control of the motion of the blades is to make our shutter speed faster than the speed of those ceiling fan blades. Let’s dial it in.

At 1/125th of a second, the motion begins to become less pronounced…

…and 1/500th of a second all but completely freezes the motion of the blades. Another stop faster (1/1000th) and the motion would be completed arrested.

The implications of this are absolutely profound for you and your photography. Once you understand that shutter speed is the deciding factor in controlling the amount of perceived subject motion in your images, you can then control how apparent that motion appears in your photo.

How does shutter speed relate to ISO and aperture?

So how exactly does the shutter speed play into the whole Exposure Triangle thing? I’m glad you asked.

All of the pieces of the Triangle: ISO, aperture, and shutter speed; all of them determine the amount and duration of light that enters your camera. Each of these factors complements each other in that you can achieve similar exposure outcomes by adjusting the variables in relation to one another. In our case, since we’re dealing with shutter speed, we’ll be needing to adjust our aperture and/or ISO to compensate for our shutter speed selection.

Entire articles (and books) here at Digital Photography School have been written on each of these subjects, so I’ll be brief. But be sure to check out this cool cheat sheet on the Exposure Triangle for more info.

Simply put, for every full stop of adjustment in shutter speed you make, you are either doubling or halving the amount of light which enters your camera. This means a shutter speed of 1/250th of a second is twice as fast and lets in half the amount of light as 1/125th of a second.

Alternatively, a shutter speed of 1/60th of a second is approximately twice as slow as 1/125th, and therefore lets in double the amount of light. So, 1/250th of a second is one stop faster than 1/125th of a second with 1/60th of a second being one stop slower.

You still might be saying, “but what does this have to do with aperture and ISO?” We’re about to find out, I promise.

The connection comes into play when you realize that ISO and aperture are also measured in stops, albeit in slightly different ways, but in stops nonetheless. This means that we can directly relate shutter speed to our ISO and aperture by thinking in terms of stops.

Let’s say we are shooting a moving subject at 1/60th of a second at F/5.6 and ISO 100. The image is exposed correctly, but the subject is blurred. We find that a shutter speed of 1/250th of a second (two stops faster) will freeze the motion, but it also leaves our scene underexposed by two stops since we have effectively decreased the amount of light by a factor of four.

To maintain our exposure, we must somehow compensate for the reduced amount of light from the faster shutter speed by either increasing the ISO by two stops or shoot an aperture that is two stops wider than F/5.6. So to maintain the same exposure, our new exposure settings would be either 1/250th of a second at F/2.8 and ISO 100 or 1/250th of a second at F/5.6 and ISO 400.

Some considerations for shutter speed

Here are a few helpful tips that you should keep in mind when it comes to shutter speed. Some of these are simply good everyday practices, and others might be new to you.
- The longer the focal length of your lens (higher zoom), the more apparent subject motion and camera shake will become. So plan accordingly if you are intending to employ longer shutter speeds by making sure you have a sturdy tripod and even a remote shutter release for your camera.
- At times there will be situations when you can’t equalize your exposure using your camera settings alone and still achieve the level of motion you want for your final photos. This is where a good quality neutral density filter will truly be worth its weight in gold. I recommend keeping at least one in your bag no matter what sort of photography you shoot.
- When shooting long exposures of the night sky, make use of the “600 Rule” to approximate the longest shutter time possible before stars begin to streak based upon your lenses’ focal length. The 600 Rule states that 600 dived by your focal length will give you an approximate maximum shutter speed from which you can base your other exposure factors.
- Reduce camera shake when shooting handheld by implementing what’s known as the “Reciprocity Rule”. Simply put, this guideline states that you should not shoot a shutter speed which is slower than 1 over your focal length. This means that with a full-frame sensor and an 85mm lens, you should never shoot slower than 1/85th of a second. If you’re using a crop sensor camera, then the formula would be 1 over (focal length x sensor crop factor). You can find the crop factors for virtually all digital camera sensors with a quick web search.
- Use mirror-lockup (if your camera has this feature) when making long exposures. In DSLR/SLR cameras, the mirror mechanism flips out of the way during exposure. This can cause camera shake, especially when using a lightweight camera and lens setup. Mirror-lockup moves the mirror out of the way prior to exposure so that the camera remains as steady as possible.
- Cover your viewfinder during extremely long exposures. Much like mirror-lockup, DLSR/SLR cameras make use of an optical viewfinder which means light can creep in through the viewfinder during long exposures. It’s a good idea to cover the viewfinder with tape, a lens cloth, or the dedicated viewfinder cover that comes attached to some camera straps should you be shooting ultra-long exposures (upwards of a minute or more) to ensure stray light doesn’t ruin your exposure. Some older film DSLR cameras actually have a build-in viewfinder cover for this exact reason.
Summing up shutter speed

If you’re just getting into photography, I hope this article on deciphering shutter speed and motion helps to demystify some of the enigma surrounding shutter speed (time) and aids you in becoming a more confident photo maker.

If you’re a seasoned photographer, then hopefully the information here will serve as a gentle refresher course on just how simple it is to control your photos using only the most basic of photographic principles.

Shutter speed is directly related to motion and therefore becomes a relative construct based on the inherent motion in our scene (or camera). Depending on the desired outcome, we can control the perception of this motion using our shutter speed.

Shutter speeds that are relatively slower than the motion in the scene will cause blurring. Shutter speeds relatively faster than the motion within the scene will freeze that motion. That is truly priceless knowledge, and once you learn how shutter speed interacts with aperture and ISO, you will be able to have virtually complete control over your photography. Once you understand the basic fundamentals of photo making, everything else becomes almost secondary.

Do you have any other tips on shutter speed and motion that you would like to share? Please do so in the comments!

The post Back to Basics: Deciphering Shutter Speed and Motion appeared first on Digital Photography School. It was authored by Adam Welch.

Digital Photography School
November 27, 2019
How to Take Beautiful Product Photos for Your E-Commerce Website

The post How to Take Beautiful Product Photos for Your E-Commerce Website appeared first on Digital Photography School. It was authored by Matthew Grahame.

The internet is a very visual medium. You could have the most beautifully written copy, but photos convert customers. In this online shopping era, visitors rely on photos to prove the quality and value of your products. So they can mean the difference between a sale and a pass. To make your products stand out in a sea of e-commerce sites, here’s a guide to taking beautiful product photos like a pro:

What makes beautiful product photos?

The best product photos are clear and detailed, with no distracting backgrounds or features. To make sure the focus is on the products, take your photos against a white background. This not only draws the viewer’s attention to the item they’re thinking about purchasing, but it allows for consistency across your range and website.

Speaking of consistency, try to photograph your products in the same light. And to help your shoppers better visualize the products, snap them from as many angles as possible. This is the next best thing to seeing the products in person.

By experimenting with different angles, it’ll also give you an idea of which photo should be the main or ‘hero’ image.

Practical tips and techniques for product photography

1. Use the right gear

If you have a choice between a smartphone and a mirrorless or DSLR camera, reach for the dedicated camera. As sophisticated as smartphones are these days, a professional camera will help you to do your product justice.

You don’t need to spend a fortune on a camera. All modern mirrorless and DSLR cameras capture high-quality photos and are fitted out with manual features that you can play around with for your shoot (more on this in a minute).

To improve your e-commerce site, consider investing in these accessories, too:

Suitable camera lens

Depending on your camera, you may be able to switch out the lenses as needed. If you’re photographing products close-up, a macro lens will help you to showcase the finer details. On the other hand, prime lenses are capable of shallower depths of field, so they’re brilliant for highlighting specific parts of your product. They also separate the foreground from the background for crisper photos.

Avoid wide lenses (like the ones you might use for landscape photography), because they’ll distort your products.

Tripod

A sturdy tripod will leave you with sharp, blur-free photos and allow you to comfortably shoot from all angles. A standard tripod with a three-way head should do the trick. If you’re setting up a product photography table, a mini tabletop tripod is a cheaper option.

White background

As we mentioned, a plain white background is the best starting point for professional product photography. You can purchase a high-quality background. Alternatively, if you’re going down the DIY route, a roll of white paper from your local art store will work just as well.

Set up the paper as a sweep, and use strong tape to hang your makeshift background. The major benefit of a sweep is that if it gets dirty, you can just cut off the dirty part and roll a new piece down.

Lighting

Whether you’re using natural light or artificial lighting, to get the best shot, you’ll need to eliminate harsh shadows. A reflector or bounce card is an inexpensive and effective way to direct light in your favor and minimize shadows.

If you choose artificial lighting, try to avoid the built-in camera flash – it may produce dark shadows. Instead, go for external lighting options, such as a camera-mounted flashgun, LED lights, or a larger studio lighting setup.

The goal is soft, even lighting, so experiment with fill-light and bounce to find what works for you and your products.

Pro Tip: Think about your workspace. You’ll need a table to display your products on. We suggest positioning it in front of a wall and preferably by a window to make the most of the natural light.

2. Adjust your shooting style for product photography

Now that you’re all set up, it’s time to start shooting! If you’re new to photography, or attempting product photography for the first time, patience is key. Like any type of photography, it can take a while to get the hang of it – but these tips should help.

Switch on Manual Mode

Many of us are used to letting the camera do the work for us, but shooting in manual is a valuable skill.

By tweaking the settings, you’re more likely to end up with photos that suit your desired style. If you’re familiar with manual settings, start by changing your f/stop to a higher number (for the greatest depth of field), and adjust your exposure until you’re happy with the preview image.

If you’re not completely comfortable with manual mode, try using Aperture Priority. With this setting, all you have to do is set the aperture – and your camera does the rest. Again, a smaller aperture will keep your products crisp and in focus.

Snap lots of photos

The more options you have at the end of the day, the better! For a photographer, there’s nothing worse than flipping through your photos later on, only to realize that your hero shot isn’t as good as you thought it was, or you’ve forgotten to shoot from a certain angle.

Step outside for some lifestyle photos

Seal the deal with a few photos of your product in action. These are called ‘lifestyle’ or ‘in-context’ images, and they’re great for reminding viewers why they clicked through to your site in the first place. They add life to your products, and you could probably do with the air by now anyway!

Make sure the backdrop matches the products. For example, whimsical summer clothes work well with natural landscapes, while suitcases might suit a busy city setting.

3. Spend time on post-production

Post-production is crucial for putting the finishing touches on your images. It doesn’t need to be complicated. Once you’ve chosen a set of images you’re happy with, edit them for polish. This could mean tweaking the exposure, correcting the color, or removing flaws or mannequins.

To begin, learn the post-production basics, including levels and curves. When you’re ready, consider enrolling in an editing course.

Pro Tip: For uniformity, choose a size to crop and output your images at, and stick with that across your website.

Take product photos like a pro

Entice your customers to click ‘add to cart’ with beautiful product photos. With these tips, you’ll be well on your way to creating beautiful product photos – and save money in the process!

The post How to Take Beautiful Product Photos for Your E-Commerce Website appeared first on Digital Photography School. It was authored by Matthew Grahame.

Digital Photography School

November 26, 2019
3 Things Aperture Mode is Perfect For in Photography
The post 3 Things Aperture Mode is Perfect For in Photography appeared first on Digital Photography School. It was authored by Mat Coker.

Many new photographers are overwhelmed by all the settings on their camera. But what if you could ignore most of the settings on your camera and just choose one to experiment with? Where would you begin?

I suggest you begin by experimenting with the aperture because this setting has a huge effect on your photos.

Once you know the things Aperture Mode (or Aperture Priority) is perfect for, you’ll have increased your creative possibilities and simplified the camera setting problem.

Here are three things you can do with Aperture Mode.

But first, how to put your camera on Aperture Mode

For most cameras, to put your camera on Aperture Mode you need to turn the dial to A in order to take control of your aperture (Av for Canon).

This is a Nikon camera. On Canon, you’re looking for Av

When you look at the screen on your camera, you’ll notice a number with an F beside it. This is your aperture value. Use the scroller on your camera to change that number. Experiment and see how high and how low you can make that number go.

When that number is smaller (1.8, 3.5, 5.6) the aperture is wider or more open.

When the number is larger (11, 16, 22) the aperture is narrower or more closed.

As we move through the tips, you’ll see how opening or closing your aperture affects your photo. When you’re intentional about setting your aperture, it will drastically change your photo.

1. How to create background blur (or keep the background in focus if you prefer)

Think in terms of opposites for a moment.

Normally, when we take a portrait, we only want the person to be in focus. But when we photograph a landscape, we want the whole photo to be in focus.

I’ll show you how you can use aperture to create background blur for portraits. I’ll also show you the opposite; how to keep the whole scene in focus for landscapes.

The principle is as simple as this: open your aperture for portraits, close it for landscapes.

PS – the technical term for background blur is bokeh (like a bouquet of flowers).

Remember to open your aperture to create background blur in your portraits. Opening your aperture means setting it to the smallest number possible (probably 1.8 or 3.5 or 5.6). I set the aperture to F/2.5 for this portrait.

F/1.2 using the 56mm Fuji prime lens

Remember to close your aperture to keep the whole scene in focus for landscape photos. Closing your aperture means setting it to a larger number such as 11, 16, or 22. I set the aperture to F/11 for this landscape photo.

The aperture is set to F/11 for this landscape photo.

How to achieve better bokeh (background blur)

The first thing I told you about bokeh is that you need to open your aperture all the way. That means that you need to set it to the smallest number possible. That number might be 5.6, 3.5, or even 1.8, depending on your lens.

However, opening your aperture all the way isn’t always enough. So I’ll show you a formula for getting an even better bokeh.

My goal for the following portrait of Batman is to have him in focus with a nice blurry background.

There are four simple steps involved; let’s look at them one at a time.

1. Open the aperture

The aperture is set to 3.5

Now, I opened the aperture all the way, but the building isn’t really out of focus. The back part of the building is out of focus, but the part directly behind Batman is still pretty crisp.

The biggest problem is that he is too close to the background, so the second step will make a huge difference.

2. Bring Batman away from the background

Batman has been moved away from the background.

Now the building is out of focus, but let’s make it even more out of focus.

3. Zoom in

So far, I set my lens to its widest angle of 18mm. When I zoom all the way to 55mm, the background will go more out of focus.

The aperture has closed a little bit to f/5.6 because I zoomed in. This will happen with most lenses.

As well as blurring the background, zooming in also gave the photo a more compressed look.

Would you like the background to be even more blurry? Is it even possible?

4. Get closer

Yes, it is!

The closer you get to Batman, the more out of focus the background becomes.

I used my Olympus Tough TG-6 for this photo. The microscope mode allows me to get very close. The aperture is set to f/6.3 because I zoomed in.

For great bokeh just remember:
- Open your aperture
- Step away from the background
- Zoom in
- Get closer
Controlling your background blur is just one of the things Aperture Mode is perfect for. Now let’s see what else it can do.

2. Starburst effect

The starburst effect adds interest to your photos because we don’t normally see this with our eye.

To achieve the starburst effect, it’s as easy as closing your aperture.

For this landscape photo, I closed the aperture to F/8.

For this photo, I set the aperture to F/8. I thought that it would be interesting to capture this bridge using the starburst effect. But I’m disappointed with the angle or perspective. When the river freezes over, I’m going to come back and photograph the bridge from a different perspective. I consider this to be a “sketch shot.” I tried it out, and I know that it’s worth pursuing another photo later on.

The starburst effect is one of the more creative things Aperture Mode is perfect for. Now let’s see one of the biggest problems that Aperture Mode will help solve.

3. Low light photography

One of the biggest problems with dim light is that your photos become blurry from motion.

A typical blurry photo caused by dim light and a slow shutter speed.

Photos become blurry because there is not enough light and the camera takes more time to capture the photo. Technically, it’s a slow shutter speed issue.

The important thing to know is that you need to get more light into the camera. You can get more light in by opening your aperture all the way.

You should also raise your ISO higher (1600, 3200, or 6400).

Your shutter speed may still be a little bit slow, which could lead to motion blur in your photos. But if you hold still while taking the photo, and wait for your subject to hold still, you’ll get a pretty crisp photo.

I captured this candlelight portrait at F/2.0, ISO 4000, shutter speed 1/60 sec

F/2.0, ISO 2500, shutter speed 1/60 sec

An extreme low light photo captured at f/2.0, ISO 5000, shutter speed 1/15 sec

Sometimes you have no choice but to have a slow shutter speed. Why not get creative and make the most of it?

You’ve increased your skill as a photographer!

You’ve learned four things aperture mode is perfect for. These creative effects are achieved by simply opening or closing your aperture:
- Blur your background by opening the aperture
- Keep a landscape in focus by closing your aperture
- Create a starburst effect by closing your aperture
- Improve dim light photos by opening your aperture
Focusing on this one camera setting will help improve your photography and simplify camera setting confusion.

Try these out, and let me know how you go in the comments!

The post 3 Things Aperture Mode is Perfect For in Photography appeared first on Digital Photography School. It was authored by Mat Coker.

Digital Photography School
November 25, 2019
News: Sigma Will Produce Canon RF Lenses (With More to Be Revealed in 2020)

The post News: Sigma Will Produce Canon RF Lenses (With More to Be Revealed in 2020) appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

Earlier this week, Canon Rumors reported that Sigma has created a roadmap for Canon RF lenses and that this roadmap will be unveiled in “early 2020.”

According to Canon Rumors, “distributors have received some early information about Sigma’s plans,” though nothing has been released to the public.

While Sigma’s plans have not yet been confirmed, this is excellent news for full-frame mirrorless Canon shooters, Canon DSLR shooters who may be making the switch to mirrorless, and just mirrorless fans in particular. The more RF-mount lenses available, the better (and the more attractive Canon’s full-frame mirrorless system becomes).

Of course, Canon produces its own RF line, and there are always debates about Sigma’s quality versus Canon’s quality. But it’s nice to have additional options, and Sigma has proven itself quite capable over the last few years.

Furthermore, this addresses one of the biggest complaints regarding new mirrorless systems: the number of lenses available. For Canon RF shooters, it’s frustrating to have to wait for a robust lens lineup to materialize, so Sigma’s participation will undoubtedly help things along. Plus, there are plenty of Canon DSLR photographers who have held back due to the limited number of lenses in the RF line. Sure, Canon offers EF to EOS R adapters, but most photographers want lenses that are designed to take advantage of their camera system’s features.

Not to mention another great thing about Sigma glass: It’s cheaper than Canon glass. Much cheaper.

This has become especially relevant given the high price points of several Canon RF lenses. The Canon RF 50mm f/1.2L USM currently goes for $ 2000+ USD, and the Canon RF 28-70mm f/2L USM is just shy of $ 3000 USD.

While there are no rumors regarding a Nikon roadmap, this certainly makes you wonder if and when one will be coming. So Nikon shooters, stay tuned. And Canon shooters, you’ll hopefully have some great lens options coming your way!

The post News: Sigma Will Produce Canon RF Lenses (With More to Be Revealed in 2020) appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

Digital Photography School

November 25, 2019
Why Using Smart Previews in Lightroom CC is a Good Idea (and How to Set Them Up)
The post Why Using Smart Previews in Lightroom CC is a Good Idea (and How to Set Them Up) appeared first on Digital Photography School. It was authored by Kevin Landwer-Johan.

Smart Previews in Lightroom CC will help enhance your workflow. They are a smaller file you can work with rather than working on full-sized RAW files.

One of the biggest advantages of using Smart Previews in Lightroom CC is when you work remotely. You can store your RAW files on your main hard drive and keep the smart previews on your portable drive. So if you have your RAW files imported to your main computer hard disk, you can make smart previews for your laptop or external drive. You can even store them on a flash memory device like a thumb drive, SD card, or the cloud.

How to use Smart Previews in Lightroom CC

Creating Smart Previews in Lightroom CC is easy and can be done when you import your files or at a later time. Lightroom makes a smaller DNG file (an Adobe Digital Negative RAW image file.) These are compressed and take up a fraction of the space RAW files do. The DNG files are located in a separate folder than the RAW files of the same images.

To configure Lightroom CC to create Smart Previews when you import photos, go to the File Handling panel. This is on the right of your screen after you have clicked on the Import button. Make sure that the Build Smart Previews box is checked.

You can create Smart Previews in Lightroom CC when you’ve already imported your photos.

Select the files you want to make Smart Previews of in the Grid mode. Go to Library in the top menu and choose Previews->Build Smart Previews. When an image has a Smart Preview, there is an icon indicating this in the Histogram window.

Working on a smart preview in the Lightroom Develop Module, you will be working on the compressed DNG file. This means your computer will run faster. To ensure you have this enabled, go to Edit->Preferences. Check the box ‘Use Smart Previews instead of Originals for image editing.’

What are the main advantages of Smart Previews

The three main advantages of using Smart Previews in Lightroom CC are:
1. Speed up your workflow
2. Save hard drive space
3. Easier remote editing
Once you have created the Smart Previews, your computer manages the image files using fewer hardware resources. The file sizes are smaller, so they draw less of the computer’s CPU, GPU and RAM.

Working with Lightroom CC on a laptop or with an external drive is better with Smart Previews. You do not need to have all your RAW files on a remote hard drive to be able to keep editing. Your edits will be auto-synced (keep reading to learn how to do this).

Remote editing from a laptop or classroom computer is much easier. This is because catalogs with smart previews are so much smaller. By only exporting the DNG files with your catalogs, you are saving a huge amount of space.

How to export and re-sync using Smart Previews in Lightroom CC

Once you have imported your photos and created Smart Previews in a Lightroom CC catalog, you can export the catalog or part of it. Simply go to File->Export as catalog and make sure to check these boxes:
- Export selected photos only
- Build/Include Smart Previews
- Include Available Previews
You don’t have to check the ‘Include Available Previews’. But if you have already made adjustments to some images, it’s a good idea to.

Uncheck the ‘Export Negative Files’ box.

NOTE: If you leave this one checked, you’ll be including all the RAW files. This is what you are wanting to avoid.

Save the file where you can locate it again easily. Now you can copy it to another storage device or the cloud.

When opening Lightroom on your laptop or another computer, select the catalog from your storage device. You can work from your device or copy the catalog to the drive of the computer you are working on.

If you open the catalog from where it’s stored, all the changes you make in Lightroom will be saved there. Copying the catalog file to the hard drive of the computer you are now working on requires you to export it again when you’re finished.

To bring the files you have worked on back to your main computer, simply connect the portable storage. Copy the Lightroom catalog with the images you’ve been working on back onto your main computer’s hard drive.

To do this, go to File->Import from Another Catalog. Now locate the catalog from your portable storage. From the drop-down box, select ‘Replace: metadata and develop settings only.’ Click OK. Your Smart Previews will appear in your catalog, including the changes you made.

Conclusion

Using Smart Previews in Lightroom CC is a game-changer if you often work on your photos from more than one computer. Being able to make use of your laptop because the file sizes are smaller and more portable is a great advantage. It may seem like a little more work to set up to use Smart Previews, but once you have done it a few times, it will seamlessly become part of your post-processing workflow.

Do you use Smart Previews? What are your thoughts? Share with us in the comments.

The post Why Using Smart Previews in Lightroom CC is a Good Idea (and How to Set Them Up) appeared first on Digital Photography School. It was authored by Kevin Landwer-Johan.

Digital Photography School
November 25, 2019
Photographic Inspiration or Copying? Where does the line blur?

The post Photographic Inspiration or Copying? Where does the line blur? appeared first on Digital Photography School. It was authored by Charlie Moss.

As photographers, we take inspiration from everywhere. Pictures we see on the internet, things our friends say to us over coffee, magazines, galleries and museums, even the advertising we see at the bus stop. All of it gets stored away inside our heads for later, even if we don’t realize it. All this visual information we have consumed throughout our lives becomes a part of the new photographs that we create in some way. It influences us to make certain choices about the way we style or shoot images or the way we post-process them. So if we’re all taking inspiration from the things we see around us, even without realizing, when is it photographic inspiration or copying?

Why is copying seen as such a bad thing in the photographic world? Moreover, is there a clear line between taking photographic inspiration, or is it fuzzy and open to interpretation?

Imitation or inspiration?

It’s often said that imitation is the most sincere form of flattery (a nineteenth-century English art collector originally said it). And in many ways, I agree with this.

If you’re imitating a picture by another photographer or you’re imitating their technique, then you must think it’s going to be worth putting in time and effort to learning more about what they do. And that’s where we get the idea that this process is flattery.

But it doesn’t always feel like flattery when you’re on the receiving end of being imitated. Instead, it feels like someone is just copying the hard work that you put in, without any creativity on their part.

Of course, in the commercial world, there can be real financial implications if another photographer copies your work. But perhaps it’s time, in the rest of the photographic world, to worry a little less about copying and to focus more on learning new skills and developing a voice.

Turning imitation into inspiration

We’ve all imitated others, I’m sure. Maybe a pose borrowed from one image, the lighting from another, or the setting from somewhere else. It’s so hard to be truly original when it comes to the creation of photographs. We can’t just close ourselves off from the world and stop looking at the imagery that surrounds us.

So how do you move from imitating another artist to using their work as inspiration?

I think that the difference happens when you start to bring your own experience to the images you create. If you allow the work to reflect your own view of the world and the things that have happened to you, then that’s when the originality starts to happen.

Is originality of subject as important as originality of voice?

Let’s face it – you’re unlikely to hit upon a genuinely original subject or concept for your next photograph. Most things out there have been photographed thousands of times before.

I’m not sure that having a totally original subject is that important, as long as you’re bringing your own voice to the photograph. If you’re saying things in your way with your viewpoint, then that is something truly original.

Think about many of the celebrity portrait photographers, or the well-known landscape photographers. Those photographers don’t usually have original subjects that have never been photographed before. But what they do have is originality in voice, an ability to find something unique about their subject, and the skills to show that uniqueness to the world.

Finding your voice

It sounds so easy, doesn’t it? “Just find your voice and make your images unique!” I guess you’re sitting there wondering how you find your voice and stop copying? Here’s a few pointers with that in mind.

1. Bring your own experiences

Nobody else has led your life and had your experiences. If you bring these elements of you to your image-making, you will automatically be creating something different from everybody else. Nobody else is you, no matter how much they imitate your work.

Of course, your own experiences could also be showing up at the right time and place to create a unique shot.

2. Critique your photos

For every photo that you think is great, write down five ideas that would improve it if you took that photo again. Even the daftest ideas are worth writing down. Put a small print of the image in a notebook and record your thoughts there if you can. Then you can revisit it when you want ideas of new things to try.

3. Keep shooting

Don’t give up. It takes most people a long time to find their unique voice and viewpoint when they’re making images. You have to shoot quite a few photographs before you start discovering what makes your images unique. The longer you shoot, the more likely you are to hit on something that makes your work truly your own.

How bad is copying really?

So, photographic inspiration or copying? In the grand scheme of things, in my opinion, copying isn’t really that big of a deal.

Artists have always copied other artists. Going back hundreds of years, artists have sat in front of the work of another artist and made sketches from what they see. It’s a way of learning and improving your skills, and photographers can (and perhaps even should) consider doing the same – photographically speaking.

If copying is being done for practice, learning, and curiosity, it should be encouraged. As long as nobody is claiming the ideas that they’ve copied as their own, then does it really matter?

The difficulty comes when people are using ideas and presenting them as their own, without taking the time to develop them fully and put an individual spin on the work.

So as long as you’re bringing something new to the work you present as being authentically yours, then I don’t think there’s any problem. And even if you are copying to learn technical or creative skills – so what? Does it even matter?

I’d like to know what you think about photographic inspiration or copying. What do you have to do to stop copying and start being inspired by other people’s work? How do you find your voice and make your own photographs unique? Share with us in the comments!

The post Photographic Inspiration or Copying? Where does the line blur? appeared first on Digital Photography School. It was authored by Charlie Moss.

Digital Photography School

November 25, 2019
Video: Canon RF vs EF Lenses on the Canon Mirrorless System
The post Video: Canon RF vs EF Lenses on the Canon Mirrorless System appeared first on Digital Photography School. It was authored by Caz Nowaczyk.

In this comparison video of Canon RF vs EF Lenses on the Canon Mirrorless System by BorrowLenses, Tom looks at Canon’s new RF lenses and how they perform when compared to their older EF counterparts.

?

The lenses he uses for the comparison are:
- Canon RF 50mm 1.2 L
- Canon EF 50mm 1.2 L
- Canon RF 24-105mm f4 L
- Canon EF 24-105mm f4 L
All tests were done with the Canon EOS R Mirrorless system and used the converter for the EF DSLR lenses.

Comparisons

Firstly, Tom discusses “flange difference.” Flange difference is the measurement of the space between the sensor plane and the lens mount.

In the case of mirrorless, the rear element of the lens is even closer to the sensor. This means eliminating a retro focal element group. This means less extreme image correction, fewer lens elements and often a sharper image.

For the comparison, Tom looks at autofocus, sharpness, color rendition, weight and price.

Canon RF 50mm 1.2 L
- The lens is heavier, weighing just over 2 pounds, with 15 elements in 9 groups with a 10-bladed aperture.
- The RF has a minimum focusing distance of 40cm.
- It has a razor-sharp focus when wide open.
- More contrast than the EF 50mm
Canon EF 50mm 1.2 L
- Is nearly half the weight of the RF equivalent, with 8 elements in 6 groups and an 8-bladed aperture.
- The EF has a minimum focusing distance of 45cm.
- Focus isn’t razor-sharp until around f/4.
Winner

On just the specs, the RF 50mm has the leg up.

The autofocus on both lenses is snappy and accurate.

The RF, while a heavier lens, is vastly superior in terms of image quality.

However, where the RF 50mm f1.2 lens falls short is in its price. It’s an expensive lens, especially compared to the price of the EF 50mm F1.2 (even pared with the adapter).

Canon RF 24-105mm f4 L
- Weighs 2 pounds, has 18 elements in 14 groups and a 9-bladed aperture.
- Image stabilization
- Minimum focusing distance of 45cm
Canon EF 24-105mm f4 L
- Slightly heavier than the RF equivalent, and has 17 elements in 12 groups, with a 10-bladed aperture.
- Image stabilization
- Minimum focusing distance of 45cm
Winner

Both lenses are similar in price (only a few hundred dollars difference).

While the RF 24-105 is sharper than the EF, the disparity is not as severe as in the case of the 50mm lenses.

When it comes to contrast, the RF slightly outperforms the EF.

In terms of autofocus, both lenses perform very well, however, the RF focusing motor is whisper-quiet.

While both lenses are fairly evenly-matched, Tom declares the RF the winner due to its great images, quiet autofocus, and weight.

The only downside to the EF lens that Tom points out is that the entire package, when mounted to the EOS R using an adapter, becomes heavier and “unwieldy,” which may not suit people shooting for long hours or hiking with the setup.

Conclusion

If you already own EF lenses, you may as well adapt them as they still work incredibly well on the Canon mirrorless systems. However, the RF lens line-up is somewhat better.

Do you think this is a fair comparison? Or should they have tested the EF lenses on a dSLR vs the RF lenses on the mirrorless?

Or perhaps, like me, you are just interested to know how well your L-series EF glass will work with an adapter on the Canon EOS R or EOS RP? Share your thoughts in the comments below!

You may also like:
- Canon EOS RP Full-frame Camera – Why Some People Won’t be Buying this Camera
- Canon Announces 24P Video in 90D, EOS RP Via Firmware Update
- Canon Announces the EOS Ra, Its First Mirrorless Astrophotography Camera
- Canon Reveals the RF 70-200mm f/2.8L and the RF 85mm f/1.2L DS Lenses
- Canon Announces Two New RF Lenses: The 15-35mm and the 24-70mm
The post Video: Canon RF vs EF Lenses on the Canon Mirrorless System appeared first on Digital Photography School. It was authored by Caz Nowaczyk.

Digital Photography School
November 23, 2019