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

09 Jan

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

nikon-d780-announced

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

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

The D780.

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

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

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

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

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

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

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

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

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

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


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Your Camera’s Metering System Explained

09 Jan

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

your-cameras-metering-system-explained

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

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

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

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

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

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

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

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

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

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

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

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

Metering systems

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

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

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

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

your-cameras-metering-system-explained

First, your eyes…

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

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

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

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

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

Spot Metering

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

your-cameras-metering-system-explained

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

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

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

Matrix Metering

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

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

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

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

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

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

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

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

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

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

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

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

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

Centre-Weighted Metering

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

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

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

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

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

Pattern Metering

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

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

Conclusion

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

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

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


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Answers to Your Most Common Lightroom Questions

08 Jan

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

common-lightroom-questions

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

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

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

Answers to Your Most Common Lightroom Questions

Should I use Lightroom CC or Lightroom Classic?

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

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

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

Are you confused yet?

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

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

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

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

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

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

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

Answers to Your Most Common Lightroom Questions

What color space should I use?

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

The most common color spaces are sRGB and Adobe RGB.

camera-color-spaces-explained

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

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

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

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

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

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

Image: sRGB vs AdobeRGB on a computer screen

sRGB vs AdobeRGB on a computer screen

How can I speed up Lightroom’s performance?

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

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

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

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

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

Then click on -> Optimize Performance.

lightroom common questions-optimize catalog

common questions-lightroom performance

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

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

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

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

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

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

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

Answers to Your Most Common Lightroom Questions

Should I use one or multiple catalogs?

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

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

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

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

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

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

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

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

Where should I save my files?

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

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

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

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

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

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

folder-stucture-common-lightroom-questions

Conclusion

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

 

 

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


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How to Plan Your Year in Photography so You Can be More Productive

08 Jan

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

plan-your-year-in-photography

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

Plan-your-year-in-photography

Knowing seasonal flowers bloom can help a lot.

Look back to plan your year in photography

The very first thing you need to be doing ahead of planning your year in photography is to take a look at the past. This will help you in several ways, and these you’ll learn about now.

  • Avoid mistakes – Reviewing your work to see the things you did wrong means you can plan better for the future.
  • Return visit – It’s always good to plan a return visit, perhaps somewhere would look much better in the snow?
  • Improvements – Related to eliminating mistakes, but slightly different. In this case, when you learn a new photographic skill, this can be brought into your work.
  • Knowledge – Looking through all your work from the previous year will give you a lot of knowledge that you can then use in the planning phase for the upcoming year.
Plan-your-year-in-photography

It’s always worth a return visit, and the sun sets in a different position in the sky later in the year.

When is the best season?

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

When you plan your year in photography, you’ll need to consider the following factors. Then make a plan to be at the correct location at the right time to take advantage of your planning.

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

Knowing when festivals will be is important.

Which trip will you take?

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

Where should you go?

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

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

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

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

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

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

When to go?

Now the next step is planning when to go. Making a trip somewhere is exciting. For some, it’s often once a year, so you’ll want to get this right. What factors will elevate your photography of a particular location above other peoples?

  • Seasons – Already mentioned, but worth mentioning again. A location can be transformed by fall tree colors. Your time in a location could equally be ruined by a constant monsoon deluge, and perhaps even flooding.
  • Festivals – When you choose a place to visit, do an additional search to see if there are any famous festivals. Festivals offer the chance to take photos that only happen during that festival, offering you the chance for more unique photos.
  • Tourists – Can you go at a time that avoids crowds of tourists? Admittedly if you’re photographing a festival, you’ll be surrounded by lots of tourists. However, at other times, it’s best to avoid peak times. It’s cheaper to travel, and you’ll have an easier time taking photos without crowds in them.
Image: This photo needed to be taken when high tide coincided with sunrise. Planning is needed for t...

This photo needed to be taken when high tide coincided with sunrise. Planning is needed for this.

Try something new

Every year it’s worth thinking about learning something new. What new photography technique or post-processing workflow will take your photography to the next level? Do you need to buy a course, or attend a workshop to realize this improvement? Here are just a few ideas you could try, if you haven’t done so already.

  • Light painting – The world of light painting is huge. Get a tripod, and try out some of the night time fun yourself!
  • Infra-red – The easiest way to get started with this is through using an IR filter. If you really love it then convert your camera for specific IR use.
  • Lensball – Lensballs have become much more prevalent in recent years. Have you tried this interesting form of photography yet?
  • Digital blending – The best post-processing technique to take your landscape photography to the next level.
  • Cloning – Get creative and try cloning multiple objects into the same photo.
Plan-your-year-in-photography

Cloning yourself into photographs multiple times can be fun.

Make a monthly calendar

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

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

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

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

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

How will you plan your year in photography?

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

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

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

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


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10 Top Creative Photography Instagram Profiles you Should Follow

08 Jan

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

instagram-profiles-you-should-follow

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

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

1. Paul Nicklen

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

 

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2. Laura Zalenga

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

 

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A post shared by laura zalenga (@laurazalenga) on

 

3. Humans of NY

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

 

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

A post shared by Humans of New York (@humansofny) on

 

 

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

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4. Minh T (thismintymoment)

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

 

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Lost in an Escher dream ?

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

A post shared by Minh T (@thismintymoment) on

 

 

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5. Tropicophoto

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

 

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6. Eva Kosmas Flores

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

 

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7. Peter Hurley

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

 

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8. Stormy Solis

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

 

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9. Reuben Wu (itsreuben)

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

 

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10. Donatella Nicolini (donatellanicolinistudio)

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

 

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In conclusion

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

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

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


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5 Exercises to Improve Your Street Photography

07 Jan

The post 5 Exercises to Improve Your Street Photography appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

street-photography-exercises

Do you want to capture amazing street photography, but you just feel like you’re not good enough? Don’t worry, because this article is going to give you five fantastic street photography exercises that are guaranteed to improve your street photography. It’ll provide you with the tools you need to take amazing street photos.

Let’s get started.

5 Exercises to Improve Your Street Photography

1. Find a scene and stand in place for an hour

It might not seem like it…

…but a lot of street photography is about being patient.

In fact, plenty of the best street photos were taken after a significant amount of standing in place and waiting.

You see, great street photography often involves a powerful background with a focal point. And that focal point is often a person.

But to get the right person in the right place is one of the toughest parts of this genre of photography.

So this exercise is designed to make sure you recognize the rewards of being patient.

street-photography-exercises

Here’s what you do:

Start by finding a scene that you like. A building, an alley, an interesting background of some sort. Make sure there’s a decent amount of foot traffic.

Then previsualize. Where would you like your main subject to walk into the frame? Imagine the precise place you’d like them to be when you take the photo.

Then wait.

Now, plenty of people will walk through your scene who don’t fit with your previsualized photo. Maybe they don’t stand in the perfect place. Maybe they don’t have the silhouette you’re looking for.

And that’s okay. After all, this is an exercise in patience!

However, I recommend you take photos of these people anyway. You might end up with something unexpectedly powerful.

Even if you do get the shot you like, keep standing in place. Stay there until an hour has passed.

Because it’s important you understand, not just the rewards of patience, but how to be patient. So even once you’ve achieved your goal, stand in place, and keep taking photos. See what you can get.

Make sense?

2. Shoot an entire outing from an unusual angle

When you’re just starting out in street photography, it’s very easy to take every shot at eye-level.

Putting your camera up to your face is natural. And it can sometimes help you get over the stress of taking photos in public; you can feel like you’re hiding.

But shooting at eye-level is a recipe for consistently boring photos.

Instead, you want to take photos from many different angles. Different angles are the key to creating a dynamic, powerful portfolio.

So the street photography exercise is simple:

Go out with your camera. And only take photos from an uncommon angle.

5 Exercises to Improve Your Street Photography

Which angles count as “uncommon”?

The low angle is a great start. The lower you take your photo, the more awe your photos will generate because it’ll feel like the viewer is looking up at the scene. For the photo above, I shot up toward the clock tower in an attempt to make the image more dramatic.

Plus, a low angle can often clear the background, making it less distracting. It causes people in the background to fall away, leaving only buildings and sky behind your main subject.

To shoot at a low angle, you have a few options. You can sit down or crouch low. Or you can hold your camera down at your hip.

Of course, you don’t have to shoot from a low angle! If you like, you can try finding a vantage point (such as a parking garage), and shoot from high above.

The choice is yours. Just make sure you get used to trying new angles.

It’ll seriously improve your street photos!

3. Ask five strangers if you can take their picture

One of the biggest barriers to great street photography is your own nervousness.

After all, it’s hard to capture photos of people from a distance, let alone up close. You probably worry about people getting angry or even threatening you.

First of all, you should know that, in most countries, it’s legal to photograph people in public places. So you’re not breaking laws.

But the anxiety doesn’t always go away once you know your rights.

This is where this street photography exercise comes in handy.

street-photography-exercises

All you have to do is go out shooting. And ask at least five people if you can take their photo.

It’s okay if they refuse. It’s okay if they agree but the picture is bad.

The only thing that matters is that you’re pushing yourself out of your comfort zone. You’re forcing yourself to see that plenty of people don’t mind having their photo taken in public. And when people do mind, it’s not the end of the world.

This is an exercise that I recommend you try once a week (or until you no longer struggle to photograph people in public).

Because even if you prefer to photograph people without approaching them, knowing that everything will turn out okay will significantly improve your levels of comfort (and, consequently, your street photos!).

4. Only photograph strangely-lit people for a day

If you want to capture amazing street photos, you’ve got to start paying attention to the light.

This is easy to forget about because street photography involves so many variables: people moving fast, cars causing distracting backgrounds, etc.

But you can’t fail to consider the light. Otherwise, your photos will be very inconsistent.

Which brings me to the exercise:

Only photograph people who are strangely lit for the day.

5 Exercises to Improve Your Street Photography

By “strangely lit,” I’m referring to non-standard lighting. The people shouldn’t be lit with standard front-lighting, cloudy lighting, or standard overhead lighting.

Instead, there should be strong backlighting, side lighting, or shadows running through the scene.

By forcing yourself to pay attention to this, you’ll get a better eye for lighting. And it’s the first step toward taking more creative, unique street photos.

Personally, I’m a fan of backlit street photography. So I recommend going out when the sun is low in the sky to see if you can find some backlit subjects.

But you can also shoot people who are walking through shadow. This works especially well if the area around the person is bathed in sunlight, in order to create a high-contrast shot.

Just find some unique lighting, and you’ll do just fine.

5. Spend a week only taking photos of small details

Most street photographers only ever take photos of people.

But here’s the thing:

The streets have plenty of compelling details, too. And a street photographer who can find these details is a street photographer worth watching.

Tiny details lend character to your street photos, even if the main subject is a person. And tiny details can be the sole subject of a photo, as well. You just have to know how to capture them.

This is why your final street photography exercise is dedicated to photographing those beautiful small details.

street-photography-exercises

All you have to do is deliberately photograph little details for a week. Forget about photographing people. Forget about photographing architecture.

Instead, focus on capturing the most compelling details possible.

This might involve creating some abstract photos. Photograph contrasting colors up close. Or photograph spray-painted graffiti.

You can also capture some wider photos: the signs of restaurants, or the front door of buildings. All of these are excellent potential subjects.

Just remember: When you photograph small details, don’t just try to faithfully render the details themselves. Instead, create a compelling composition out of the details. Try to include multiple interesting features.

You’ll take a few boring photos, sure. But you’ll develop an appreciation for the smaller aspects of the city.

And you’ll take some stunning photos in the process.

5 exercises to immediately improve your street photography: Conclusion

Capturing beautiful street photos can be difficult. And for beginning photographers, it can seem impossible.

But if you do these street photography exercises, you’ll notice your outlook starting to change. Street photography won’t seem so difficult.

And you’ll start capturing some amazing street photos.

So get out and start practicing these street photography exercises!

street-photography-exercises

Do you have any other street photography exercises you’d like to share? Please do so in the comments!

The post 5 Exercises to Improve Your Street Photography appeared first on Digital Photography School. It was authored by Jaymes Dempsey.


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DSLRs Aren’t Dead Just Yet!

07 Jan

The post DSLRs Aren’t Dead Just Yet! appeared first on Digital Photography School. It was authored by Simon Ringsmuth.

dslrs-arent-dead-just-yet

In the past few years, traditional DSLR cameras have started to cede significant market share to mirrorless cameras. This newer style of camera has risen from obscurity to mainstream in the last decade. Recent trends indicate that this is no mere blip on the radar. Sony, Fuji, and now Canon and Nikon have all jumped into the mirrorless market with a growing collection of cameras and lenses that show no sign of slowing down. However, just because many think mirrorless is the way of the future doesn’t mean the end of DSLRs. Contrary to what you might think, DSLRs aren’t dead!

DSLRs aren't dead

Nikon D750, 85mm, f/2, ISO 2000, 1/350 second

The mirrorless vs. DSLR debate has been going for years, but thinking of the situation in binary terms is a bit misguided. It doesn’t have to be an either/or dichotomy. In fact, there is plenty of room in the photography community for both types of cameras.

In the same way that film offers some advantages over digital, traditional DSLRs have a few tricks up their sleeves that make them uniquely relevant even in this age of modern mirrorless models.

Before I get too deep into the content of this piece, I want to make one thing clear: I’m not advocating that one type of camera is better than the other. Both types of cameras have strengths and weaknesses.

Just because you might prefer one or the other does not make you a good or bad photographer! Cameras are tools to get a job done. All I’m saying here is that DSLRs aren’t dead and still have plenty of advantages to offer.

DSLRs aren't dead

Mirrorless cameras like this Fuji X100F have a lot of advantages. but sometimes a DSLR is the right tool for the job. Nikon D750, 85mm, f/2, ISO 640, 1/200 second.

Optical viewfinder

Mirrorless cameras have electronic viewfinders, which give them the ability to do things you simply can’t get with an optical viewfinder. That doesn’t mean that optical viewfinders, which are found on all DSLRs, have nothing to offer by comparison. Far from it! Optical viewfinders might not show you the exposure of your image in realtime, but they do give you a perfectly clear view of the scene you are shooting.

DSLRs aren't dead

Nikon D7100, 85mm, f/2.8, ISO 100, 1/1000 second

Electronic viewfinders are composed of individual dots, or pixels, just like the images captured by all digital cameras. They are like looking at a very tiny, very high-resolution TV screen. As a result, they share some of the same limitations as those screens.

Pixel density, refresh rates, color accuracy, and dynamic range are still issues in a lot of mirrorless cameras. These are getting better, but all electronic viewfinders show a digital representation of the real world which does have some limitations.

Optical viewfinders have none of these issues. They show the real world without translating it to pixels. The display won’t slow down or get choppy depending on lighting conditions or how fast you pan the camera. You don’t need to worry about color accuracy with an optical viewfinder because what you see is exactly what the world looks like.

DSLRs aren't dead

Power consumption is always going to be better with optical viewfinders because they consume no power at all. This means you can compose your shots without even turning your camera on. While mirrorless cameras have dramatically improved in this regard, DSLRs aren’t dead and still have an advantage in this area.

Lens selection

Companies like Sony and Fuji have a solid lineup of mirrorless cameras and lenses that they have been building for several years. Canon and Nikon will get there too with their mirrorless R and Z lenses. But in the meantime, traditional DSLRs are still the king of this particular hill.

Again, that’s not to say they are better! Just that DSLRs aren’t dead and well worth considering for many photographers today.

DSLRs aren't dead

Nikon D750, 85mm, f/2.9, ISO 100, 1/1500 second

Canon and Nikon both have decades of lenses for their DSLR cameras, with Nikon’s reaching all the way back to 1959 when the first F-mount camera was released. Pentax, Canon, and others have massive lens catalogs as well, which means that if you buy a DSLR today, you immediately have access to a massive array of lenses. Older ones might lack autofocus or stabilization, but they are a lot cheaper and a great way to expand your photographic horizons.

All mirrorless cameras can use older lenses with adapters. It’s not as though a Sony A7IV or Canon Eos R is limited to a paltry selection of just the most recent lenses. But adapters are one more thing to buy and carry around, and sometimes features like autofocus are limited when working with adapters. If you want access to the widest array of native glass possible, DSLRs are still the way to go.

Size

Mirrorless cameras, by their very definition, are smaller in size than DSLRs because they don’t need to accommodate a flip-up mirror. That means they can be a lot slimmer and more compact, which a lot of people like.

On the flip side, one of the reasons DSLRs aren’t dead yet is because they appeal to people who like a bigger, chunkier camera.

DSLRs aren't dead

The Nikon D750. EXIF: Canon Rebel Ti, 22mm, f/2.5, ISO 100, 1/250 second

The larger size of DSLRs means they often have bigger buttons, larger hand grips, and feel more substantial when shooting with them. None of this affects picture quality, but these traits do matter to many people who prefer a more robust, tactile approach when they shoot photos. Some actually prefer the larger size of a traditional DSLR, especially with a battery grip attached, because they feel more solid and substantial in the hand.

The size of traditional DSLRs is particularly important if you shoot with larger lenses, like a 70-200 f/2.8. Or even a walkaround zoom lens like an 18-270mm. The added camera weight serves to balance out the heavy lens and make the shooting experience a little easier than a small mirrorless camera.

Legacy

It’s easy to get caught up in the internet chatter about mirrorless cameras. There’s no doubt they are the way of the future. Also, seemingly, every photography-based blog and YouTube channel is filled with discussion about the latest mirrorless camera technology. It’s enough to make you think that if you prefer a DSLR you must be some kind of out-of-touch caveman.

DSLRs aren't dead

The Nikon D750. Exif: Canon Rebel Ti, 21mm, f/5.6, ISO 100, 1/100 second

One of the big selling points of a traditional DSLR is precisely the opposite: they have been around for decades.

This means that, in addition to lenses, there are all kinds of resources for people who want to learn more about using this style of camera. A brand-new Canon or Nikon DSLR shares most of its buttons, menus, and controls with their counterparts from years or even decades ago.

DSLRs aren't dead

Canon Rebel Ti, 10mm, f/5.6, ISO 100, 1/500 second

If you are new to photography and want to learn how to use a DSLR, there’s a good chance someone you know will have a similar model, perhaps even an older version of the same camera. This is a huge reason that DSLRs aren’t dead yet and a big help for people who want to make the most of their more traditional camera gear.

This isn’t to say that mirrorless cameras don’t have legacy support either. Some, like Fuji, model their dials and controls after cameras that were popular several decades ago. But just because they share similar controls doesn’t mean they have the same degree of support.

DSLRs aren't dead

Nikon D200, 50mm, f/1.8, ISO 400, 1/320 second

You are more likely to know people who can help you learn to use a DSLR because they also have one. Plus, the sheer number of websites and online tutorials for DSLRs is greater simply because they have been around longer. Of course, mirrorless cameras will catch up, but for now, the message is clear: DSLRs aren’t dead. Moreover, there are still plenty of reasons to consider buying one.

What about you? Are you a traditional DSLR shooter or have you gone over to mirrorless? Or are you like me, and use both types of cameras? I’m curious to hear your thoughts in the comments below. If you have other reasons that DSLRs aren’t dead please feel free to share them.

The post DSLRs Aren’t Dead Just Yet! appeared first on Digital Photography School. It was authored by Simon Ringsmuth.


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Tips and Tricks for Photographing Your Own Dog

06 Jan

The post Tips and Tricks for Photographing Your Own Dog appeared first on Digital Photography School. It was authored by Anabel DFlux.

photographing-your-own-dog

Whether you’re a seasoned animal photographer or just someone who loves their pup, you’ll find that photographing your own dog can be a bit more difficult than anticipated. I work as a pet photographer, and have always found photographing someone else’s furry best friends easier than my own little beast!

As such, I’ve devised a little guide here for those of you wanting to snap images of your own dog that are as perfect as those sparkling images on the internet. Your dog’s Instagram account will thank you for it (admit it – you have one!)

The difficulty in photographing your own dog

Image: This is my rescue dog, Lorelei. She’s not as easy to capture as she appears.

This is my rescue dog, Lorelei. She’s not as easy to capture as she appears.

Sometimes, photographing our own pets is easy. We know our pets inside and out. But maybe that’s also the problem. We know our pets too well, and they know us too well.

It tends to be easier to photograph someone else’s pet because you don’t have the same emotional connection to one another. Sure you’ll be an interesting commodity for a short period of time, but that pup will still gravitate back to its owner and away from you (making for better images). With your own dog, you are the main attention.

For the hyperactive and overly invested, this means a dog too close in your face all the time – especially when you get low to the ground for those really amazing eye-level compositions.

For the shy, this means a dog that will turn away from you the moment they see a lens or go hide somewhere. Doing basic obedience can become a chore as the dog becomes impatient with you as you set up your camera equipment. So many negative variables at hand here!

There is also an emotional component and, oftentimes, more frustration involved with utilizing our own pets as photography models. We know when our pups look best, how they are capable of behaving, and what we want them to do. However, because it’s us, they may push the buttons and not want to particularly cooperate.

There is a lot more leniency involved in photographing someone else’s pet, and we often forget that leniency with our own animals (akin to parents and their own children versus parents watching someone else’s children). We become so set on getting a specific type of shot that we forget the beauty of being a bit more spontaneous!

Tips and tricks for less headaches

Tips and Tricks for Photographing Your Own Dog

Fret not, fellow pet lovers, there are some solutions. Here are our tips and tricks to ease you on making sure your pup’s photographs are all perfectly delightful.

Note: If you are using a DSLR or Mirrorless camera, before even getting into these tips, make sure your camera is set to Continuous Autofocus Mode (AI Servo in Canon, AF-C in Nikon and Sony) which allows your camera to refocus on your pup despite their erratic movements. Set your shutter to High-Speed Continuous/Burst Mode (depending on camera brand) to take advantage of the camera’s frames-per-second and take many fast photos!

Tip 1: There is some training required

Tips and Tricks for Photographing Your Own Dog

Unlike our cameras, dogs aren’t ready straight out of the box! It requires some training to get those epic dog shots.

First and foremost, getting your dog used to the camera is a huge key to success. Show that the camera is not something scary, something to get overly excited about, or something to chew (yikes). I am a big positive reinforcement proponent. Reward your dog for doing good around the camera and make sure that Fido is aware that they are doing a terrific job. Make the camera a good experience for your pup, not something to be afraid of.

Secondly, some basic commands go a very long way. A good ‘sit and stay’ will do wonders for you, allowing the distance you need to capture the right image. A ‘down’ is also helpful, as is a ‘mark’ (in which the dog is trained to put their paws up on something you set as a marker). This is how those canine actors do it too!

Training is a great bonding tool for you and your dog and makes for a good canine citizen. So this doesn’t just have a photographic benefit tied in.

Tip 2: A tired dog is a good dog!

Tips and Tricks for Photographing Your Own Dog

Each old saying has a grain of truth to it, and in this case, significantly more than just a grain. An animal that is tired is less likely to have the energy to misbehave!

A key tip in working with pets is getting them too tired to exert their boisterous behavior or protest having to stay still. Playing, running, and stimulating your dog before taking pictures will keep them mellower when it comes time to take the photographs.

Tip 3: Filters, use them!

Tips and Tricks for Photographing Your Own Dog

Filters are the nifty little panes of glass that screw on to the front element of our lenses. This glass can protect expenses lenses from scratches, dust, and most definitely wet dog noses! The problem I often have with my own beast is that she wants to come right into the glass element of my lens, the filter offers extra protection for those times when she’s faster than I am!

Equally so, the glass absorbs the shock of impacts, such as accidentally getting the camera bumped out of our hands by an overexcited pooch.

Tip 4: Location makes all of the difference

Tips and Tricks for Photographing Your Own Dog

Much like with people, the location you are shooting in makes a world of difference. Is your dog an adventurer? Why not capture shots of your pup doing what they love best – exploring a beautiful hike! You can capture their love for the outdoors while your pet is distracted by something beautiful.

Do you have a lazy bum? Maybe the house is their favorite place to be? Catch a lovely in-home session with your dog playing with a favorite toy or hanging out on the couch!

Some dogs are more difficult to capture in unfamiliar locations as they get either nervous and anxious or over-excited. You know your dog best. Do what you think is best to get them comfortable with their surroundings before taking a photograph.

Remember, your dog’s comfort and happiness is first on the priority list; photographs are second.

Tip 5: Get their attention!

Ears up, ears up! You want to get those ears up and those faces smiling. As such, this requires a bit of attention-grabbing on your end. Whether through high-value treats (foods that your dog finds irresistible) or their favorite toy, you know your pooch best when it concerns getting their ears up.

Tip 6: Patience is a virtue

Tips and Tricks for Photographing Your Own Dog

Patience is a virtue indeed and is even more valuable when capturing our own pets. As stated before, patience seems easier with someone else’s dog than with our own, and that’s a frustration that comes out of something that is yours. Remember to breathe and relax, as your anxiety affects your pup. Be patient and the right moment will come!

Tip 7: Rapid shutter fire!

As mentioned above, when you set your camera to burst mode or high-speed continuous shooting, you take advantage of your camera’s speed. This is especially important for animal photography in which pups move rapidly! Capturing a whole sequence of movements allows you to pick out the best of the best shot.

Tip 8: Bring a friend!

Tips and Tricks for Photographing Your Own Dog

It’s okay to bribe your friends with pizza in order to get them to help pose your dog! Having a second person around always helps. That’s the reason photographing someone else’s dog is much easier too.

A second pair of hands can catch your dog’s attention, help you make sure the pup isn’t running away, and generally help when photographing your own dog.

Final thoughts

Photographing your own dog may not always be a simple endeavor, but it is always a worthwhile one! Just remember to have fun and keep it all lighthearted, and you’ll do great.

Do you have any other tips for photographing your own dog? If so share with us in the comments. We’d also love to see the pictures you have taken of your own dog, so feel free to share those with us too!

The post Tips and Tricks for Photographing Your Own Dog appeared first on Digital Photography School. It was authored by Anabel DFlux.


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Minimalist Photography: A Powerful Medium That’s Not as Easy as You Think

05 Jan

The post Minimalist Photography: A Powerful Medium That’s Not as Easy as You Think appeared first on Digital Photography School. It was authored by Ana Mireles.

powerful-minimalist-Photography

Do you want to make more powerful minimalist photography? Then this is the article for you. Here, I’ll clarify what minimalism is, and more importantly, what is not. I’ll also give you some tips and tricks to improve your own images and share some quotes and links from the masters on the subject to get you inspired.

What is minimalist photography?

I find that some people use the term minimalism to describe a kind of photography, for example, when they are replying to what type of photography they do. That’s why it’s important to clarify that minimalism is a style of photography that you can apply to any genre of photography from landscape through to food photography.

Powerful minimalist photography

1/1000, f8, ISO 200

Actually, minimalism is a style that not only exists in photography but in everything from paintings through to design. It is even a way of life that has recently become popular. The one thing that minimalism has in common, no matter where you use it, is the idea that less is more. Because of this, the details are very important.

Know-how

While minimalism is simplistic in it’s visual aesthetic, it is not always easy to achieve. In fact, it can be more difficult because there’s really no place to hide. If it’s not a good photo, it will be fairly evident. One of the first rules of powerful minimalist photography is to isolate the subject and let the background be just that, a background. You can achieve this by using neutral backdrops or a shallow depth of field.

Image: 1/320, f11, ISO 400

1/320, f11, ISO 400

An isolated subject on a neutral background is not yet enough to qualify as minimalist because this description could include product photography from an e-commerce site and, of course, we are not talking about that.

So to achieve minimalism, you also have to give a message or emotion. Michael Kena, the great minimalist photographer says: “For me, approaching subject matter to photograph is a bit like meeting a person and beginning a conversation“.

Composition

You can use composition to give more impact to your image. There aren’t many elements in a minimalist image, so you have to be sure they are well-positioned and distributed correctly. You want to use composition to create a harmonic image and emphasize the subject. Always keep in mind the message and not just the aesthetics.

Composition for minimalist photography

1/60, f4, ISO 400

Using composition rules can really help you to master minimalist photography. Once you’re comfortable with them, keep experimenting because breaking the rules can sometimes be equally helpful.

Colors, shapes, and textures

You can try using only one color to emphasize the message or create an atmosphere and a feeling. There’s a long history in the arts about the cultural meaning and the psychological impact different colors have on the viewer. Use this to your advantage when doing minimalist images.

Urban powerful minimalist photography

1/640, f4.5, ISO 250

You can also go the other way and use bold, contrasting colors to create more compelling photographs.

Lea De Meulenaere said in an interview that she lives in a place that is not very colorful, so she does more profound research to use other characteristics of the minimalist style. Keeping this in mind, you can also use shapes and textures.

Constructing images

Minimalism can be found during long walks in the city for urban photography or nature for landscapes, but you can also construct it in still-life, food photography, advertising and other genres.

Image: 1/60, f11, ISO 400

1/60, f11, ISO 400

Some big brands like Disney or LG are using minimalism for their printed advertising. You can follow the creators of such campaigns on Instagram for inspiration. I particularly like Anna Devis and Daniel Rueda under the account name anniset.

Why you should give it a try

  • Trying new things will keep your photography improving. Going minimal doesn’t require you to buy any new equipment. You have nothing to lose and much to gain.
  • It will exercise your mind and creative process to give a clear and concise message with your images.
  • There’s such a big variety of minimalism that you can find your own. You can go about it as a meditative state or as a fun creative project. The choice is yours.

In conclusion

It’s not by chance that advertising is using minimalism. An image that clearly communicates what you want is something that stands out in between all the images we see every day. To make powerful minimalist photography is a skill that can take your work to the next level.

Powerful Minimalist photography monochrome nature

1/500, f5.6, ISO 100

Try it, practice it and most of all, enjoy it. Share with us your results in the comments section to get other readers inspired!

Want to read more about minimalist photography?

See these articles:

  • Tips for Minimalist Photography in an Urban Environment
  • Minimalist Photography ~ 4 Tips To Keep It Simple With A Maximum Impact
  • 21 Simple Images That Exemplify Minimalism
  • 4 Tips for the Minimalist Photographer
  • The Minimalist Landscape Photographer: What do you really need?
  • 5 Guidelines of Minimalist Photography to Help Improve Your Work
  • How to Embrace MINIMALISM for IMPROVED Landscape Photos
  • Tips for Achieving Minimalism in Photography

 

 

The post Minimalist Photography: A Powerful Medium That’s Not as Easy as You Think appeared first on Digital Photography School. It was authored by Ana Mireles.


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RAW Photo Editing in Lightroom: How to Make Your Photos Look Real to Life

05 Jan

The post RAW Photo Editing in Lightroom: How to Make Your Photos Look Real to Life appeared first on Digital Photography School. It was authored by Kevin Landwer-Johan.

dps-raw-photo-editing-in-lightroom

RAW photo editing in Lightroom is necessary to make your photos look realistic. Saving your photos as RAW files, they will not look like what you see with your eyes. Photos your camera captures look different than how we see. This is especially so in high-contrast lighting.

We can see more detail in highlights and shadows. This will change as camera technology advances.

RAW files are always flat and dull-looking before post-processing. RAW photo editing is necessary to balance the light and color to get your photos looking lifelike.

RAW Photo Editing Edited Beetle

Edited image made to look more vibrant and lifelike from the original RAW file. © Kevin Landwer-Johan

Don’t believe what you see

Chimping will rarely give you a true picture of the detail in your RAW images. What you see on your camera screen is a JPG photo that contains less information than the RAW file. This is different for each make and model of camera. You need to use your imagination and fill in where there appears to be no detail. You must also consult your histogram to keep your imagination in check.

You can extract more detail during RAW photo editing than is displayed on your camera’s monitor. Know your camera well and how the RAW files respond when you post-process them. Then you can have a better idea when you chimp your pictures.

What shows on your camera monitor after you take a photo may show loss of detail in the highlights or shadows. High contrast lighting exaggerates this. Learn to recognize the difference between what you are looking at and the way the pictures of it look. This will help you make better exposure choices.

Having presets active when you import photos to Lightroom will alter the images. Otherwise, images import as the camera recorded them. I prefer to have all my Lightroom settings at zero when I import. This means that when I start my RAW photo editing, I know precisely what I am dealing with.

RAW Photo Editing Zeroed Beetle

Original, unedited image showing all the Lightroom sliders zeroed. © Kevin Landwer-Johan

RAW photo editing from scratch

Lightroom has many presets. Some of them come with the software, others you can download and install. Many of them, when applied, will give your photos a somewhat surreal look. You can create:

  • Monotone images
  • Add a sepia look
  • Saturate or Desaturate
  • Colorize, Posterize and Solarize

Gimmicks abound. Sometimes applying a creative preset can enhance a photo. The ways you can transform your photos are endless.

RAW Photo Editing Cool Light Beetle

RAW image wit a ‘Cool Light’ preset applied. © Kevin Landwer-Johan

You can edit to make photos look however you want them to. It’s up to your creative ideas. But often you will want to edit your RAW photos to make them look realistic.

When you edit RAW photos for a natural-looking result, keep in mind how you saw what you photographed. How was the lighting? Was it high or low contrast? Did it have a warm or cold cast? Was it more neutral? What did the colors look like? If you consider the reality of a scene then you can recreate this during RAW photo editing.

Thinking about what you saw when you were taking your photos will help you edit them more realistically. It’s not always possible to remember clearly. This is when you need to think objectively and aim to find a balance in lighting, contrast, and color when you working on RAW photo editing.

Find a balance – what looks right?

Editing your photos so they look real to life means you must find the right balance. In Lightroom, the sliders I use most often to achieve this are (in no particular order):

  • White Balance Temp
  • Exposure
  • Highlights
  • Shadows
  • Blacks
RAW Photo Editing Edited Flower

Use the sliders on the Develop Module to make photos look life like. © Kevin Landwer-Johan

The other sliders in the Basic panel I will use less often. Their use depends on the lighting condition from when I took the photo. At times I will make alterations to individual colors using the Saturation and Luminance sliders. You can find these in the HSL/Color panel.

There are many ways to achieve similar results in Lightroom. The ones I mention here are the ones I find to give me the best results. If you prefer an alternative way of doing the same thing, please share it in the comments below.

Photos taken at different times of the day and night require editing to suit the lighting. Whether the light is high or low contrast will also make a difference. Photos taken on a sunny day require different editing to photos you take when it’s cloudy, or you’re indoors.

Don’t overdo any of the changes you make. Avoid pushing sliders to their extremes. This will help you keep a more realistic look to your photos. Once you start having to max out the sliders, you will find that image quality begins to deteriorate. Pixelation, banding, and other imperfections will begin to appear.

RAW Photo Editing Zeroed Farmer

Zeroed Settings

RAW Photo Editing Edited Farmer

Sliders adjusted to make the photo more realistic-looking. © Kevin Landwer-Johan

Contrast and exposure challenges

How well-exposed your photos are will affect the amount of effective RAW photo editing you can carry out. When you have to push sliders to their extremes, it’s usually a sign your photo was not well exposed. It can mean the contrast range in your composition is too broad for your sensor to capture detail in both the shadow areas and highlights.

RAW photo editing has its limits. You will not always be able to make a photo look like what you saw. This is most often true when contrast is high because camera sensors are still more limited than how we see.

Generally, aiming to bring down the highlights and draw up the detail in shadows will make a photo look more real to life. If an image was poorly exposed, in part or whole, it is more challenging to make it look how you remembered seeing it.

RAW Photo Editing Edited Orchid

Hard light with overexposed highlights. © Kevin Landwer-Johan

To avoid this, compose your photos so that the contrast range you capture is within the dynamic range of your camera. If there are very bright and dark areas in your composition, recompose. Aim to have the tone range narrower. This often means taking photos where there’s no bright lights or deep shadows in your frame.

If you can not do this, don’t be overly concerned about losing detail in the highlights, as this is not such a problem. In bright lighting conditions, our eyes will often not be able to see detail on light-colored or very reflective surfaces. We will still be able to see detail in the shadows.

Setting your exposure so you can capture shadow detail will make it easier to edit the RAW photos in Lightroom. This will help you get them looking realistic.

RAW Photo Editing Edited House

Edit each photo individually to get them looking most realistic. © Kevin Landwer-Johan

Think about Lightroom RAW photo editing when you take photos

When you take photos, consider the changes you can make to your RAW images later. The more photos you take and edit, the more naturally this will occur.

Thinking about what you can do in post-production might seem like cheating to some. I don’t see it that way. It’s a matter of working with the tools we have available to us. Modern digital technology gives us opportunities to make photos look more realistic.

When RAW photo editing well-exposed images, you can make them look real to life when this is your intention. Having well-exposed RAW files means you can balance light, contrast, and color.

Have a look back over some photos you have post-processed recently. Do they look how you remember seeing what you photographed? How could you alter them to make them look more real to life?

The post RAW Photo Editing in Lightroom: How to Make Your Photos Look Real to Life appeared first on Digital Photography School. It was authored by Kevin Landwer-Johan.


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