Category: Photography

Review: Sigma 35mm f1.2 ART Lens for Sony E-Mount
The post Review: Sigma 35mm f1.2 ART Lens for Sony E-Mount appeared first on Digital Photography School. It was authored by Anabel DFlux.

Considering the amount of articles I’ve written about shallow depth of field, it is safe to say that anything wider than f/1.8 is my sweet spot. However, Sony has found itself severely lacking in my favorite fast aperture: f/1.2. Well, my friends, Sigma has come to save the day with the brand new Sigma 35mm f1.2 ART Lens for Sony E Mount! It’s the fastest autofocus lens available for Sony mirrorless cameras to date.

I had the pleasure of taking this lens out for a spin on my Sony A7r IV and Sony A7r III and making all of my creamy bokeh dreams come true.

Lens build

Upon first glance, this lens is large and heavy. Many people wouldn’t realize this is a wide-angle 35mm focal length. The weight is a bit daunting when you use a mirrorless system, especially since one of the big selling points of mirrorless is the small size of the camera. However, the benefit of mirrorless is that all you’re carrying is the weight of the lens, which I don’t mind.

The weight of the Sigma 35mm f/1.2 ART lens is very worthwhile. The following are the reasons why.

In true ART fashion, the lens is solid, sturdy, and what I’d consider shock-resistant. Give it a bump, you’ll see (no, please don’t do that intentionally!). The lens features a dust and splash-proof structure with additional water and oil-repellent coating on the frontmost surface of the lens. I can personally attest to these, having already taken this optic out in some dire conditions. I put lenses through the wringer, and if they can’t survive me, they aren’t a worthy build!

Also, akin to the ART line is the beautiful glass that is vibrant, sharp, clear, and perfect. It’s very reminiscent of the Canon L-series glass, which I was obsessed with, and was thrilled to find similar in the Sigma ART line.

Lens features

If you’re a native Sony G-Master user who picks up the Sigma 35mm f1.2 ART lens for the first time, you’ll likely see a familiar feature – an aperture ring. This smooth and easy to use manual adjustment of the aperture is quite a useful feature (especially for those who dabble in video and cinema).

Additionally, what’s really interesting about this lens is the ability to click/de-click the aperture ring, allowing complete silence or clicks to let you know you have turned the ring.

The inclusion of the AFL button adds to the lens’s functionality as you can assign it to various operations.

Lens communication

You don’t invest thousands of dollars on a camera like the Sony Alpha to not use those features, yes? So why would you grab a lens that isn’t compatible? You just don’t. As such, my deal breaker is whether or not the Sigma 35mm f/1.2 ART lens can speak the Alpha’s native tongue (being a non-Sony-brand lens).

Well, the answer is one that I certainly hoped for: The Sigma is fluent in Sony speak!

As one of the first ART lenses designed exclusively with mirrorless in mind, it’s communication with the popular Sony mirrorless system is key (considering the lens only comes in Sony E mount and L mount). All autofocus features (including eye-tracking [human and animal] and AI autofocus) translate brilliantly between the camera body and optics.

Autofocus

First of all, the autofocus of the Sony Alpha 7r IV and 7r III are just fantastic. Paired with this lens that is great at communicating with the camera, and you have a recipe for winning. My photo sessions have been so much smoother as a result.

Autofocus has been fast, accurate, and a dream. I have had a hard time putting this lens down, and can always find at least one excuse to bring it along for the ride.

I’ve gone as far as to shoot canine sports with it, even though a focal length of 35mm requires me to get closer to my subject than I’d usually like. However, it’s well worth it for that creamy bokeh, because canine agility fields tend to be quite cluttered with obstacles (which makes for a busy frame without the bokeh).

Whether your subject is running at you, away from you, or to the side, there is no discrepancy in autofocus.

Sharpness

Edge to edge sharpness doesn’t even begin to describe how crystal clear the Sigma 35mm f/1.2 ART lens is. If I closed my eyes, I’d swear I was shooting with Canon L glass. The ART glass has been truly tremendous, especially in recent lens releases.

I found that my subject was just as sharp in the center point as any corners. This is great for those that want to take advantage of the 35mm focal length width and do some off-center frames.

The full-frame capability gives it a further wow factor. When attached to my Sony A7r IV – a 60+ megapixel camera – the images viewed on a massive print-calibrated 4k screen equals some jaw-dropping moments. Pairing tack sharpness with this lens’s visual sharpness results in an image that would make even the ultimate pixel peepers happy. From my own use, I’d say peak sharpness was around f/2.0 – f/2.8.

What you see is what you get, as the sharpness translated to prints beautifully.

Bokeh

You don’t buy an f1.2 lens not to use it at its widest aperture! It took a bit of effort on my part to ever take it off f/1.2.

The bokeh is creamy, beautiful, and completely effortless. The subject separation is superb, and the client’s response to these magical images is pure bliss. I loved using this lens with cluttered backgrounds as the distraction smoothed away. Even when the aperture is widened to f/2.8, the bokeh continues to be smooth and satisfying.

There is some slight vignetting at the corners, but I quite enjoy this look and add a bit more of it in post-production. Those photographers that are miffed by vignetting may not be too thrilled. However, the 35mm wide focal length does allow for a wee bit of cropping so you can remedy that situation with some corner snips.

The bokeh balls produced with the Sigma 35mm f1.2 lens are very smooth and lovely. You won’t find yourself trapped with no onion-ring bokeh in the editing room, as seen in many other types of similar lenses.

Chromatic aberration

Much to my positive surprise, I have not experienced any chromatic aberration or fringing with this lens – even on extremely contrasting subjects. This tends to be a common problem with very wide apertures. Whatever magic Sigma did to this particular lens clearly works because I have yet to encounter fringing.

With that said, I’m not saying there isn’t going to be fringing in some peculiar situations, but just that I have not yet personally encountered it. I have encountered fringing immediately with several f/1.4 and f/1.8 lenses from Sony (even the G-Master), unfortunately.

Pros
- Fast and beautiful f/1.2 wide aperture.
- Full-frame lens.
- Physical aperture ring with click/de-click switch.
- Excellent communication between Sony E-mount cameras and this Sigma lens.
- Beautiful creamy bokeh with no onion-ring issues.
- Fast autofocus and vibrant output.
- Little to no chromatic aberration.
- Price is still very competitive, despite being in the four-digit range.
Cons
- Heavy, bulky, and large for a 35mm lens (especially on a mirrorless system).
- Only available in Sony E-Mount and in Sigma/Leica/Panasonic L-Mount (the lens is designed exclusively for mirrorless systems. Some may see this as a con if they don’t own a mirrorless system).
Conclusion

Sigma 35mm f/1.2 Art Lens Review: Conclusion

My final thought is simple: “this lens will be permanently attached to one of my mirrorless cameras.” The investment is well worth the amount of use you’ll likely get out of this lens, even if you don’t shoot at extremely wide apertures such as f/1.2. I have always found it more worthwhile to invest in lenses that grant you more options and versatility rather than less.

The Sigma 35mm f/1.2 Art Lens can easily become a staple of any kit, with an incredibly vast array of uses from portraits, pets, events, fine art, and everything in between. With the popularity of prime lenses, this one is definitely a top contender.

Have you used the Sigma 35mm f1.2 ART Lens? Share your thoughts with us in the comments below!

The post Review: Sigma 35mm f1.2 ART Lens for Sony E-Mount appeared first on Digital Photography School. It was authored by Anabel DFlux.

Digital Photography School
November 14, 2019
Fake it to Make it – Creating Convincing Photo Composites

The post Fake it to Make it – Creating Convincing Photo Composites appeared first on Digital Photography School. It was authored by Rick Ohnsman.

Photo composites – it used to be said that “the camera never lies.” We used terms like “photographic evidence,” and “photographic memory.” We believed whatever cameras captured were literal representations of fact depicting exactly what you would have observed had you been a witness to the scene.

Then, as editing techniques improved, photographers learned ways to enhance and even alter images.

Well before the days of digital photography, dodging, burning, airbrushing, layering of negatives, hand-painting, and a host of other “analog methods” were used by skilled photographers seeking to enhance and manipulate their images. Sometimes this was in the name of art, other times to fool the viewer.

“Father McKenzie wiping the dirt from his hands as he walks from the grave.” Assignment – depict a Beatles song title or lyric. I used a photo of a Vermont graveyard, made a shot of myself in the backyard, and with some creative compositing depicted the lyric from “Eleanor Rigby.”

Enter the world of digital photography and desktop editing programs.

It wasn’t long before we used the term “Photoshop” not only as a noun as the tradename of an editing program but as a verb describing the manipulation of an image using that tool. When we now say an image has been “Photoshopped,” we are saying it has been digitally altered. The camera might not lie, but the photographer can if they choose.

It took a while to clone out all the footprints from this shot of Bandon Beach, Oregon.

The ethics of photo alteration

So, is altering your image a bad thing? Unethical?

I’d say that depends on your intent and the context in which you’re using the image. We’ve all heard the term “fake news.” If you are a photojournalist whose job it is to depict a scene truthfully, then the rest of this article is not for you. Move along… “creative photo editing” is totally taboo for you. Enough said.

For the rest of us, is photo manipulation acceptable? How much? What kind? Under what circumstances?

Let’s come back to those questions a little later after we’ve looked at some kinds of photo “enhancements.”

A balloon over Boise, Idaho landmarks. One is composited the other a straight shot. Can you spot the fake?

Bad magic

Have you ever had the misfortunate of watching a really bad magic show, the kind where the unskilled magician clearly doesn’t know his craft and the illusions are obvious? You know, without question, there really was something up his sleeve? Bad photo manipulation is like bad magic; neither should be performed for an audience.

If your techniques aren’t convincing, if the substituted sky doesn’t look right for the scene or the person composited into the group shot looks like you cut him out and pasted him onto the photo, you might not be ready to perform your photo magic. Learn how to do the “trick.” Practice, practice some more and show the result to a single critic. When you finally pass muster, only then show your creation to the masses.

SOOC?

Most of us do at least some standard photo editing. I always smile at those photographers who say with pride their images are “Straight-Out-Of-Camera” (SOOC), unedited. That they always “get it right in the camera.” Really?

Unless you’re making only .jpg images (where the camera itself is doing some editing using the built-in .jpg algorithm), you have a Raw image that needs at least basic editing even to be presentable.

Sure, make the best exposure you can in the camera, frame your shot so no cropping will be needed. Pick a white balance appropriate for the scene – those are all good habits. But having to edit your shot to bring out its best? – That’s only logical, IMHO.

I had nice shots of a storm over a wheatfield and a good windmill silhouette. Creative photo composite at work.

Creative photo composites

Now we get to what is clearly photo manipulation, the creation of an image from multiple pieces. This is the assembling of a final photo composite from separate shots carefully crafted to make something better than you could make with a single exposure.

Do it well, and you can make scenes that depict your creative vision. Create things of beauty that never were but should have been; landscapes with great clouds, gorgeous sunsets, or maybe portraits done in fields of flowers. Do it well, and people will marvel over your creation, unaware of your magic. Do it poorly, however, and you’ll wind up with a Frankenstein monster, a badly-stitched horror assembled from unmatched pieces and parts.

So let’s look at some things to consider when creating convincing photo composites.

I think the scale looks correct here, but a pilot might say a jet wouldn’t come in like this on final approach. Both planes are composited into the sunset shot.

Light and shadow

Let’s use an example where we might add a person to a scene they were not originally in.

You have the image of the scene, and you have a separate image of the person. The first question to ask yourself is, does the light direction match? Look at where the light and shadows fall in both images. If the light in the person image is coming from the left, the light in the background scene must come from the left too. Fail to check this, and even the untrained observer will look at your photo composite image and know something isn’t right, even if they can’t put their finger on it.

Sometimes you can flip the person or the background image so the light direction matches; it depends on the scenes you’re working with. Other times you’ll have to look for a different background with a better match.

The scale may not be correct, but creative compositing is a new fun way to play with your grandson.Pay close attention to the direction and quality of shadows. Compositing images where the light in one piece is harsh with hard shadows and the other where the light is brighter, darker, softer, or in some other way different will be a giveaway of something fishy.

Sometimes you might have to add a shadow manually. Say you’re adding an image of a car to another image of a road. Consider where the shadow of the car would fall relative to the light in the scene. Then blend in some shadows if necessary to make a more convincing photo composite.

Angle

The camera angle and focal length of the lenses used to make the separate shots should match as closely as possible if you want to make convincing photo composites.

A high or low angle background with a differing angle composite overlay isn’t going to look right. This even applies to sky substitutions.

If you want to make photo composites of a landscape and change out the sky for perhaps one that has a nice sunset or better clouds, take a look at the angle of both shots and the focal length of the lenses used.

You’ll be able to tell if something just doesn’t look right.

A gray rainy day at the Portland Head Lighthouse in Maine. The lighthouse needed a light beam, no? Easy to add one. Convincing? You tell me.

Color

Sometimes this can be the toughest one in getting good convincing photo composites. Images at different times in different locations are almost guaranteed to have slightly different white balances. Mix a cooler piece into a warmer scene, one where the tint is slightly different, or other subtle differences exist, and once again, your viewer will detect that card up your sleeve.

See if you can set a white balance in Lightroom for your base image and then, using the Sync feature, apply that same white balance to your inserted image. Then take both into Photoshop for your compositing work.

Sometimes the best option for avoiding a fight with color differences is to avoid color altogether and go monochrome with your image. A monochrome composite is far easier to pull off than a color one. It’s a good place for beginning “photo magicians” to start.

The moon was in the original shot, but tiny. I enlarged it a bit, but not so much as to be unbelievable.

Scale

Pay attention to match the relative size of images in your photo composites. Unless you’re trying to make the model in your shot look like a fairy on that forest log, matching size counts.

The student who missed the group shot of his class, but you later composite him in, probably won’t appreciate it if you make him look like he has a giant head relative to the others in the shot.

Whatever multiple pieces you use to make your image, consider how their relative sizes match.

Fake moon composited in? Not this time. This was a telephoto shot which made the already large full moon look even bigger.

Anything funny here?

After working to create a convincing photo composite, it can be hard to be objective. You’ve worked hard to get it just right but sometimes may have misgivings about whether everything looks natural.

Or it could be the other way; you’re convinced you’ve created the perfect composite, but have overlooked what to someone else is obvious fakery. This is the time to bring in someone else, someone who has no idea what you’ve been working on, to look at your creation.

Simply ask, “How’s this look?”

Don’t immediately tip them that you did something to the image – see if they detect anything. If they don’t, drill a little deeper.

“See anything unusual?” Pay attention to their answers.

If this is someone who knows your skills, they may suspect you switched out the sky, put that cute bunny in the forest scene, or digitally shaved some pounds from the model. However, even then, they should be able to tell you if your creation is convincing.

Because you can…

The second part of that saying, “…doesn’t always mean you should.” Or as Uncle Ben told Peter Parker, (aka Spiderman), “With great power comes great responsibility.”

With practice, you may become highly skilled at photo composites. Alter a photo, replace the sky, make it jaw-droppingly beautiful, and no one thinks twice. Even fellow photographers marvel over the sunsets you always seem to catch, the great light, the pristine beaches with no footprints, litter, or people. They chalk up your beautiful images to stellar photo skills, hard work, sacrifice, and a healthy dose of good luck. They don’t realize you made your own luck, as well as that incredible ocean sunrise, with creative photo compositing.

Until one day, the truth comes out…

You’re just an average photographer but a great Photoshop artist.

One guy who understands where to draw the line is noted landscape photographer, Nick Page. I once had a chance to interview Nick on the subject of swapping skies in landscape photography. In addition to being an exceptional landscape photographer, Nick is also a gifted editor. If anyone could fool you with a creative composite, Nick could do so easily.

He could, but he doesn’t.

He could, but he doesn’t. His amazing photos are the real deal. Photo by/courtesy of Nick Page.

“With my Landscape photography, I have drawn the line in the sand, (in my head anyway), that I will not composite or swap skies. For me this comes down to two things,” Nick said.

“My favorite part of landscape photography is trying to chase the light, and have that great light line up with a great location. This takes tons of planning and effort, and I love that aspect of photography. If I were to start dropping skies into my landscape photos, I would be robbing myself of the joy of “the Chase.”

And the second thing? “I want people to know and believe the photos I take are real,” said Nick. “So many of the photographers I follow, I can’t always trust that amazing light they always have in their photos. Yes, it is an art, but I really enjoy the extra effort of trying to get it for real, and I want people to know and trust that I put in that extra effort.”

Creative photo compositing is a fun way to help tell the story.

As easy as a click – the rise of the robots

We’re headed for a major change in photo editing as we enter the dawn of the Artificial Intelligence (AI) age. For some time now, computers have been able to “recognize” images. Tell Google Photos to search the entire internet for photos of even something improbable, green dogs, and it almost instantly finds many. This is not a keyword search; it “recognizes” the image of a dog and the color green and finds the photos.

Facial recognition? Lightroom can do that.

We already see better and better implementations of AI photo editing tools too. How long will it be before an AI editing program can do a better job than you? Maybe that day is almost here.

Sky substitution. Soon you’ll do this with one click with the Luminar 4 Sky Replacement AI tool.

Skylum Software recently announced its new Luminar 4 editing software with “AI Sky Replacement.” Not only can it replace the sky in a photo, but it also does it with no selections, layers, or masking. It claims to handle even detailed images such as fine tree branches extending into the sky. And, it goes even a step further, using the colors of the replacement sky to better match the scene.

Mixed emotions

I must confess, I have mixed emotions about software editing tools that better the skills I’ve learned after hundreds of hours slaving over a hot computer [Me too – Editor]. Or that don’t require I earn that great shot by setting the alarm for 4:30, shivering in the pre-dawn cold, and hoping the clouds and color are just right only to be disappointed. One-click to a beautiful shot?

Could I, in good conscience, enter a contest with such a shot and accept an award for “my” image? The one made with artificial intelligence instead of just my intelligence and skills?

The Yellowstone Bison endure harsh winter conditions. Think this one was originally a part of this shot? You’ve been “buffaloed.” Added with compositing.

Photography and “real” art

I have to think that when photography first entered the scene, traditional artists, painters, sketch artists and those who created their art from scratch by hand had to scoff. Photographers had no artistic skills, and they weren’t “real artists.”

Later, we transitioned from purely mechanical cameras to automatic ones and from film to digital. Autofocus? Auto exposure settings? Auto white balance? Pshaw!

How about processing negatives and film in chemical baths, working with negatives and enlargers, dodging and burning with real tools and real photographic paper? Do you say you do that all now in a computer with a few clicks of a mouse? That if you make a mistake, you can simply undo it and not have to throw away your work and start all over?

You call yourself a “real photographer?”

Experiencing the 8/21/17 total eclipse was amazing. I used creative photo compositing to sequence my shots for this image.

I made a shot of the forest near Crouch, Idaho the day before the eclipse. The next day I capture the “diamond ring” image of the eclipse. It did look like this, but I’m not sure I could have captured this in one shot. Creative photo compositing.

Conclusion

You get the point. As technology marches on our tools change, we find easier ways of doing things and more people are able to become involved, not having to spend years learning complex skills. More people can, with some technological assistance, produce better images.

One last thing to remember however, the human touch, the “soul” of your photography, your personal vision will never be replaced by “artificial” intelligence. Wise photographers still appreciate the special skills of artists who create beautiful images by hand. Wise digital photographers still appreciate the skills of analog film photographers who created great photos with very basic equipment. And, perhaps one day, you and I will appreciate the skills of a robot photographer and an AI editor. Or maybe not.

The post Fake it to Make it – Creating Convincing Photo Composites appeared first on Digital Photography School. It was authored by Rick Ohnsman.

Digital Photography School

November 14, 2019
How to Plan the Perfect Landscape Photo
The post How to Plan the Perfect Landscape Photo appeared first on Digital Photography School. It was authored by Simon Bond.

The best photography comes from having a plan. That’s especially the case when it comes to landscape photography. In this article, you’ll learn the practical steps you can take ahead of time so you can get the best possible results. Follow these steps to plan the perfect landscape photo, and you’ll get amazing results every time.

This photo needs the seasonal salt marsh plants to give it that extra punch.

Know where the perfect landscape photo is

The first step is finding a great location to photograph. If that’s in your local area, you’ll almost certainly know where the local money shots are. What if you’re traveling to somewhere new, though? Well, there are several things you can do before you visit, which will give you a head start. It is good planning to make a list of photos you wish to take ahead of time. To do that, look to do the following:
- Choose a location – The first step is going to be choosing a location. Keep this to a defined area like one city, or a national park. If the country is small like perhaps Iceland, you can look to that as your location.
- Famous landmarks – Now within that location, start looking for the standout places that people visit, not just for photography, but because they’re amazing. Make a list of these places, and choose which ones you would like to photograph.
- Other photos – Now it’s time to search online for inspiration from other photographers. This may lead you to replicate one of these photos. If you’re concerned about this then avoid this step, and go to the location with a clear mind about how you will take your photo. Sites like 500px, Instagram and Flickr can be good resources for this step.
If the location is far from where you live, ask people who have visited there before for their advice.

Visit the location ahead of time

Where possible the next step for you to plan the perfect landscape photo is to visit the location before you photograph it. There are three possible ways you can go about doing this. Each has its drawbacks, but if you can, then this step will help a lot.
- Day trip – If your location is nearby, you could make a day trip without your camera. This is aimed at getting you that vital on-the-ground information.
- Arrive early – A lot of landscape photos are sunsets. Arrive several hours before sunset to thoroughly explore the area for the best location to get a good composition. Taking a sunrise photo? Then arrive the evening before so you can see the location while it’s still light ahead of your photo the next day.
- Online maps – Should the location be an airplane ride away, the only way of visiting the location early is online. While you won’t get all the information, using services like Google maps street view can allow you to explore a location remotely ahead of time.
This photo is of the new skyscraper in Bangkok, the Mahanakhon.

Sunrise or sunset?

A lot of landscape photos will be either sunrise or sunset locations. Make sure you know where these are ahead of time.

You’ll need to work out your route from where you’re staying to these locations. You also need to arrive around one hour before sunrise or sunset happens. With sunset or sunrise skies comes big differences in the dynamic range. Make sure you’re familiar with techniques like bracketing and digital blending before you go out to take these photos.

Finally, don’t always photograph towards the sun, turn around and look for the golden light and see if that makes a good photo as well.

One of my friends is a Balloonist who has, on occasion, taken me for a balloon ride.

Contact a fixer to plan the perfect landscape photo

There are lots of situations in photography where you will need a fixer. A fixer is someone who helps you facilitate the photograph you want to take. This fixer could take several forms depending on the situation or location you want to photograph. These are a few examples of fixers that you could need to deal with.
- Security guard – A lot of cityscape photos are taken from the rooftop of tall buildings. Contacting the security of that building to ask for permission ahead of time is a good idea.
- Restaurant or bar manager – There are some restaurants that have amazing viewpoints. Some of these will allow you to photograph from their premises. Once again, you need to contact them ahead of time to arrange this.
- Photographer – Contacting local photographers to ask them for information is a great idea. If you’re lucky enough to find someone who will show you the local places to photograph, be sure to return the favor when you have the chance.
- Tourist company – In some cases, joining a tour can get you to a location you want to photograph but otherwise could not reach. For example, if you want to take an aerial photo of a location, one solution is booking a balloon or helicopter ride! Remember, not everywhere will allow you to fly a drone.
This photo required a longer focal length to compress the scene.

Bring the right equipment

Make sure you have the right equipment with you to get the photo you want. The list below is a suggested packing list for landscape photographers. The location you’re photographing from will have a big bearing on which items from the list below you actually take.
- Tripod – A tripod is essential for all landscape photographers, whatever the conditions. Getting sharp images is important, and you’ll get this when using a tripod.
- Camera body – The newest camera body may not be as important for daytime landscapes, but if you’re photographing the Milkyway, having a new camera body is invaluable.
- Lens – If you have researched your location properly, you’ll know whether the primary photo you intend to take requires a wide-angle or telephoto focal length. There is nothing worse than getting a location and realizing your lens doesn’t allow you to compose the photo the way you wish.
- Remote trigger – A remote trigger or perhaps a cable release will mean you don’t need to touch the camera on the tripod. This will remove the chance of camera shake.
- Filters – These are always worth packing as they take up minimal space. Neutral density filters are great for long exposure work, and graduated neutral density filters are also nice to have. A circular polarizing filter should be packed to give your photo more punch. Looking for a little creativity? How about packing an infra-red filter?
- Other equipment – Looking to make a landscape that’s a little different? A lensball allows you to capture the scene in front of you in a unique way. It’s like having an external lens. How about light painting? You’ll need to bring things like a torch or an LED light stick for this.
Filters are a vital piece of equipment for all landscape photographers.

Know the local conditions ahead of time

Finally, make sure you’re checking the weather ahead of time. If your schedule is flexible enough, check the 5-day forecast and choose a day that works best for the sky. The long-range forecast can’t always be relied on though, so also be prepared to drop everything on the day if the right conditions develop for your photo.

Weather

Of course, this means using a reliable weather service or app on your phone. There are several of these out there. The recommended ones are windy.com and wunderground.com. These sites give good forecasts, though it’s worth checking them as you get nearer the intended day of your photo as they are updating their information. Then on the day itself, you can check their satellite images for up-to-the-minute information. These satellite images give information on current positions of clouds or any rain.

The sun

Another factor to consider is the sun, and that’s not whether it’s a sunny day or not. The sun’s position in the sky changes throughout the year. That means you can plan your trip to coincide with when the sun will be in the best position in the sky for your photo. To get this information use suncalc.org or the photopills app for your smartphone.

Seasonal changes to the landscape can make a dramatic difference as well. Plan for when there will be spring or fall foliage you can make use of. In the winter, the snow can also be pretty.

Tide times

Those of you doing any photography along the coast will need to know the tide times. The landscape scene along a coast can change dramatically depending on whether it’s high or low tide. Again, tide times change throughout the year, so you should be able to plan your trip so that the level of the tide is perfect for your photo.

It’s also important to know from a safety perspective. If you can only access your location at low tide, you need to know how long you can safely photograph from that low tide position.

How do you plan the perfect landscape photo?

Having read this article, you’ll have a better feel for how to plan your landscape photo.

Which of the above steps will you put into your planning phase? Are there things you do when you plan your landscape photos that were not included here?

We’d love you hear your thoughts and ideas in the comments section of this article. Then, once you have taken your landscape photo, you can share it in the comments section.

So now it’s time to start planning, and taking better landscape photos!

The post How to Plan the Perfect Landscape Photo appeared first on Digital Photography School. It was authored by Simon Bond.

Digital Photography School
November 14, 2019
Why Every Photographer Should be a Teacher

The post Why Every Photographer Should be a Teacher appeared first on Digital Photography School. It was authored by Kevin Landwer-Johan.

I love teaching photography – it helps me to be a better photographer as well as those I teach. Every photographer should be a teacher at some point.

Many photographers, including myself, are largely self-taught. This does not mean learning new techniques and methods from someone more advanced than us is not welcome.

Modern life affords you endless resources to become self-taught in many subjects. Certain professions require an academic degree, photography does not. Becoming a doctor or engineer would be impossible without formal education. To learn photography all you need to do is get online and start reading and watching videos. Most of it you can even do for free.

© Kevin Landwer-Johan

There’s no substitute for a competent teacher

Aspects of learning that require a teacher include: receiving clear instruction in person. Having the opportunity to ask and have your questions answered, and being challenged about specifics at your personal level of learning.

Everyone can become a competent teacher. You will always know at least a little more than someone else. Even if you’ve only learned what you believe is a little. You are capable of sharing what you know in a unique way. Your knowledge and experience will be appreciated by someone.

© Pansa Landwer-Johan

Finding the right students

Whatever level of photography you are at, you’ll always be able to find someone who knows less than you. Or someone who does things differently than you. Connecting with people who appreciate your willingness to share is important. It’s practically impossible to teach someone who does not want to learn.

Even complete novices can teach each other through practical experience. Going out with another photographer provides you opportunities to talk about the photos you’re taking. Because we all have a unique view of the world, we all see things differently. Sharing this with others can help us become more skilled with our cameras.

More advanced photographers are usually more capable of teaching those with less experience. Having a positive and encouraging attitude towards each other helps. I never tell people they are doing something wrong, instead, I prefer to teach them how to make improvements to what they are doing.

Making yourself available and reaching out to those with less experience is a good first step. Building a relationship of trust will encourage the learning process. Once your students know you’ll not lambast them for an incorrect exposure or out of focus subject, they’ll be more open to learning from you.

© Kevin Landwer-Johan

Start by asking and looking

Before I run a workshop, I like to see a selection of photos from people who will attend. This gives me a pretty good idea of how they like to use their cameras. It often provides me with a pretty good idea of how to teach them.

I like asking questions, and I love it when people ask me questions. This is a huge part of the learning process. Establishing how a person uses their camera, and what they prefer to photograph, helps me know where to start teaching.

Asking questions and looking at the photos of someone you are teaching makes the whole interaction more personal. It also makes the experience much more practical.

Don’t only look at the best photos someone has taken. Ask to see some recent pictures they’ve made that have disappointed them. Even if you cannot see any obvious reason for the lack of success, discuss the pictures. This will often bring new ideas to life, and you can both learn something new.

Asking a person questions about their photography shows you are interested in them. Most people will appreciate this. Once they know you are interested, they will be more receptive to what you have to teach.

© Pansa Landwer-Johan

Teaching is not only about what you know

You need to become aware of what your students do and do not know. This information is gained both by asking questions and looking at their photos. Once you have this understanding, you can focus on teaching them what will be practical.

Remember that when we hear something we’ve had no prior knowledge about, it’s more difficult to understand it. Building on what students already know and incrementally introducing new concepts is practical.

Understanding what you have to share is important. Albert Einstein said, “If you can’t explain it simply, you don’t understand it well enough.” Teaching what you understand well, you will be received more readily by your students.

When you think you have a good grasp of technique and the person you’re sharing it with is looking bored, this is a clear sign you are not hitting the mark. Do you really have such a good understanding of what you are teaching? How can you simplify your explanation to make it more acceptable? Or are you introducing a brand new idea too soon?

Teaching and doing is the best way to learn photography. Having their camera in hand, a student can put into practice what you are teaching them. If, for example, you’re teaching about depth of field, this is better understood when you can see the results different camera settings produce. When photographing the same subject that your student is, you can compare your photos. This way, you’ll see if they understand the teaching.

© Kevin Landwer-Johan

You will reap what you sow

Every photographer should be a teacher because as you teach, you will also learn. Giving out brings back to you many times more than what you contribute. I’ve always enjoyed sharing what I know about photography with others. It wasn’t until about six years ago that I started running regular photography workshops. Because I was teaching, my rate of learning increased incredibly.

Teaching can push you to learn more too. Questions from students or fellow photographers will challenge you to learn more. It feels good to give a clear and understandable answer to someone’s question. Regular interaction like this will inspire you to increase your knowledge, and as a result, your photography will improve.

You don’t need to wait until you believe you’re completely competent. Start now. Build relationships with other photographers who are at about the same level as you and find others who are beginners. Start to share your experiences together and encourage them to share with you what they know about photography. This way, you’ll all benefit from teaching, and you’ll grow together in your photography experience.

I hope you’ve enjoyed Why Every Photographer Should be a Teacher. If you have anything else you would like to add, please do so in the comments.

The post Why Every Photographer Should be a Teacher appeared first on Digital Photography School. It was authored by Kevin Landwer-Johan.

Digital Photography School

November 12, 2019
Styled Photo Shoots with Suppliers: How, Why and What You Get

The post Styled Photo Shoots with Suppliers: How, Why and What You Get appeared first on Digital Photography School. It was authored by Carl Spring.

When it comes to business, the word-of-mouth referral is still king (or queen). Obviously, your past clients will be a great source of referrals, but one of the best sources of leads for a working photographer is to get referrals from other suppliers. But what can you do to make sure that you are the first business on the lips of local suppliers? The simple answer is to work with them. The best way to do this is with styled photo shoots.

This is the result of a group of talented suppliers coming together. When you see the results, any issues melt away.

Now, as I mainly work in wedding photography, I will base this article on wedding suppliers. However, this can easily transfer over to portraits and, with a little imagination, various other fields of photography.

How do I begin?

Well the first stage is a portfolio – this is key to working with suppliers. They will want to know that you can deliver the images and that they aren’t wasting their time (and in many cases money) working with you.

What do I mean by their money?

Well, a wedding dress will generally need dry cleaning after a shoot, a florist will have to prepare flowers for the shoot that will die pretty soon afterward. Also, a venue will have to turn down bookings for the day that you hold the shoot there.

Obviously, there are time factors involved for everyone (including you), so bear this in mind. You will tend to work after the shoot on editing, whereas others will be working in the lead up to the day.

If you don’t have a portfolio, you can use friends and family to create your own styled photo shoots. Use a venue you have access to, and minimize your outlay in other ways too. Use supermarket flowers instead of paying for styled bouquets, for example. It’s a hard reality, but without work that you can show people, you won’t get very far.

You have to remember that these people are professionals. Most people do not have time to risk on a styled photo shoot with somebody with no portfolio. It takes time to build, but it is not a stage you can skip.

This totally unplanned styled photo shoot took place at a wedding fair. Having your gear and simply asking the question can get you great results.

The contact

Next is the hard part for some, contact a supplier you want to work with. I generally find email works best. Politely offer to meet up (I also bribe them with cake) and discuss an idea you have for a styled photo shoot. Make sure you compliment them on their work and be charming and polite.

Be prepared for a lot of “thanks, but no thanks” or sometimes no reply at all. By all means, follow up with a short, polite email a few days later, but that’s it. Some people don’t have time, some have people they already work with, and some simply don’t like your style.

Grow a thick skin, accept it, and move on. Eventually, though, you will find someone willing to chat. Just be patient and try not to get down in the dumps with rejections. It’s nothing personal; it’s business.

The initial meeting

Congrats, you have someone interested. The next step is meeting up.

The important thing here is to go with ideas, but be flexible. Always send a courtesy text or email the day before. A little tip is to call them when you are nearby and see if they want a coffee bringing in, or turn up with some treats. It’s just a nice thing to do, and, personally, I always remember people who give me free treats!

You will probably be nervous, but remember, they wouldn’t have come if they didn’t want to be involved. Talk over ideas and develop an outline plan. If they agree, you are on your way! Always follow meetings up with an email so that everyone is clear about what the idea is.

If you are starting out, a great way to expand your network is to ask the person you’re meeting if they have other suppliers they work with, people who model for them before, etc. Not only does this save you some hassle, but it expands your network as the other suppliers are being introduced to you by someone they trust.

Reading that last sentence back, it sounds like the wedding industry equivalent of the mafia.

Not Exactly the Mafia, but a great group of people to work with.

Once you have one…

Once you have one supplier on board, it always seems to get easier. Your initial supplier may recommend some other people to involve. Alternatively, you can now email people telling them “Brand X and I are planning a styled photo shoot…”.

Pretty soon, things will come together and you will have a team of people on board. Now comes the hard parts.

Co-ordination

Having a group of people wanting to work on a project is great. But, now comes the hard part – coordinating them all!

This can be a nightmare.

My advice is to set up a chat on your social media of choice, where everyone can chime in.

The most important part of the coordination is sorting out a date that works for everyone, which can be a nightmare in itself. There is no advice I can give here. You simply need to throw out dates until you can all agree.

There can be a case for swapping out a supplier if one person cannot make a date. But it is hard to tell people who have committed that you need to look for someone else who is more available.

Patience is key. Be prepared to keep working until you get the date.

Plan B (and C and D)

Problems are par for the course on styled photo shoots, no matter how amazing the final images look across social media.

In my experience, models are most likely to drop out of shoots first, but it can be anyone at any time, for any reason. Try to plan for issues as best as you can. What will you do if it rains on the day you planned your outdoor shoot? Not a problem, you have 3 more dates locked in for such things. What happens if you turn up to your woodland location, and there is a cycle race? (This actually happened to me.) Not a problem, you have two other locations where you can shoot.

Problems can (and will) occur. Just plan for them and be prepared to change to plan B at a moment’s notice. Usually, you can overcome these problems, but only with planning. Speaking of…

This wasn’t the original model. She only came on board two days before the shoot. However, you could not have asked for a better model to work with.

Entertaining everyone’s ideas

You need to nail down the overarching theme for the shoot quickly. The person who organizes the shoot (i.e., you) will decide on the theme and its use when initially chatting about the plan.

Once decided, Pinterest is a godsend. Set up a shared board, then get everyone to add things to it. From here, you can all pick a favorite selection to become the final mood-board.

Things will need to be flexible, as everyone has a slightly different vision. Just make sure that everyone feels part of this process. By being invested in the planning stages, people tend to bring their A-game to the final shoot. Make sure everyone is on board, has had their say, and you have come to the final vision together.

Show them who’s boss (or know who is)

Somebody has to be the boss, and as the photographer, often people will look to you for guidance or to take charge. Be firm, but accommodating. You need to be the one to smooth things out when the stylist brings something floral she really wants in the shoot. Or the makeup artist tweaks the hair just a little. People can get stressed, and as the person in charge, your job is to keep everyone relaxed and keep the shoot rolling.

You are part teacher, part parent, part best friend to everyone on the shoot. Just be mindful of everyone’s feelings and try your best.

Now, this may not be your strong suit. You may agree that someone else takes needs to take the lead, but you do need to make sure someone is in charge of final decisions. Otherwise, the little issues can end up in an argument, and everything will go downhill from there.

One of the key things you need to do is get everyone’s details. You need a list of all suppliers, all their social media links, all websites, etc. because everyone who worked on the project should get be credited with any use of the images. Be sure that everyone agrees to this before they use the images.

This shot was solely for the makeup artist. Making a list of shots people want before the shoot is always helpful, especially when you’re starting out.

On the day

Hopefully, everyone turns up at the right time and the right location. Depending on your shoot, you may have all of the suppliers stay for the whole shoot or just a few of them. Obviously, it can be nerve-racking shooting with people around (especially when starting out), but it is something you need to get used to.

Remember, you are the expert (even if you don’t feel like it), and you will create images that everyone loves. Think positively, act positively, and believe in yourself. As a pessimistic introvert, I find this hard, but there is no alternative. Be charming, polite, helpful, and try not to let any panic show.

Once on the shoot, you need to work smoothly. You may be panicking, and the camera may be having a meltdown. Internalize it! No matter what happens, you need to come across with an air of calm and show that everything is fine. Even if you are not the person taking charge of the shoot, as the photographer, you are the person who is in charge of the final product.

Before you shoot, take your time and make sure you are happy with the lighting, etc. Lastly, make sure that you check the details. There is nothing worse than realizing somebody left a plastic bag in the background of the shot that you didn’t notice. Just check carefully and try not to get carried away.

Whilst I would not advise showing every shot to those on the shoot, I would advise to show them some that you nail. Especially early on. By doing this, it shows everyone you have got some great images, and it will relax everyone, yet make them work harder. Always check with the model too. Make sure they are happy with the photos. They may notice some things that you miss. They also tend to relax when they see the first photo of the shoot they like.

A public location can cause problems. Just out of shot are a couple of hecklers. On the plus side, the model did get a couple of marriage proposals.

After the event

Get the images to everyone for picks as soon as you can after the shoot. It is tempting to put all images up and let people choose, but if you are not careful, you can end up with people all choosing different shots and leaving you with a mammoth editing job.

Really trim the images down. I aim for around 40 maximum from a styled shoot. This way, I put out images that I love. If you add images you are not sure about, someone will choose it as a favorite, and you will regret adding it to the initial edit.

From here, get everyone to make some selections. The key is to ask people to choose 3-5 each that they love. That way, you are not left with a massive editing job. If you tell everyone to pick as many as they wish, you will generally end up having to edit about 90% of the images you show them.

When it comes to editing, start with the ones that multiple people have chosen, then work your way through the rest. Again, the key here is letting everyone know where you are up to.

Try to get a few out straight away, but if life or work stops you from being able to edit the rest quickly, just let everyone know. They will be understanding. But if you don’t let them know, they will begin to wonder. Communication is key in a styled photo shoot, from the first conversation to the delivery of the last image.

When you share images, make sure you credit everyone. Make sure you do exactly what you said you would and make sure that you check everyone is happy. That way, it leaves a good lasting impression, which is what you want.

What do you get?

There is a lot of time, effort, and occasional headaches involved in a styled photo shoot. Is it worth it? Yes.

The aim of this is to spread your name. If the dress shop has an appointment the next day, they may strike up a conversation about photography. If they do, they will likely speak of you. If you do a good job, your name will be the first one that comes up whenever they discuss photographers.

You will be seen on several companies’ social media, which again can turn into followers and customers.

Most importantly, you are putting your name out there as someone who takes great photos, is great to work with and you are widening your network. It may not count as money in the bank straight away, but it will eventually.

The more people who know your name, the more people will speak it. The more who speak it, the better known you become. Add in the fact that they will speak of you in high regard (if you delivered on the shoot), and you have a recipe for success.

Have you worked on styled photo shoots with others? What was your experience? Share with us in the comments section below.

The post Styled Photo Shoots with Suppliers: How, Why and What You Get appeared first on Digital Photography School. It was authored by Carl Spring.

Digital Photography School

November 12, 2019
The Olympus TOUGH TG-6 Camera Review – A Perfect Adventure Companion?
The post The Olympus TOUGH TG-6 Camera Review – A Perfect Adventure Companion? appeared first on Digital Photography School. It was authored by Mat Coker.

The Olympus Tough TG-6 is the perfect camera for the adventurous soul.

Like a wilderness travel guide, the TG-6 pulls you into the micro world, under the water, and down deeper trails than you would ever take your clunky DSLR down. You can trust the Olympus Tough TG-6 out in the wild because it’s built strong and made for adventure. It’s even tough enough to let your kids use it.

Moreover, it’s really small, so it doesn’t hinder your adventure for even a moment. And it’s so capable it will inspire adventures you hadn’t planned.

This review is about what the Olympus Tough TG-6 will let you do as a photographer and how the pictures look.

An evening adventure used to mean hauling a heavy bag filled with gear. I never knew which gear I would need for sure, so I always brought too much. Eventually, I just stopped going on spontaneous adventures because it became too much of a chore. The Olympus Tough TG-6 replaces all that stuff I used to haul around. Gear is no longer the hindrance it used to be.

The technical specs

The reason why so many people are excited about the Olympus Tough TG-6 is the impressive list of technical specs.
- F2.0 wide-angle lens (the aperture narrows as you zoom)
- 20 frames per second
- Underwater modes
- Microscope mode
- In-camera focus stacking
- Scene selection
- Aperture mode
- RAW capture
- 4K video
- Waterproof
- Shockproof
- Dustproof
- Crushproof
- Freezeproof
Of course, the reason this list of specs is so exciting is because of what they’ll let you do with this camera as a photographer.

“No photographer is as good as the simplest camera.” – Edward Steichen

When you read camera reviews, you want to know what a camera is capable of and how great the picture quality will be.

Don’t forget that a camera only has to be so good and then the rest is up to you. The world’s greatest camera isn’t much good in the hands of a person that knows nothing about light, moment, or composition. Look for a camera that meets your general needs, then up your game as a photographer.

The most famous photographs were made with cameras that we would consider inferior by today’s standards. A beautiful photograph transcends the technology it was made with.

In the end, it’s not about the technical specs of a camera, but what those technical specs let us do as creative people and photographers.

The TG-6 has an impressive resume. Let’s see what it can help us do.

Aperture: f/2.0, Shutter Speed: 1/250 sec, ISO: 3200

When my first child was born I was just becoming the photographer I had always wanted to be. I couldn’t wait to take him on adventures with me as he grew. Ironically, it was a bag filled with too much gear and too many options that held me back from adventures with my kids. The TG-6 is everything I always wanted and fits in my pocket. It practically pushes us out the door and into the world.

“My life is shaped by the urgent need to wander and observe, and my camera is my passport.” – Steve McCurry

What if you could shrink yourself?

It is captivating to suddenly see the world through a magnifying glass or microscope – to see tiny details blown up big. You may not be able to shrink yourself, but you can enter the micro world with the Olympus Tough TG-6.

Microscope mode

With the TG-6, you can get insanely close and discover the mystery and beauty in the fine details of everyday objects. You’ll be exploring the world in a way you haven’t done since science class.

The micro world offers you an infinite number of things to photograph. Look around you right now. There are so many things that you would never photograph on their own, but you can dive in microscopically to a new world and become enamored with the beauty of fine details.

If you’ve got the courage, the TG-6 will bring you up close and personal with insects.

The TG-6 can capture incredibly fine detail that the human eye overlooks.

F/3.6, 1/100 sec, ISO 800

The problem with close-up photography

One of the biggest problems you’re going to run into with close-up photography is a shallow depth of field. You may take a photo of a flower, and nothing more than the edge of a petal is in focus. This is frustrating when you want more of that tiny object to be in focus.

How “focus bracketing” solves the problem

One way to deal with this is to take a series of photos at different focus points (focus bracketing), and later combine them in Photoshop in a process called focus stacking. The end result is an image with more depth of field than is possible in a single photo. If you’re a serious macro photographer, this is an amazing option. But it’s a labor-intensive process and you’re not likely going to do it on a whim while on a nature hike.

But the amazing thing about the Olympus Tough TG-6 is that it can actually do both the focus bracketing and focus stacking for you – all in-camera!

Let the Olympus Tough TG-6 do the Photoshop work for you

The photos below illustrate the frustration of such a shallow depth of field in close-up or macro photography. But they also illustrate the power of the TG-6’s in-camera focus stacking.

The photo on the left is a single exposure with a shallow depth of field, while the photo on the right is the result of several photos with varying focus points stacked together into one image.

On the left, only a small portion of the leaf is in focus. But using the focus stacking option on the TG-6, the photo on the right is almost entirely in focus.

Normally, you need a dedicated macro lens if you want to take close-up, macro, or microscopic photos. That means a financial investment and another lens in your bag. But the TG-6 has this capability built-in. The close-up function is worth the cost of the camera.

Get in, the water’s nice!

You’re missing so much fun if you can’t take your camera into, or at least near, the water.

Generally, an underwater housing is expensive and might limit your access to camera settings. Best case scenario, you invest a lot of money to get your camera into the water. But this is a lot to invest and most people won’t do it on a whim. You’ve got to be sure you want to be in the water a lot to make it worth the investment.

With the Olympus Tough TG-6, you don’t need to think twice; just get in!

Having a camera that can get wet means you can get into the splash zone. Don’t photograph puddle-jumping-kids from a distance; get close and get wet!

Get underwater and explore fish from their world.

Don’t stand on the shore with dry feet to photograph the sunset; hit the waves.

My kids and I discovered a stream filled with salmon. I knew it was the perfect chance to try out the TG-6 underwater.

A couple of years ago, I stepped into a river with one camera in my hand and one around my neck. I was photographing people back on the shore and kept crouching a little to go for a lower angle. Every time that I crouched down for a great low angle, I was unknowingly dunking the camera around my neck into the water. Goodbye, Fuji x100s.

The irony is that I had an underwater case for my x100s. But it’s so clumsy to use in the case that it hinders my photography.

You no longer need to be nervous around the water with your camera – the TG-6 is completely waterproof and pulls you right in.

A good motivator

If it hasn’t happened yet, the day will come when you lose your drive and inspiration as a photographer.

At first, the thought of packing up all your gear and lugging it around will overwhelm you. Especially because you know you won’t even be happy with the pictures you take.

Then, even just the thought of picking up your camera will depress you.

You lose your drive, your inspiration, and eventually your will as a photographer.

You’ve already learned that new gear is not the answer to this depressing dry period you’re going through. But that’s because most gear is the wrong gear for you.

The TG-6 isn’t just a new camera, it’s a passport to new lands. It’s like slinging on a backpack and heading out to discover the world. It sits there looking at you, hoping you will take it out to play. Photography doesn’t have to feel like a burden anymore.

“It’s a dangerous business, going out your door. You step onto the road, and if you don’t keep your feet, there’s no knowing where you might be swept off to.” ~ Bilbo Baggins

Leave the Olympus TG-6 laying around

When my camera is in the bag, it never gets used. I prefer to leave it out with the lens cap off and the power button left on so that I’m ready to make a photograph at a moment’s notice.

But when I leave my cameras lying around, my wife doesn’t like the clutter (even though she loves the photos that result from the clutter).
Not to mention that leaving expensive cameras around is a hazard with a house full of kids and their rowdy friends.

The TG-6 has become our dedicated “leave it laying around the house” camera. It’s so small that it doesn’t bother my wife. It’s there when we need it. And, it’s so tough we don’t mind the kids using it.

I’m capturing many more moments now that I’ve got a dedicated “everyday life camera.”

So tough I let the kids use it

One of the things that first attracted me to the Olympus Tough cameras is that I can let my kids use them. The TG-6 is waterproof, shockproof, dustproof, crushproof and freezeproof. Which means it’s also kid-proof.

I love to look at the photos my kids have taken. It’s inspiring to see what captures their attention enough to take a picture.

When my kids ask to use the camera while they explore sand dunes and lakes, I have no problem handing them the TG-6 to use.

Essential modes

After using the Olympus Tough TG-6 for about a month, I’ve figured out my favorite combination of settings for everyday use; P mode.

I want a certain amount of control over ISO, aperture and shutter speed because I understand how they affect my photo. But I don’t want to overthink these settings and miss the beauty of the moment.

In P mode, the camera will choose the shutter speed and aperture for you. All you have to think about is ISO (but you can select auto ISO if you wish).

With a few minor adjustments in P mode, I can make the TG-6 do exactly what I want it to.

In the menu, I set the minimum shutter speed to 1/125th. I want the camera to set the shutter speed for me, but I don’t want it to go any slower than this.

I select auto ISO, but I set the maximum ISO to 1600. I don’t want the ISO to go any higher than that because of the noise issues.

While it’s balancing the settings out, the TG-6 will always favor a lower ISO and only raise it if it needs to. Eventually, if it’s dark enough, it will go below your minimum shutter speed in order to achieve a good exposure.

Here’s the best part; in P mode, you have direct access to exposure compensation with the camera dial. Your camera will hardly ever get the exposure just as you want it. So use the exposure compensation feature to brighten or darken the photo before you take the picture.

There is no full-manual mode on this camera. But if you know what you’re doing, you can still take full control.

Processing RAW files

Using Lightroom 6, I am unable to edit the RAW files from the TG-6. However, Olympus provides free editing software called, Olympus Workspace.

Because of this camera’s smaller sensor size (and difficulty capturing extreme dynamic range), I am not putting much hope in the RAW files. RAW + JPG capture is a great option. Get the best exposure you can in order to have the highest quality JPG file, and keep the RAW file in case of an emergency.

Even heroes have a weakness

There are three main weaknesses that I have discovered with the Olympus Tough TG-6.

Lens Flare

I love playing with lens flare and I quickly discovered that is almost impossible to do with the TG-6. This is the strangest lens flare that I have ever seen. It’s discouraging, but I’ll have to learn to make compelling photographers without lens flare.

Noise

The Olympus Tough TG-6 produces a lot of noise in high ISO, low light photos.

The following photos are lit with a small-screen TV and/or a lamp.

This photo was lit with a lamp. you can see the grainy discoloration in the white blanket. The ISO is 3200.

This is a close-up of the white blanket in the previous photo.

This photo is lit with the light from a TV and a small light in the next room over. The ISO was 3200.

You can see the grain and discoloration in his skin.

The following photos are backlit with dim light from a living room window.

Again, the ISO was set at 3200. Because the light is brighter, there isn’t as much noise and discoloration. But there is a lack of crispness to the photo.

But I was shocked to capture this photo with lots of movement at ISO 3200 because it looks so crisp.

Sharp in bright light

You’ll have to get used to keeping your ISO at 1600 or lower (you’ll need a steady hand for the slow shutter speed that results).

But in bright light, with a low ISO, the TG-6 is nice and sharp.

So the Olympus Tough TG-6 is weak under extreme lighting conditions, but so are many other cameras. For many of us, high ISO with low noise is the last frontier on the technological side of photography.

We can strengthen the TG-6 by post-processing the photo with a program such as Lightroom. Keep your ISO to 1600 or lower when possible, and convert to black and white when suitable.

No control over shutter speed

At first, I thought it was a problem that there was no shutter speed mode on the TG-6. But then I realized that it wasn’t really necessary. You just have to know how to work around it.

If you want a quick shutter speed to freeze the action, use sports mode.

If you want a slow shutter speed to capture motion blur then you need to understand how to force the camera to produce a slow shutter speed.

Suppose you want to capture a silky waterfall photo. Normally, you need control over your shutter speed to make it go slow enough to capture the motion. But with the TG-6 you don’t have control over the shutter speed.

Or, do you?

When you understand ISO and aperture then you do have control over the shutter speed.

In order to get silky waterfalls, you need a slow shutter speed. You can force your camera to choose a slow shutter speed by lowering your ISO and closing your aperture.

Choose an ISO of 100. Choose an aperture of f18. This will effectively choke out the light and force the TG-6 to slow down the shutter speed to let more light in. The slow shutter speed will produce a silky waterfall.

So the lack of control over shutter speed isn’t a big problem.

The greatest weakness

As photographers, we can find moments so powerful that lens flare isn’t necessary. And, we can look for moments so strong that the viewer will overlook high ISO noise in the photo. Whatever the shortcomings of our cameras, we as photographers always fall shorter. Whatever their weaknesses, our cameras are just fine. We need to increase our skills and know that, even if there was a perfect camera, it could only be used by an imperfect photographer.

The power of the Olympus Tough TG-6 is not merely in its technology. The power is in what that technology allows us to do. This is a camera that will nudge you every time you walk by. It’s like a kid who wants to be played with or a dog that wants to be taken out for a run. Come on, just a quick adventure?

A countless number of moments pass us every day. They become almost infinite in size when we consider their range from wide-angle to microscopic. When you’ve got a camera like the TG-6 in your pocket, it’s not so hard to make those moments hold still.

Have you used the Olympus Tough TG-6 camera? Would a camera like this make you take more photos? Share your thoughts with us in the comments!

The post The Olympus TOUGH TG-6 Camera Review – A Perfect Adventure Companion? appeared first on Digital Photography School. It was authored by Mat Coker.

Digital Photography School
November 12, 2019
10 Ways to Make a Living from Photography
The post 10 Ways to Make a Living from Photography appeared first on Digital Photography School. It was authored by Kav Dadfar.

It has never been harder to make a living from photography than it is in this day and age. But that doesn’t mean the game is over for you as a photographer. There are still plenty of ways to make money from photography if you are willing to make the effort and have a well-thought-out plan. So here are 10 ways to make a living from photography.

Portrait photography

Portraits can be a great little money earner for any photographer. There is even more opportunity for those photographers in smaller towns. Yes, there may not be as many potential customers but the competition will also be much smaller. From the initial shoot fee to prints (digital or analog) and frames, there is an opportunity to make additional sales on top of just the portrait shoot. So any portrait photographer has a few potential steady income revenues.

The overheads to start with are also fairly minimal as you can offer location shoots or even set up a small studio in your home to keep you going until you can get a proper space to work.

Event photography

Event photography is another good genre of photography that offers great opportunities for earning money. Events can be anything from birthday parties to trade events or even company events like Christmas parties.

The advantage of this genre of photography is that there is always going to be a demand for it. So if you can get a good reputation, then word of mouth can spread and get you more and more work.

Photojournalism

Similar to other genres of photography, there is always a steady supply of work for a photojournalist. Being a photojournalist is hard work, both physically and, more importantly, emotionally. But it can also be one of the most rewarding genres of photography as it has the power to change the world.

If you are willing to make the sacrifices needed and are good at capturing photos that tell stories, then this genre of photography could be for you.

Wedding photography

A few years ago, weddings would have been one of the top earners in this list of 10 ways to make a living from photography. But like most genres of photography, things have changed.

Less than a decade ago, an average wedding photographer could command $ 2000 plus per wedding and easily shoot 30-40 weddings a year. Unfortunately, the influx of photographers who undercut each other in price has had a detrimental effect on wedding photography. There are photographers now offering to shoot weddings for a few hundred dollars.

Nevertheless, wedding photography is still a market that has lots of opportunities to make money.

Product and food photography

As long as people are making things to sell or eat, they will need images of their products to help sell them. Product and food photography is a great source of income and a steady stream of work for any photographer.

It can be a little mundane for some, but I actually enjoy the process. I really like that I can shoot at my own pace and control every aspect of the shoot. This is not something anyone who works as an outdoor photographer gets to experience. From local restaurants to design companies, there is an endless amount of work available if you can find it.

Commercial photography

Commercial photography can consist of things like:
- Shooting lifestyle campaigns or adverts for tourist boards and companies.
- Photographing hotel rooms and venues.
- It can consist of both interior and exterior shots with or without people.
I find it works really well combined with my editorial work as I often find myself getting an audience with someone in a position of power in these areas through my various commissions.

Editorial photography

Editorial photography was a great source of revenue for photographers.

This changed with the introduction of digital photography all those years ago, which led to the slow demise of staff photographers. It is cheaper and easier to use stock images than it is to send a photographer out to photograph a feature. The other benefit of using stock photos for an editor is that they can see exactly what images they are purchasing.

There are still higher-end magazines like National Geographic and agencies that will commission a photographer for an editorial feature, but they are few and far between.

Stock photography

Gone are the good old days of being able to make a living solely from stock photography. But all is not lost.

Assuming you are getting work from one of the other aspects of photography on this list, you will be accumulating a body of images that you can more than likely put with a stock agency. Whilst this won’t make you rich, it could provide a nice additional income. Just make sure to get model release forms where possible, and find the right agency for your style of photography.

Prints

Selling prints is another good revenue stream, whatever your genre of photography is. Big names aside, most of us photographers are not going to be lucky enough to sell prints for thousands of dollars. But, again, like stock photography, if you have a body of work, you might as well try to earn an income from it.

Sports photography

Sports photographers will always be in demand as long as our love for the various sporting games continues. If you can get yourself in with a good agency or accreditation and get those awesome shots that are grace the pages of newspapers and websites worldwide the next morning you can make a very good and steady living. To get to that level will take time and a lot of hard work.

But there are also lots of opportunities at the local level of photographing such as school sports days or even local sporting events. These are much easier to get into and can provide a steady income to supplement your other photography work.

10 Ways to Make a Living from Photography: Conclusion

Whilst many photographers specialize in one specific area of photography these days, most photographers have to be willing to offer a few of these services. I shoot a lot of editorial and food photography and some commercial projects. I then use stock and print sales to increase that revenue stream.

Whatever genre of photography you specialize in, it’s important to diversify your work. Not only because of the income but also because you might make contacts that will lead to other jobs within your chosen genre.

Remember to price yourself accordingly and try not to work for free. Always keep in mind that if you don’t respect your work enough to be paid for it, why should someone else?

Do you have any other ways to make a living from photography that you’d like to add to this list? Share with us in the comments!

The post 10 Ways to Make a Living from Photography appeared first on Digital Photography School. It was authored by Kav Dadfar.

Digital Photography School
November 11, 2019
11 Great Songs About Photography (includes link to playlist!)

The post 11 Great Songs About Photography (includes link to playlist!) appeared first on Digital Photography School. It was authored by Megan Kennedy.

As a symbol of memory, art, time and technology, the theme of photography has inspired musicians for decades. Need some photography-based tunes to listen to? Here are 11 great songs about photography – or at least, that feature photographic themes.

1. Kodachrome – Paul Simon

As the lead single from Paul Simon’s third studio album There Goes Rhymin’ Simon (1973), Kodachrome is titled after Kodak’s 35mm film format introduced by Eastman Kodak in 1935.

Referring to the characteristics of the Kodak film and its effect on visual culture, Simon sings “they give us those nice bright colors, they give us the greens of summers.”

Interestingly, although the album version of Kodachrome states that “…everything looks worse in black and white,” Simon later went on to perform the song live with the lyrics “…everything looks better in black and white“.

In an interview with Daniel Levitin for Grammy Magazine in 1997, Simon stated, “I can’t remember which way I originally wrote it, better or worse, but I always change it.”

2. Picture This – Blondie

“All I want is a photo in my wallet, a small remembrance of something more solid…”

Blondie’s Picture This touches on the driving force behind a considerable amount of photography – the desire to preserve memory.

Blondie’s first two albums were hits in many parts of the world. However, they still hadn’t garnered much attention in America.

As the band’s first overseas single in 1978, Picture This became Blondie’s breakthrough track in the U.S.

3. This is not a Photograph – Mission of Burma

Short and to the point, This is Not a Photograph by Mission of Burma is probably a reference to La Trahison des Images (The Treachery of Images) by surrealist René Magritte.

Magritte’s painting, which pairs the image of a pipe with the phrase “Ceci n’est pas une pipe” (this is not a pipe) illustrates the duality of the artistically-rendered subject matter.

In addition, the artwork speaks to the intention and power of the artist.

As the lyrics declare, Mission of Burma’s This is not a Photograph is clearly not a photograph, but it maintains photographic qualities in that it is a marker of a specific moment in time.

4. Camera – R.E.M

Pioneers of alternative rock, R.E.M. is known for hits including Losing My Religion, Everybody Hurts, Man on the Moon and The One I Love.

But before their breakthrough stardom, songs like Camera established the distinctive lyrics and jangly riffs that would mark R.E.M.’s influential approach to music.

Featured on the 1984 album Reckoning, Camera was written about the death of photographer friend Carol Levy.

The lyrics “will you be remembered? Will she be remembered?” Refers to memory, and perhaps the power of the camera to still time.

R.E.M. also has a track titled Photograph – a collaboration with Natalie Merchant.

The little gem speculates on the story of a photograph found “In stacks between the old joist walls/In a place where time is lost“.

5. Swap Meet – Nirvana

Forming in 1987, American grunge band Nirvana rose to fame with the success of Smells Like Teen Spirit, About a Girl and Come as You Are.

Featured on their 1989 album Bleach, Swap Meet paints a moody picture of a couple that “make a living off of arts and crafts“.

The song’s chorus illustrates the entanglement of keeping cigarettes (addiction), photographs (memory) and bitterness close to the heart.

6. Distant Camera – Neil Young

Released in 2000, Silver & Gold is the 23rd studio album by Neil Young.

For a Reprise Records promotional piece, Young wrote a comment about each song on the album.

For Distant Camera, Young wrote “there was one thing I let go on this album. It’s on this song and it still bothers me. There was a misplaced beat and nobody liked it but me and I wanted to leave it in because that’s just the way it had happened originally. But I took it out and to this day, whenever I hear this song I think about that kick drum. And I probably always will. That’s just the way my mind works.”

Despite Young’s dissatisfaction, Distant Camera is a touching song about love, change, memory and time.

7. Kamera – Wilco

Featured on the 2001 album Yankee Hotel Foxtrot, Kamera is a song by Chicago-based band Wilco.

In the lyrics, the subject of the song appears to view the camera as a tool to remind them of “which lies I have been hiding, which echoes belong“.

The camera is presented as a revealer of truths, a property that has been explored extensively over the history of photography.

8. Seventeen – Ladytron

Seventeen features on Ladytron’s 2002 album Light & Magic.

The song itself is made up of a single verse repeated throughout the song;

“They only want you when you’re seventeen/ when you’re 21, you’re no fun/ they take a Polaroid and let you go/ say they’ll let you know, so come on”.

Paired with a robotic musical score and voice modulators, Seventeen could well be about the exploitative, youth-obsessed culture of the entertainment and fashion business.

“They take a Polaroid and let you go” indicates the process undertaken by industry selectors, but it could also refer to a part of a person’s psyche being robbed by the industry itself.

9. Paparazzi – Lady Gaga

In 2008 Lady Gaga dropped her debut studio album The Fame.

Released as the album’s fifth and final single, Paparazzi reached top-ten in music charts across the globe.

On the song, Lady Gaga has said “…there are a few different interpretations…It’s a love song for the cameras, but it’s also a love song about fame or love — can you have both, or can you only have one?”

Paparazzi alludes to the camera as a tool that drives the trajectory of fame.

10. Itchin’ on a Photograph – Grouplove

American alternative rock band Grouplove, formed in 2009 and released their debut album Never Trust a Happy Song in September 2011.

As the third single off the album, Itchin’ on a Photograph reached number 43 on Australian national radio station Triple J’s Hottest 100.

The song also reached number 10 in 2012 on Billboard’s Alternative Songs and number 30 on Billboard’s Hot Rock Songs.

Itchin’ on a Photograph delves into the emotional and physical experience of dwelling on the past.

Building on a central theme of memory, the photograph itself represents a source of discomfort, but also a stepping stone from which the subject alights.

11. Taro – alt-J

Taro is written by English indie rock band alt-J and features on the 2012 album An Awesome Wave.

The song is about war photojournalist couple Robert Capa and Gerda Taro.

In 1934 Endre Erno Friedman met Gerda Pohorylle, a German Jewish refugee. In Paris, the pair invented the name and image of Robert Capa.

For a while, Friedman and Pohorylle both published their photographic work under the Robert Capa name.

Pohorylle then took the name Gerda Taro, becoming successful in her own right while Friedman retained the Capa identity.

Sadly, both Taro and Capa died during conflict.

In 1937 Taro was killed covering the Republican army retreat at the Battle of Brunete. In 1954, Capa died when he stepped on a land mine in Thai Binh in Indochina.

Alt-j’s song Taro describes the lives of the two pioneering photographers and their reunification in the afterlife.

Conclusion

Photography and music are similar in many ways. Perhaps that’s why the meeting of photographic themes and music creates such compelling listening.

If you’d like to treat your ears to these songs about photography and many more, you can check out my Photography Songs Spotify playlist here.

And if I’ve missed your favorite photography-based song, share it in the comments!

Happy listening!

The post 11 Great Songs About Photography (includes link to playlist!) appeared first on Digital Photography School. It was authored by Megan Kennedy.

Digital Photography School

November 11, 2019
17 Tips for Shooting Better Urban Portraits
The post 17 Tips for Shooting Better Urban Portraits appeared first on Digital Photography School. It was authored by Matt Murray.

Are you interested in doing an urban portrait shoot, but you’re not sure where to start? An outdoor shoot in your local town or city is a great way to be more creative, think on your feet, and come away with some unique images that you can’t get from a shoot in a studio or your local park. However, If you’ve never done one before, you may be a little daunted. In this guide, I run you through my top tips for shooting better urban portraits.

1. Have a vision for the images you want to shoot

Begin with the end in mind. Create a mood board of urban portraits using a free tool such as Pinterest. These could either be your images or inspirational images from other photographers. Keep these in mind as you plan your shoot, as this is the standard you’ll be aiming for.

2. Location scouting

Before you plan your shoot, get an idea of the type of urban landscapes in your area. What kind of images could you take here? How could the buildings and street scenes feature in your photographs as a point of interest or as a background texture?

Every town and city has its unique charms – from heritage buildings to seaside piers to abandoned shopping centers. Find what’s interesting about your area and use it.

You can find out more about what I look for when scouting locations in my previous dPS article, How to Choose Urban Landscapes for Portrait Photography.

There’s always something of interest to shoot. Open up to the creative possibilities in your town.

3. Find talent for your shoot

The easiest way to find someone for a shoot is by asking family or friends. This way, the pressure is off, as you have someone familiar to work with that you can test your ideas on. Make sure you ask someone that is not too shy or self-conscious, though; after all, it will involve posing for photographs in a public location.

If you’re ready to test your urban portrait skills with a model, organize a TFP (time for print) shoot. These have been around since the pre-digital days, when photographers, models, and make-up artists would collaborate and give their time for free in exchange for physical prints of images taken during the shoot. These days, images from TFP shoots are usually digital files shared over the internet.

Finding people to work with should be relatively easy. Most cities have photographer and model groups on Facebook. Type the name of your area with the words model or photographer and see what comes up. If you have no luck, you can also ask in general photography groups if anyone knows of a TFP-style group you could join.

In this image, I have lit Alyssa with a video light. Fujifilm X-T3 with a 35mm f1.4 lens.

4. Ask for expressions of interest

Once you’ve joined a local Facebook group, have a scan of the posts and see if it’s the kind of community you wish to work with. If you feel comfortable, it’s time to post your expression of interest.

Create a post introducing yourself and calling for expressions of interest in a TFP urban portrait shoot. Link to examples of your work and your Instagram.

Let people know specific details about the shoot. This includes the approximate location, proposed days and times, and the types of shots you’re looking to get. You can also link to or share images from your mood board on the post to set an expectation of the kind of shots you’ll take. If you use images on the mood board that are not yours, make sure you credit the photographer and explicitly state whose work it is.

Finally, ask people to comment on the post or send you a private message, expressing their interest. Also, ask them to link to their Instagram or portfolio.

Safety is important on any shoot – never put yourself or your talent in danger to get a shot. I took this image with the model on the footpath.

5. Arrange details for the shoot

After you’ve chosen whom you’d like to work with, organize the shoot. Agree on the day, time, and location. Prepare to negotiate regarding which day you can shoot, but not on the time. Always choose the time of day that you know will work best for photography. For me, that’s about an hour before dusk as this provides opportunities for natural light and after-dark images.

If the model is under 18, check that their parent or guardian is coming along and that they will be able to sign a model release form.

Ask your model what they’re planning to wear for the shoot. Quite often, they will ask for your advice or provide you with options. Explain that it would be ideal to have two or three different looks. Some people will prefer to have completely different outfits for the first and second half of the shoot (if there is somewhere to change). For others, it means bringing along some fun accessories like glasses, sunglasses, a hat or jacket.

If you’re arranging a shoot a week or two in advance, don’t forget to stay in touch with your model. Remind them a day or two before the shoot.

Sunglasses can be very handy on a shoot – especially when there are neon signs! Anneke, Brisbane. Fujifilm X-T3 with a 56mm f1.2 lens.

6. Have a plan

Think back to your location scouting. Have a list of 8-10 places where you’d like to shoot that are within walking distance of each other. Draw a map in your notebook and plan your route and the types of shots at each place. Typically, I only shoot in 6-8 locations, but I like having a couple of options up my sleeve in case some don’t work out.

Finally, don’t be afraid to throw your plan out the window if a better opportunity presents itself.

7. Plan your kit

It’s tempting to take as much kit as you can carry on an urban portrait shoot. However, strike a happy medium between taking enough kit to give you options without having to hire a Sherpa to carry your gear.

I typically take two camera bodies (Fujifilm X-T3 and X-T2) with prime lenses, with a third lens in my bag. My lenses of choice are usually the Fujinon 16mm f1.4 for wide-angle and environmental portraits, and either the 35mm f1.4 or the 56mm f1.2 lenses for portrait work. With the APS-C crop factor, these work out to 24mm, 52.5mm, and 84mm equivalent lenses in full-frame terms.

Although I love zoom lenses for family portrait shoots, I only take fast prime lenses on urban portrait shoots.

Double-check all your camera settings when you pack your gear. Things I check are:
1. I’ve selected the same JPG film simulation on both cameras,
2. I have the same auto ISO settings,
3. JPG + RAW is selected in the image quality settings.
4. There are spare formatted SD cards and spare batteries in my bag
5. I have model release forms and a pen.
8. Get to know whom you’re photographing

Make sure you turn up early – you won’t make a good impression if your talent is waiting for you and wondering if you are going to turn up or not. Get to know your model and their chaperone. Everyone can be a bit nervous at the start of a shoot, so have a good chat with them before you even think about pulling out a camera.

9. On the shoot

Remember, on these kinds of shoots, you don’t need quantity, you need quality. I aim to get a dozen images I’m really happy with. This means potentially shooting in a different way than you usually would. Take your time with directing the model and getting the composition right before taking the shot.

Make sure you get a variety of shots – close-ups, full length, looking to the camera, looking away. Also, remember to get some different looks by using any accessories the model has brought with them.

Make sure you get a variety of shots – not just close-ups.

10. Be prepared to direct the model

Directing talent is a skill you will need to learn – especially with younger up-and-coming models with limited experience. There’s no need to be worried if you have no experience doing this yourself. Get yourself the 67 PORTRAIT POSES (PRINTABLE) Guide from DPS to have on your phone (or print them), or have a stash of urban portrait images, ready to flick through to give your talent some ideas on how to pose.

11. Check your ISO and shutter speed

As the day moves into night, keep a check on your ISO and make sure you have usable shutter speeds above 1/80th of a second. The most annoying mistake I’ve made on these shoots is looking at the back of the LCD screen, thinking that I’ve captured a sharp image, only to see that the image wasn’t as sharp as I thought on my computer screen later on.

12. Limit any negative self-talk

Negative self-talk can affect us all. If you had an idea for an image, but it doesn’t work out on the shoot, move on and forget about it. Many images are still there for the taking.

13. Carry your own lighting options

For the first half of an urban portrait shoot, I rely on natural or ambient light. As darkness envelopes the urban landscape, I look to my own lighting options.

The first option I usually take is a speedlight flash that I can use on-camera, or trigger remotely. Typically, the light from these types of flashes can be harsh, so you may like to use a light modifier such as a mini softbox.

The second type of lighting that I use on my urban portrait shoots are small LED video lights. These are fantastic, and I love using them. Again, you can use one through a light modifier for a softer effect.

Using an on-camera flash can lead to some creative effects.

14. Safety

Safety should be your number one priority on a shoot like this. Identify any hazards before the shoot and brief your model. The last thing you want is someone getting hurt. Be aware of your surroundings at all times. If you get a bad vibe from an area, it’s best to move on.

Never leave any of your bags on the ground unattended. A few moments of inattention is all an opportunistic thief needs.

15. Legal

Always operate your shoots legally. Research if you need any permits to shoot in your city, look into public liability insurance, and have model releases signed before the shoot.

16. Limit the shoot time

Keep the shoot between 60 and 90 minutes; you’ll be amazed at how fast this will go. It’s better to have it run shorter and end on a high than run it longer with everyone exhausted. For younger models, keep it to under 60 minutes.

Keep the shoot length to under an hour for younger people – modeling is very tiring!

17. Editing your images

I always try and get it right in-camera, with only minor edits made to images afterward. One decision you may have to make is how much you want to clean up the image in post. In the example below, there were a lot of cigarette butts on the ground. I decided to remove these in Photoshop to make a cleaner image.

In this image, I removed all the cigarette butts and other debris from the road as I felt it detracted from the image. Sasha, Brisbane, Fujifilm X100F lit by a Godox flash.

Conclusion

Urban portrait shoots are a lot of fun and can stretch your creativity as a photographer. They help you to think on your feet and overcome challenges. If you’ve never done one before, there’s no need to feel daunted. Do your research and planning, and it will all fall into place.

If you have any questions or comments about planning an urban shoot, let us know below.

The post 17 Tips for Shooting Better Urban Portraits appeared first on Digital Photography School. It was authored by Matt Murray.

Digital Photography School
November 11, 2019
A Classic Annie Leibovitz Documentary
The post A Classic Annie Leibovitz Documentary appeared first on Digital Photography School. It was authored by Caz Nowaczyk.

I was at a bookstore the other day and was looking through a great book on the work of Annie Leibovitz – Annie Leibovitz Portraits 2005 – 2016. I am a big fan of Annie Leibovitz’s work and have been ever since I began taking black and white photos and developing them in my darkroom back in the late 80s/early 90s. Her lighting styles, techniques, and subjects fascinated me. I have her book, Annie Leibovitz At Work, which is not only a great insight into her fantastic images but the equipment and techniques she uses too.

So, this week, I wanted to share an old Annie Leibovitz documentary from 1993, along with some of Annie’s images to get you inspired on your portrait photographic journey.

I hope you enjoy her work as much as I do.

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Angelina Jolie, Dumont Dunes, Baker, CA, 2006 / In celebration of the premier of Maleficent: Mistress of Evil

A post shared by Annie Leibovitz (@annieleibovitz) on Oct 18, 2019 at 7:26am PDT

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Katy Perry, Paris, France, 2011 / Happy Birthday, Katy

A post shared by Annie Leibovitz (@annieleibovitz) on Oct 25, 2019 at 6:04am PDT

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Arnold Schwarzenegger, Sun Valley, ID, 1997 / In celebration of the premier of Terminator: Dark Fate

A post shared by Annie Leibovitz (@annieleibovitz) on Nov 1, 2019 at 6:44am PDT

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Serena and Venus Williams, Photo 1: Palm Beach, FL, 2016. Photo 2: West Palm Beach, FL, 1998

A post shared by Annie Leibovitz (@annieleibovitz) on Oct 28, 2019 at 8:37am PDT

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Jennifer Lawrence, Los Angeles, CA, 2015 / Congratulations on your wedding

A post shared by Annie Leibovitz (@annieleibovitz) on Oct 21, 2019 at 8:13am PDT

You may also like:
- 10 Tips to Create Emotive Portraits
- What Size Beauty Dish is Right For Your Portrait Photography?
- How To Use an Outdoor Studio for Natural Portraits
- 5 Portrait Photography Rules You Should Probably Ignore
- Portraits: Making the Shot
- 11 Influential Portrait Photographers you Need to Know
- 14 Amazing Portrait Recipes
- Your Guide to Studio Lighting Equipment
- Fast Flash for Portrait Perfection
The post A Classic Annie Leibovitz Documentary appeared first on Digital Photography School. It was authored by Caz Nowaczyk.

Digital Photography School
November 9, 2019