To learn to create evocative light with flash, it helps to better understand how we experience the continuous light we see every day.
To do that, you'll need to wean yourself from auto white balance, and even to abandon familiar waypoints like your daylight WB preset. Because our goal is to learn to exist in a more fluid way along the Kelvin scale. Read more »
Strobist
The post Easy Tips to Create Slideshows in Lightroom appeared first on Digital Photography School. It was authored by Kevin Landwer-Johan.
Lightroom has a built-in feature that allows you to create slideshows with selections of your photos. You can include music and add text overlays to slideshows in Lightroom. This can make sharing your work more appealing and interesting.
Slideshows you make with Lightroom can be exported as videos and uploaded to Youtube. You can then embed them on your website and use them on social media.
There are many ways to select the photos for slideshows in Lightroom, but using the Library Module in the program is the easiest I know of.
Select the photos you want to use when you are in Grid View by holding down the Ctrl (Cmd) key and clicking each image. You can then add the selected photos to a New Collection or Quick Collection.
I prefer to add them to a Quick Collection because it’s so easy. When you have your photos selected, just tap the ‘B’ key and they get added to your Quick Collection. Once you have completed your selection, you can make a New Collection from the photos in your Quick Collection.
Select all the photos in your Quick Collection and press Ctrl (Cmd) + N to start a New Collection. Name the collection of photos for your slideshow. It will be added to the Collections panel on the left of your screen.
Arrange your photos in the order you want them to appear in your Lightroom slideshow.
This is a key step in creating slideshows in Lightroom that will hold people’s attention. If the order of your photos is random they will appear disjointed. Having a good flow to the sequence of images will help you retain your audience’s attention longer.
Create a slideshow with good flow and feeling. Look at composition, color, and meaning in your photos. Aim to place similar photos together. Or place them in a natural series if they are following a chronological timeline. Considering your story and the way the slideshow will play is very important.
In Grid View, drag and drop each photo to the place you want it to appear in the Lightroom slideshow.
Once you’ve arranged all your images in the sequence you want them, click on Slideshow in the top menu. This opens the Slideshow Module view in Lightroom. This module has different left and right panels than you are used to using in the Library Module. If you can’t see them, press the F7 and F8 keys to bring them into view.
Click on Create Saved Slideshow at the top right of the central panel. Name your slideshow and click on Create. Once you have made your slideshow in Lightroom, all the changes you make will be saved automatically.
Choose a template for your Lightroom slideshow from the Template Browser in the left-hand side panel. With the preset templates, it is easy to make changes later if you want.
Run your slideshow to see how it looks. Are you happy with the layout and sequencing you have chosen?
In the right-hand side panel, you will find a series of windows. Here you can make changes to:
In the Options panel, you can select the way you want your photos to display on each slide.
You can have the photo fill the entire frame or part of it. You can add a border and drop shadow that you can customize. If you Zoom to Fill Frame a shadow cannot be seen in the slideshow even if you create one.
Here you can add space around your slides. You can choose how there is space above and below and to either side of your slides. By default, they are all the same, but you can uncheck the Link All box to customize.
Here you have options for the aspect ratio you would like. These are Screen, 16:9 and 4:3
In the Overlays window, you can add an identity plate, watermarking and rating stars. These options can be helpful when you are sharing your slideshow with wedding or portrait clients.
Click on the text box to edit the text for the identity plate. Type in your new text and adjust the size and style to suit your taste.
You can add custom overlay text to each slide. To do this, click the ABC which you can find below the main window. Type in your text and then drag it to the position you want. You can grab the text box handles to resize.
You can choose various options to create a background for your slideshows in Lightroom.
Using the the Color Wash option adds a gradient look to the background. Choose colors that will work best with the photographs in your slideshow. Leave the Color Wash option unchecked to make a solid color background.
You can choose to add a photo or other graphic as a background. Be careful if you use this option not to include a background image that conflicts with your photos in the slideshow.
This is where you can add intro and outro text. You may want to include an introduction title or company logo. At the end, you may wish to display your website or email details.
Select a music track to set the mood for your Lightroom slideshow. Choose an mp3 music file from your hard drive or find one online. There are lots of options to buy or find free music online you can legally use.
This is where you get to control transitions and how long each slide will stay on screen. There are manual and automatic options. You can also have it sync to the music track you have chosen.
Adjust the options until you find a good flow for your photos when they are shown in the slideshow. Syncing to your music will work better with some tracks than with others. You may prefer to have each slide and transition the same length.
When you think you have got it right, press Play. Lightroom will prepare your slideshow and play it. You might want to go back and tweak the photos or design, which you can still do.
Once you have watched your slideshow in Lightroom play through a few times, it’s time to export it. You can export it as a PDF or a video. A PDF can be used in a slide presentation, and video can be uploaded to Youtube or shared on social media.
Click on the export option you prefer and name your slideshow. Depending on the number of photos you have in your slideshow in Lightroom, exporting may take a while.
It’s that simple!
Do you use this feature in Lightroom or have any other tips for creating a lightroom slideshow? Share with us in the comments.
The post Easy Tips to Create Slideshows in Lightroom appeared first on Digital Photography School. It was authored by Kevin Landwer-Johan.
The post 10 Christmas Portrait Locations (with Bonus Lighting and Composition Tips) appeared first on Digital Photography School. It was authored by Mat Coker.
Everyone loves to see a nice portrait of the kids at Christmas. But it can be tough to brainstorm new Christmas portrait locations year after year.
Whether you’re photographing your own kids, or you’re a family photographer, this list of Christmas portrait locations will give you plenty of ideas including tips for lighting and composition.
Christmas can feel magical and golden hour is a magical time of day for light. You can find some evergreens for the golden sunlight to filter through and create a magical feel for your portrait. Consider using the golden sunlight as a beautiful source of backlight.
Golden hour is approximately the first and last hour of the day when sunlight looks almost golden. Personally, I love to work with the last 15 minutes of sunlight. I scout my location a few days in advance and take note of the exact time the sun is at its best.
Christmas lights can also be a good source of warm light. They work especially well if you prefer to stay indoors. Keep the tree back in a darker corner and use a window to light your person (this works well when photographing holiday food too).
You may find that a fully decorated Christmas tree can be a bit of a background distraction. A simple tree with lights adds a festive feel without being overwhelming.
The Christmas lights in the background echo the golden polka dots of her shirt. The catchlights in her eyes (created by the window light) help to bring the portrait to life.
You can see where she was positioned in relation to the window and the tree.
If you don’t have a window for a light source, you can use the flash on your camera. If you’re using your camera’s flash, there are two things to keep in mind. Keep the person away from the Christmas tree and get close to them with your camera. By staying close to them and keeping them away from the tree, the flash will light the person nicely but not overwhelm the tree with light.
If you live in a part of the world where there is snow, this is really fun for a Christmas portrait. But there are a couple of problems that you will likely run into.
The first is that your photo may turn out looking very dark. This is because the snow is so bright that your camera meter naturally wants to darken the photo. One way around this is to shoot in full manual mode, then you can get the exact brightness that you want. Personally, I shoot on aperture priority and use exposure compensation to get the correct brightness for my photo.
The second problem that you will run into when photographing during a snowfall is misfocused pictures. Your camera may autofocus on a snowflake in the foreground, leaving your subject out of focus. So, make sure to check your photo closely before packing up your camera. That way, you won’t be disappointed when you sit down to edit your photos and realize they’re all out of focus.
A darker background makes the snowflakes stand out more.
Be sure to protect your camera in cold weather too.
This is a perfect opportunity to capture both posed and candid moments. Again, window light will be your friend when lighting your subject.
Notice that in the first photo I positioned the subject so that he is against a clean background. This way he stands out more and is not lost among the decor.
Our downtown street is filled with beautiful storefronts throughout December. These storefronts are a perfect Christmas portrait location. When using a storefront for a background, remember to frame the person neatly.
Once your subject is framed, go for a natural smile! You’ll probably have to say something funny.
Notice how the boy is framed in this photo. He is balanced by the tree on the left and the windows on the right. His head is in a clean space with nothing distracting protruding from it.
If you like a rustic aesthetic at Christmas time, look for an old barn to use as a Christmas portrait location.
In this first photo, she is placed right up against the wall. I’m using a 50mm lens with an aperture of f/1.8 so the boards are a little out of focus.
I brought her a few feet away from the wall in order to make the background go more out of focus.
You can use all sorts of props in your photos. Sometimes a prop to sit on is more than enough to add visual interest to your portrait.
With an overcast sky, you can make portraits any time of day without having to worry about harsh shadows from direct sunlight.
Find a wide roll of paper with a nice design to use as a backdrop. Place it next to the window and you will have a wonderful natural light source.
It’s so much fun to bring a sack of Christmas ornaments on a hike and decorate a tree deep in the woods! Once you’ve done that, you’ve got a perfect Christmas portrait location.
When thinking of Christmas portrait locations, consider building your portrait around a meaningful theme.
When my son was just two, I couldn’t resist creating a portrait inspired by Charlie Brown.
Create a storytime theme using a big book as a prop. Remember that a window is a great source of light.
Try a posed portrait.
Once you have a nice pose, try a photographing a candid moment too.
Perhaps you don’t have any nice scenery nearby. If that’s the case, then find a tree farm to use for your Christmas portrait location. If you don’t like the manicured look of rows of trees then go for an angle that doesn’t make it obvious that you’re at a tree farm.
Have fun trying out several of these Christmas portrait locations! When you’re finished, your printed portrait will be one of the most meaningful gifts you can give to friends and family over the holidays.
Do you have any other ideas for Christmas portrait locations? If so, please share them with us in the comments!
The post 10 Christmas Portrait Locations (with Bonus Lighting and Composition Tips) appeared first on Digital Photography School. It was authored by Mat Coker.
The post How to Master Lightroom in a Weekend! appeared first on Digital Photography School. It was authored by Darren Rowse.
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The post How to Master Lightroom in a Weekend! appeared first on Digital Photography School. It was authored by Darren Rowse.
The post Are Micro-Four-Thirds Cameras Dead, or Do They Still Have Their Place? appeared first on Digital Photography School. It was authored by Mark C Hughes.
In this article, we are going to look at whether micro-four-thirds cameras still have a place in today’s marketplace.
In the course of the last year, there have been changes to the photography landscape with the introduction of several mirrorless full-frame camera models, particularly from the big two manufacturers: Canon and Nikon. After a long delay, they finally entered the mirrorless camera market in a big way with higher-end full-frame (FF) cameras.
Beyond the big two, Panasonic (in conjunction with Sigma and Leica) also introduced a new mirrorless FF camera system and mount. This represents a sudden increase in competition in the mirrorless market for interchangeable lens cameras (ILC) and may indicate that the traditional DSLR is on its way out.
The new Full-Frame Canon EOS R mirrorless camera from Canon (image from Canon promotional material from canon.ca website)
Previously, the mirrorless camera landscape was dominated by Sony, Fuji, Panasonic, and Olympus. Sony produced FF and cropped-sensor cameras while Fuji has produced medium format and crop-sensor cameras. Meanwhile, Panasonic and Olympus were only producing micro-four-thirds cameras with the smallest sensor of the bunch.
Although Canon and Nikon were also in the mix with some cropped-sensor bodies, these cameras were half-hearted efforts and certainly not an area of emphasis for either company.
Now, with Canon, Nikon, Sony, and Panasonic jumping in with both feet into the FF mirrorless market, is there still a market for micro-four-thirds cameras? Or, is the smaller sensor, micro-four-thirds camera systems basically dead?
Are MFT cameras dead? The Pen-F Micro 4/3s from Olympus
Some have postulated that Panasonic, one of the major manufacturers of micro-four-thirds (MFT) cameras, is moving out of these smaller sensor cameras. YouTube photography celebrities such as Tony Northup and other Podcasters have made this very assertion: that MFT as a format is dead. Is there any truth to this or is this just social media clickbait?
YouTube video bloggers have been suggesting that MFT is a dead format
There are a few assumptions embedded in the idea that MFT as a format is dead, assumptions that have been neglected or overlooked in the chase for likes by social media pundits.
Panasonic recently released its new S-series cameras that are all FF mirrorless cameras. Observers take this as evidence that Panasonic is leaving the MFT system behind.
Before jumping to conclusions, remember, Panasonic has released a lot of cameras and lenses over the years, all of which are MFT. In particular, the GH5 was clearly a game-changer for video. Compact and video intensive, it became the video standard for many vloggers and internet video shooters.
Most of the camera imaging revenue for Panasonic is from its large range of products in MFT formats, supporting existing Panasonic customers. In comparison, the new S-series format (there are three models) currently has only a limited number of native lenses as of November 2019.
To be fair, this new format will have offerings from Sigma lenses, and the new mount is compatible with Leica L-mount lenses. The Leica lenses, although available, are generally significantly more expensive than many other similar lenses.
This means that the S-series for Panasonic is a new territory and will not represent significant revenue until it becomes established. Until then, the base is in MFT. This imbalance between the two formats will likely remain that way for an extended period.
The new Panasonic S1R, FF mirrorless camera (from Panasonic promotional material from panasonic.ca website)
Users have been slow to adopt the new Panasonic format. While the new Panasonic cameras have some fantastic build qualities and features, it’s sensor design does not incorporate phase-detect autofocus. Instead, Panasonic designers chose to continue to use only contrast-detect and depth from defocusing DFD, the same system previously used on all their MFT cameras.
Consequently, the Panasonic autofocus system (both MFT and FF), while fast and great for still photography, has not been seen as good at continuous autofocusing (important for sports, wildlife and video) when compared to some of its competitors. This means that the move by Panasonic designers to retain this type of autofocus system into their new format FF cameras may cause some purchasers to think twice about a jump to their system.
It remains to be seen if this will eventually be a successful format for Panasonic.
Since the announcement of the Panasonic S-series, Panasonic has also released two new cameras and three new lenses for MFT. Clearly, the move to full-frame mirrorless cameras by Panasonic is part of a larger strategy. It is not the only product line that Panasonic is focusing on.
The new G95 MFT camera body from Panasonic, released after the announcement of the S-series from Panasonic (from panasonic.ca website)
The assumption goes something like this…
Panasonic and Olympus are the two major manufacturers behind the MFT Consortium. If Panasonic stops producing or developing MFT equipment, there would only be one major manufacturer left supporting the format.
MFT as a format was originally developed by a consortium of manufacturers that sought to provide an alternative product to what was being produced by the bigger manufacturers (Canon and Nikon at the time).
This is an open-source approach to manufacturing, one that is contrary to how most other manufacturers have approached sensor and lens mount formats. Most camera manufacturers have generally created proprietary lens mounts so that their cameras only accept their lenses.
The Laowa 17mm lens is specifically designed for micro-four-thirds cameras
When Panasonic and Olympus formed the basis of the original MFT consortium, it was to create an interchangeable open-source standard so that lenses on one brand could be used on the other, effectively doubling their manufacturing efficiency.
This was revolutionary at the time and still remains a successful strategy, allowing manufacturers to create lenses that fit on more than one brand of camera.
While it is difficult to find out the stats on how many people are actively using any particular format of camera, there is an extensive base of MFT cameras. In Japan, Olympus has remained in the top 5 for sales of ILC systems for many years.
For video, the GH5 is still seen as an incredibly capable camera and a go-to camera for videography with fewer limitations than some of the newer larger-format cameras.
Over the last 10 years, companies developed a large base of MFT cameras and lenses (over 100 including manual lenses).
Beyond the two founding companies (Panasonic and Olympus), there are a lot of other manufacturers committed to the MFT system. These include:
They may not have the same type of brand name recognition, but this list represents many companies.
As companies change, so do consumers. If no-one produces new micro-four-thirds cameras, then the format would no longer appeal and disappear. We live in a disposable age, so if manufacturers stop producing new cameras and lenses, no one will continue to use the old technology.
Both Olympus and Panasonic have recently released new MFT bodies and lenses. So for now, the format is still very much alive.
The new Olympus EM5 Mark III was recently announced (from Olympus promotional material at getolympus.ca)
While formats do die out, they can often take a very long time to die out.
Unlike some types of technology, for example, cellphones or some computers, cameras tend to have a relatively long shelf life. They are often still sold as-new long after they have been discontinued.
Beyond that, camera systems, particularly interchangeable lens camera (ILC) systems, have installed bases and lots of lenses/accessories to support these bodies and formats. So, the end of the base format doesn’t mean there isn’t a demand for the accessories to support the bodies.
Even after the main camera body stops production, third party manufacturers will often still produce lenses for them
Although formats for any technology can disappear and change, there are still markets for those formats long after announcing a discontinuance.
Some formats achieve an almost Zombie state (look dead for all intents and purposes but still moving) because, while they have not been discontinued, no new products are released for the old technology by the base manufacturer.
The Sony A99 rii is a formidable camera but likely the last A-mount camera (from Sony promotional material at Sony.ca)
An example of a Zombie format is the Sony A-mount system. This system is still available for sale as new, but the last camera released was the a99ii in February of 2017. It is still an extremely capable camera, but almost 3 years later, it is getting a little long in the tooth.
Sony produced around 46 lenses for the A-mount (formerly a Minolta mount), but the last Sony released A-mount lens was in April of 2015.
Prior to the a99ii, the last camera body announced was the a68SLT a year-and-a-half earlier.
Because there has been a lot of interest in FF mirrorless cameras, these are the only cameras that anyone is interested in. No one would be interested in any other type of format.
There are many camera types, sensors, and styles out there that will be with us for a while. There is currently a rush into the mirrorless FF market. This is really just a segment of the market and not a true representation of the entire photography market.
Other than point-and-shoot cameras, which are difficult to find anymore, other formats fill other niches. There has been a range of sensors and camera bodies for some time, with no real indication that will change soon.
You can use a number of MFT cameras in harsh environments due to their weather sealing.
Beyond high-end cameras, most manufacturers produce a range of cameras from consumer-grade to professional-grade with a bunch in the middle.
This is not just capabilities, but price-point too. Consumer-grade choices are mostly based upon price-point, whereas the professional-grade cameras are all about high-end features.
To be successful, any brand needs to have a range of choices. All MFT camera manufacturers provide products that cover the entire spectrum. In contrast, mirrorless offerings from some manufacturers, notably Canon and Nikon, still have limitations as far as product range and lens selection.
FF mirrorless cameras provide pretty high-end features for many consumers and tend to be more camera than the average consumer is looking for.
Everyone likes a cat portrait. This MFT image was taken using studio lighting
The surge in FF mirrorless cameras gives the appearance that the camera market is growing. The marketing would suggest that there are new and great things coming.
The market for new cameras has contracted significantly of late and has for some time. Camera sales spiked around 2010 with massive numbers that were truly unprecedented – partially caused by the growth in social media, and relatively poor image quality of cell phones at that time.
As well, digital imaging was really just starting to take off. Since then, smartphone cameras have really improved (and pretty much wiped out point-and-shoot cameras), and camera sales have actually been shrinking significantly. Prior to the mid-1990s, camera sales never exceeded 30 million units, and in 2010, there were over 121 million cameras sold. Last year the total number was under 20 million units.
These stats do not include smartphones and point-and-shoot cameras (a format of camera that has mostly disappeared).
You can achieve shallow depth of field with very fast lenses.
Mirrorless cameras are also declining in sales but not at the same rate as other types of cameras with interchangeable lenses. Also, as there are lots of newer mirrorless options, their growth in this market will slow.
Micro-four-thirds cameras are a format that has been around since 2007. More recently, because it has a smaller sensor, many have criticized the format as inferior simply because of the size.
You can still achieve a shallow depth of field with micro-four-thirds cameras – it is just harder to do.
The two main weaknesses of micro-four-thirds cameras are low light performance and depth of field. Their strengths, however, are size, lens selection, build quality, and features.
Although micro-four-thirds cameras do not perform as well under lower light conditions as some FF cameras, it doesn’t mean you can’t use them for this purpose.
There are lots of excellent examples of low light and night time photography taken with micro-four-thirds cameras, and shallow depth of field is only useful for a specific type of portrait image that is not for everyone.
You can spend a lot of money chasing a shallow depth of field.
MFT can be used for portraits
There have always been gear snobs in photography. Most people think their format is better than the other guy’s just as a way to justify their own purchases. We all do it to some extent, looking for reinforcement for the decisions we make.
This doesn’t necessarily mean that the other systems are inferior; they just might be different.
Realistically, further improvements are not going to be in sensor development (except maybe global shutters). Instead, it will be in things like the incorporation of computational photography into camera bodies like those used in on smartphones and improved connectivity to social media and the internet.
Micro-four-thirds cameras are expensive so with the cost the same, why not just shoot FF?
Micro-four-thirds camera systems do not have the same cost base as a FF system and cost significantly less. It is difficult to compare different format/brand systems. However, earlier this year, an interesting attempt was made.
Terrance Lam of British Columbia, Canada, put together pricing for comparable pro systems to see how each system compared to have a complete set. You can look at the summary of his results here.
The bottom line is that you can get the equivalent pro line of cameras and lenses but that the least expensive systems were from Pentax (FF), Fujifilm (APS-C), and Panasonic/Olympus (MFT).
The Fujifilm and MFT cameras are crop sensors. These systems were roughly two-thirds the cost of similar systems from the other manufacturers. They won’t all perform exactly the same, but from a cost comparison, these less expensive systems deliver similar pro-grade equipment at a lower cost.
Fall leaf
Many MFT users are actually looking for smaller cameras. The smaller sensor means smaller lenses and better portability.
Some people think that mirrorless means small, but that is only for the bodies. Not all mirrorless cameras are small. You can’t cheat the optics, and a FF lens is large regardless of whether it is on a DSLR or a mirrorless body.
Using MFT also means that that you can get longer lenses that are significantly smaller and less expensive (less glass).
Does this mean that micro-four-thirds cameras are dead? Maybe, but certainly not for a long while. MFT is a long-established format with lots of manufacturer options, lenses and established users.
Will it be the next great thing? Probably not. But it does serve a particular niche that is not well-served by some of the other manufacturers. Specifically, a smaller form factor ILC that is better for travel or harsh environments.
Until there are other options, there will still be a market for this type of product.
You can use Micro-four-thirds cameras for all of the same purposes as FF cameras.
More importantly, if you look beyond the rumors and the hype, the underlying circumstances are a little more complex than the superficial answer that micro-four-thirds cameras are dead.
I do not think micro-four-thirds cameras will be dead for some time. Facts still matter in this post-truth era.
What are your thoughts? Do you think there is still a place for micro-four-thirds cameras, or do you think the format is dead? Share with us in the comments!
Note: There is a poll embedded within this post, please visit the site to participate in this post’s poll.
The post Are Micro-Four-Thirds Cameras Dead, or Do They Still Have Their Place? appeared first on Digital Photography School. It was authored by Mark C Hughes.
The post All dPS eBooks just $ 9 appeared first on Digital Photography School. It was authored by Darren Rowse.
Day 6 of dPS Holiday Deals is a great time to fill any gaps in your dPS eBook library – all books are now only $ 9!
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The post All dPS eBooks just $ 9 appeared first on Digital Photography School. It was authored by Darren Rowse.
The post Necessary Apps for Your Photography Business appeared first on Digital Photography School. It was authored by Darina Kopcok.
The key to becoming a successful photographer these days is business skills. It’s not always talent that sets a photographer apart. Knowing how to market your work and stay organized and efficient is what most allows a photographer to thrive in today’s competitive photographic market. Luckily there are so many applications that can help you do that. Here is a summary of ten necessary apps for your photography business.
Dubsado is a CRM system designed for creatives. This app has an attractive and easy to use interface that helps you keep track of projects, create a client list, and track when you have contacted them.
You can also keep track of your invoices, your Chart of Accounts, and integrate it with your Google calendar. You can create email templates, questionnaires, and photography packages.
The biggest bonus Dubsado offers is that it allows you to create contracts, releases and user agreements from within the software and send it out for a signature. Contract signature software like Hello Sign can cost you almost as much on a monthly basis as Dubsado, without all of the additional benefits.
Evernote is not specifically for photographers. Rather, it’s a complete organization system.
It allows you to keep track of your business projects, personal and professional notes, and search for PDFs, images and scanned documents quickly. Evernote automatically syncs across all devices.
You can quickly snap a picture of your receipts and upload it directly to Evernote so you can have electronic copies that won’t fade with time as paper receipts do. This is very important if you happen to be the subject of a tax audit down the road.
Basically, Evernote is a robust tool to help you live a more paperless life.
Like many apps, there is a free plan but you can upgrade for extended features. The most popular plan is the Premium plan, which integrates with Google Drive and communication tools like Slack.
If you’re a commercial photographer, Blink Bid is a must for estimating and invoicing jobs professionally. Used by photographers and larger agencies and production companies alike, Blink Bid offers several pricing packages. Most photographers will benefit from their cheapest package, which is only $ 16 a month, or $ 14 a month when paid annually.
In addition to a clickable list of line items you can add to your estimates, it also allows you to create usage licenses with their Usage Builder, or customize Terms and Conditions.
Blink Bid allows you to share with agents, producers, and other collaborators. You can also track your receipts and manage your budget.
Not sure you want to commit? You can sign-up for a free 14-day trial with no credit card required.
There are several apps available for sharing your work with clients, varying in quality and cost. Based in Switzerland, Prodibi is a top-tier app that allows you to display your high-resolution images and transfer them at full speed.
It also features a Capture One plug-in to get client feedback in full resolution.
The color management, image compression, and responsiveness are unbeatable.
You can also build a one-page portfolio to showcase your work in high quality with full zoom.
Prodibi offers free and paid options.
Shootproof is a great app to have if you shoot consumer photography like family portraits or weddings.
It’s an app that allows you to create beautiful online galleries and slideshows that align with your branding and style. It also offers several tools for business management, such as contracts and invoicing.
You can also create price sheets, packages, and discounts, and there is a self-fulfillment option that will allow you to work with partner labs such as Miller’s and ProDPI.
There is a free option that will allow you to upload up to 100 images. However, there are four other tiers you can choose from, depending on how many images you plan on uploading.
If you shoot outdoors, Sun Seeker in an important app to have downloaded on your smartphone or iPad.
Whether you’re a wedding photographer or shooting landscapes – or even some commercial projects – there are many situations where you’ll need to know where the sun will be situated at a certain time. It will help you plan your Golden Hour shoots, or be prepared to take beautiful sunrise photos in the mountains.
The app uses GPS, magnometer, and gyroscope to find the sun and solar path at any location. You can choose and any date to view what the sun path and position will be.
Sun Seeker is available for iPhone, android and iPad. For an overview, check out this link on Youtube.
For photographers doing location scouting, Google Earth is an incredibly valuable resource to have. It will allow you to explore worldwide satellite imagery, and the buildings and terrain of hundreds of cities.
Looking for an out-of-the-way spot for romantic engagement photos? Google Earth will help. Check out streets and landscapes before you go, and plan the details of your shoots well in advance so you don’t end up with surprises.
Whether you photograph models, buildings or other types of property, or if you want to license images with recognizable people in them through stock sites, you’ll need a model release.
Easy Release is an app that will help you to grab signatures on the go using your smartphone. No more needing to remember to have paper copies on hand that could get lost. You can collect the signatures and data you need on your device, automatically saving it to PDF and JPEG.
These releases are also accepted by the major stock sites, such as Getty and Shutterstock.
One super-useful app to have is one that allows you to create lighting diagrams. This is where Sylight comes in. It’s free and simple to use.
If a regular client asks you to create a previous lighting scenario, having a diagram handy can help you out of a pinch if you can’t remember what you did.
To create a diagram, simply right click to add lights, modifiers, and subjects to your set. You can do this without an account, but signing-up will give you access to some premium features.
Accounting is often the thorn in every photographer’s side.
Luckily, Wave is a small business bookkeeping app that makes it a lot easier with a user-friendly interface and a variety of tools to help you simplify the process. The features that most photographers will need come for free, with no set-up fees or hidden charges.
The ability to run payroll is a paid-for service with Wave. You can also accept payments on a pay-per-use basis. Credit card processing is 2.9% + 30 cents per transaction. Bank payments are 1% per transaction.
Not only can you create professional invoices with Wave, but you can also integrate your business bank account and credit card, which will allow you to track expenses and generate reports, such as your Profit & Loss, Cash Flow, and General Ledger.
In reality, there are so many apps that can help you in your business as a photographer. This is just a recommended few that you might find helpful.
If there are any apps for your photography business that you find invaluable, let us know in the comments below.
The post Necessary Apps for Your Photography Business appeared first on Digital Photography School. It was authored by Darina Kopcok.
The post 14 Ways to Make Your Images Pop and Boom! appeared first on Digital Photography School. It was authored by Darren Rowse.
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The post 14 Ways to Make Your Images Pop and Boom! appeared first on Digital Photography School. It was authored by Darren Rowse.
The post Why Other Photographers are your Greatest Photography Resource appeared first on Digital Photography School. It was authored by Simon Bond.
There are lots of ways you can progress as a photographer. There are plenty of resources out there, equipment you can use, books you can read that will help you as a photographer. In this article, you’ll discover why your fellow photographer is your greatest photography resource. This is true throughout your photography journey, from a beginner to a more experienced photographer.
Let’s support each other and grow as photographers together!
This location was reached by joining up with another group of photographers.
As a beginner, everything about photography with a manual camera will be a steep learning curve. Even if you’re using a smartphone, there is plenty to learn that can transform your photography.
These are the following ways you can use another photographer as a photography resource.
How do you know whether your work is good? One great way is to get feedback from other photographers. The chances are they’ll know the pitfalls a new photographer can fall into, and through their help, they can help you avoid these mistakes.
This form of feedback is best when there are positive comments mixed in with any critique made. This can be done person to person, or through joining online groups of other photographers.
The role of social media in giving you feedback on your work, allows you to interact with photographers from around the world. The feedback can be direct or indirect, and so given in the following ways.
Choose a mentor for your photography, one who suits your style.
A mentor is someone who will give you feedback on your work but will also give other things beyond that. This type of relationship will be one-to-one and much closer than when you ask a community of photographers for feedback.
You need to look for someone who takes photos in the area of photography you’re interested in, and often you’ll need to pay for this kind of service. It might be as a photography student you have a lecturer assigned to mentor you, in which case that’s their job.
A mentor will look to give feedback and direction to your photography. It should be clear about the start and finish point that you both want to achieve together. In that instance, they’ll not only give input on photos you’ve taken in the past but also tell you the sort of photos you should be aiming for in the future.
The location this photo was taken from was given by another photographer.
It’s always good to ask for advice. This goes for beginners and more experienced photographers. Everyone needs specific advice on things, and with photography always evolving, you’ll quickly find your not an expert on everything.
One of the most common areas of photography to seek advice is camera gear. This can often be expensive, so you don’t want to spend lots of money on equipment that won’t add real value to your photography. In fact, Digital Photography School has an entire section devoted just to gear for this reason.
So look to ask other photographers for advice on the best lens to buy, the best location to photograph in, or how to improve your post-processing.
In this photo, a group of photographers take part in a wire wool workshop.
As you get more experienced as a photographer, there are good reasons you should lean more (not less) on your fellow photographers. These are the best ways to grow friendships by working together and getting amazing photos.
There are lots of times when pooling your resources with another photographer will get you a better photo. The following are just some of the ways you might work with others.
In this photo, the man is preparing a reflection puddle.
Nothing beats local knowledge, and most photographers will really know their area. Now not every photographer will share their photography spots with you. The best way is to reach out to a photography group that has an online forum ahead of your visit. Then invest the time in building a friendship with a photographer from the location you plan to visit ahead of time. If you do get taken around to some amazing locations, be prepared to reciprocate if they visit you.
Of course, providing local knowledge is one way that a photographer can act as your fixer. There are other ways they can help you as well.
A lot of the time, gaining access to a vantage point can give you a great photo. Another photographer might have an apartment with a great view or work in an office that gives you a vantage over an amazing cityscape. Equally, there are times you might want to photograph with a model. Ask a portrait photographer if they know someone, and they might be able to put you in contact with a model.
This photo was a result of a collaboration with some other photographers. The puddle was created using seawater.
There are times when joining forces with another photographer is about safety. When you’re on your own, you’re vulnerable. You can fall while out trekking in the wilderness, or be mugged when exploring an abandoned building. If you have another photographer with you, if the worst happens, they’ll be able to help you.
Gaining knowledge from other photographers is a great way to improve your work. How much you collaborate with others is a personal choice; some like to be alone.
Think about how you can get extra creativity by hanging out with other photographers, but always remember they’re your friend.
How much do you like to work with other photographers? Do you get better or worse photos when you photograph in a group? Here at Digital Photography School, we’d love to hear your experiences!
The post Why Other Photographers are your Greatest Photography Resource appeared first on Digital Photography School. It was authored by Simon Bond.
The post 3 Important Tips for Successfully Photographing Products for Brands appeared first on Digital Photography School. It was authored by Lily Sawyer.
In this article, you’ll learn 3 important tips for photographing products for brands that will help you achieve better images.
Other than as a photographer, I wear many hats, one of which is as a content creator for brands. It’s common knowledge that when working with other brands, two things are key:
Brands that differentiate themselves from other brands, thereby having a clear uniqueness about them that they propose to their audience, achieve more success in their advertising endeavors.
However, it is not enough to have a great USP.
Presentation of the USP matters and this usually means visual presentation. This is where the photographer or film-maker comes in.
When it comes to photographing products for brands, our role as photographers is to understand that unique message and deliver it in the most effective way for the brand to succeed. We need to be able to communicate that USP in our images and visuals.
Social media allow brands to reach the masses more easily. Audiences now have access to more than one platform, one type of style or preference. They are inundated with an array of options from which they can make their choices.
To be part of the game, and have a slice of the pie, brands are endeavoring to reach beyond their expected target audience to those they want to convert to their aesthetics.
Audiences might not necessarily know what they want nor that they want something until it has been presented to them.
Take Henry Ford, for example. He may not have been the first person to invent a private automobile, but he was the first person to mass-produce it. Ford made his Model T accessible to the masses.
Prior to this, not many people had access to their own automobile. They relied mainly on steam-powered vehicles and mechanical forms of transport to get them to places. People were generally happy with what they had until something better, something they had not thought of before, in the form of their own gasoline-powered automobile, was presented to them. It was both accessible and available.
Various platforms widely used nowadays in brand advertising are websites, social media (Instagram, YouTube, Facebook, Twitter, Pinterest, Linked In, Yelp, Reddit), print advertising (magazine, billboards, leaflets, posters), television and radio ads. The type of communication will depend on what works best for the advertising platform used.
This article will focus on photographing products for brands to reach their intended audience. Assuming that you have an adequate understanding of the brand’s USP and ideas on how to communicate it on their chosen channel, here are 3 tips when photographing products for brands.
Whilst branding is the most important, it is no longer the only consideration, no longer the be-all-end-all. We need to think outside the brand and understand our audience.
Recently, I received an invitation to sit on an advisory board for a big company. The company was hard at work nailing their branding. They were at a point where they were able to clearly and articulately present their brand’s identity. The advisory board, composed of various sectors of the industry, was asked for opinions and input on how to effectively shout the brand’s identity to the world.
The meeting took an interesting turn as it became apparent that the brand, as strong as their identity was, needed to look outside of themselves and understand the market, consumers, and traders – the people on the receiving end of their message.
It’s no longer just about the brand. The audience is now just as important in the game.
What does the audience want? What type of images and visuals speaks to them the most? Where and how do they want the brand to speak to them? Old traditional ways don’t cut it anymore. We have to be thinking outside the box and exploring new ways of effective messaging.
Is it enough to present a product photographed against a ubiquitous white background? Is presentation in context now necessary as well? We are bombarded with short films and short stories everywhere we go. Static images in white boxes no longer pull the heartstrings.
Stories and contextual presentation, personal experience, and testimonies are now a must. Remember, photographs can tell stories just as effectively as moving images – we just need to keep up with our game.
I’m a typical consumer; before I buy something, especially if I have not seen it in real life and I’m only relying on web images, I’d like to investigate the item. I want to see it close-up, read a detailed description of it, and would like to envisage it in my own personal situation or surroundings. A complete range from context to product photography is what I need to complete my research and help me decide to purchase or not.
How do I want this presented? Personally, I’d like an image in context, then close-up images, then an image on a white background – pure product photography.
A contextual image should resonate with me and elicit my emotions. The close-up image should speak to my visual aesthetics and help me decide if I like the look of it enough to buy it.
Lastly, the product image on a white background speaks to my brain. It answers practical and logical questions I might have.
I’d expect a combination of visuals on a website or a good advertising platform.
When it comes to photographing products for brands, depending on the channel or platform you choose, you need to be discerning about what image works best to ensure that a good percentage of the audience engages.
For example, on TV, emotionally moving adverts or humorous, unforgettable ones work best. The cost is immense. In the UK, big brands usually do quite long, full Christmas adverts around the time of the launch. These adverts then get cut and shortened on subsequent showings to help with the costs.
On social media, videos are hugely effective, but the most effective ones are the short and quick videos to keep in line with the limited attention span of audiences nowadays! Yes, there are videos longer than a minute that are effective too. However, this would perhaps require that you already have an engaged tribe willing to give up more time and stop for several minutes to watch your long advert.
Of course, the younger audiences (youths and young adults, especially Generation Z) are more used to watching longer videos, so there’s that to consider when creating and presenting product content.
On Instagram, for example, brands work with me to reach my audience. It’s not always a must that our aesthetics match, although often they do. It could be that the brand wants to reach my type of audience to expand their reach and to speak to new audiences who may not be familiar with what they have.
Think again of Henry Ford here.
In both cases, I would always present the ad in terms of how engaging it would be to my audience and not the brand’s aesthetics per se. This is better for the brand as the more engaged the audience is, the wider the reach is for them.
This is not to say that I disregard the brand’s USP. In fact, I communicate the brand’s uniqueness in my captions and make sure these are the focus of the message. But at the forefront of my mind, I will present the visual in a way that my audience finds most interesting so that they are encouraged to engage.
In practical terms, this means my front image is always the contextual wide-angle image. I follow this with product images shot from a medium angle to close-up.
This is in line with what I know to be the most popular style of posts with high engagement rates.
Other pages may have close-up product shots as their most successful type of images, or flatlays, or products all shot in a seamless white background. To effectively communicate to your target audience, your images need to resonate with their aesthetics, not just needs and wants, as they might not be fully aware of those yet.
Whilst the brand needs to be true to its USP and key message, the presentation needs to be flexible to adapt to consumer demands.
As a photographer, keep the above in mind and usually aim to cover all bases when photographing. Take wide-angle shots using something like a 24-25mm lens, a mid-range angle using a 50mm-85mm focal length, and close-ups from 105mm upwards.
In terms of presentation, go with the most successful type of images that elicit high interaction from the audience. Suggest that as the front image for the client to use on platforms like Instagram. Then provide the necessary product shots as secondary images to use to complete the audience satisfaction.
In summary, when it comes to photographing products for brands, successful advertising takes into consideration your audience’s preferred aesthetics. Whether that audience is already your tribe or a new audience you are trying to reach with the brand, you want your visuals to resonate with them on an emotional level. That is one of the most effective ways of communicating with your audience and ensuring effective brand reach.
Do you have any other tips for photographing products for brands that you’d like to share? Please do so in the comments section.
The post 3 Important Tips for Successfully Photographing Products for Brands appeared first on Digital Photography School. It was authored by Lily Sawyer.
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