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7 Tips for Stunning Black and White Photography (Comprehensive Guide)

15 Sep

The post 7 Tips for Stunning Black and White Photography (Comprehensive Guide) appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

How do you achieve stunning black and white photography?

stunning-black-and-white-photography

Black and white photography is one of the most intimidating genres out there, mostly because it’s associated with lots of established names, as well as the “fine art photography” label.

But here’s the thing:

Black and white photography isn’t actually difficult. In fact, it’s just like any other genre of photography: There are a few tips and tricks that, once you apply them to your shooting process, will instantly improve your black and white photos.

And that’s what this article is all about. I’m going to share with you seven tips for stunning black and white photography. And you’ll come away with the ability to take masterful black and white photos wherever you go.

Sound good?

Let’s dive right in:

1. Shoot in high-contrast light for the most impactful photos

Here is the number one thing you need to remember about black and white photography:

It’s all about the contrast.

In fact, if that’s all you take away from this article then you’ll have profited enormously, because contrast is the lifeblood of black and white photography.

7 Tips for Stunning Black and White Photography (Comprehensive Guide)

Now, there are a number of ways to create contrast in your photos. And I’ll explore these different techniques below.

So let’s start at the very beginning:

With light.

If you can’t make the light work for you, your black and white photos are just going to look like a muddy mess. Instead, you need to recognize the type of light you’re working with, and you need to try to use that light to achieve as much contrast as possible.

The best light for black and white photography is (no surprise!) high-contrast light. More specifically, light on sunny days.

If you’ve explored other genres of photography, you’ll know that light on sunny days is harsh, it’s unpleasant, and it just doesn’t look good.

Unless you’re a black and white photographer.

7 Tips for Stunning Black and White Photography (Comprehensive Guide)

Because bright, sunny light enhances dark tones and creates intense light tones. This looks amazing in black and white photos, and it’ll really take your black and white images to the next level.

If you want to do some shooting but end up with softer golden tones from later in the afternoon or early in the morning, you can try using heavy backlighting to create additional contrast.

2. Find contrast-heavy tones and put them together

You already know about the importance of contrast in black and white photography. And you know about the importance of using contrast-heavy light.

But even once you’ve got the best light, you still have to make sure that the tones of your photo lend themselves to the overall black and white look.

7 Tips for Stunning Black and White Photography (Comprehensive Guide)

Now, the best black and white tones are very dark and very light. For instance, a great black and white might include a white sky and a dark house, or a bright character standing in front of a black building.

So when you’re out and about, look for tones that contrast. Try not to think in terms of colors, because the colors will just distract you. Instead, think about the relative brightness of tones.

And look for blacks and whites that go together.

stunning-black-and-white-photography

Once you’ve found them, however, you’re going to need to follow a piece of compositional advice:

3. Simplify your black and white photos as much as possible

All photography, for the most part, benefits from a simple composition.

However, black and white images benefit from a simple composition the most. This is because black and white photography is meant to be simple. It has no complex colors. No chaotic color-contrasts.

Instead, it’s just…black and white.

7 Tips for Stunning Black and White Photography (Comprehensive Guide)

So whenever you go to take your black and white shots, stop and think. Consider whether there are ways to simplify the shot.

Could you remove something distracting in the background? Could you use a wide aperture to make the background blur more? Could you change your angle so as to create a more non-distracting option!

Do anything you can to make your shot simple.

Simpler is better, all else being equal.

4. Try to capture raw emotion for compelling black and white photography

Here’s one of the great things about black and white photography:

It’s a genre that loves to capture emotion.

The smile of a person on the street. The laugh of a person crossing the road. The frown of a sad child.

stunning-black-and-white-photography

These are all very photographable moments, moments that you shouldn’t miss out on. And black and white is the perfect way to record it.

In fact, I recommend you try to capture emotion with black and white photography. The somber look of a high-contrast black and white will take emotion and make it even more powerful in a photo. It might even give you a three-dimensional effect.

5. Use minimalism to make your compositions stand out

What is minimalism?

Minimalism is a compositional technique that emphasizes intense simplicity. And not the simplicity as I explained above, but a true, deep simplicity – one that’s built into the composition.

Let me explain:

Minimalism uses lots of white space to draw attention to your main subject. White space is just empty space in a photo. (It doesn’t have to be white – it can just easily be gray or black, as long as there’s nothing going on in that part of the image).

This is a minimalistic photo:

7 Tips for Stunning Black and White Photography (Comprehensive Guide)

Minimalistic photography uses the weight of negative space to emphasize your subject. So you don’t have to be afraid of photos that are extremely minimalistic. And they’re pretty easy to pull off.

To create minimalist black and white photos, I recommend you find a background that’s smooth and pure, such as a white sky. Then place your main subject small in the frame, along one of the rule of thirds power points (or even just above or below the power point).

If all goes according to plan, then you should have a beautiful minimalistic photo! Don’t be afraid to play with the placement of your subject.

7 Tips for Stunning Black and White Photography (Comprehensive Guide)

6. Shoot against the sky to achieve a silhouetted look

In the previous tip, I mentioned that a white sky makes for a nice minimalistic background.

And it’s true. A bright white sky can be used in a black and white photo to emphasize a darker subject, which is exactly what you want to do! When the sky’s especially bright, you might even produce a partial silhouette, where the main subject has no detail but stands out against a white background.

So here’s how it works:

Find the main subject. It can be any color, but darker tones work best.

7 Tips for Stunning Black and White Photography (Comprehensive Guide)

Then get down low, so that the main subject is framed by the sky. If you’re shooting on a cloudy day, you’ll have plenty of bright light behind your subject (even if it doesn’t seem like it). If you’re shooting on a sunny day, a bright part of a blue sky should do the trick.

Experiment with different possible angles, while making sure that your main subject doesn’t overlap with anything around it or behind it.

7 Tips for Stunning Black and White Photography (Comprehensive Guide)

Then experiment with different exposures. Take a few shots that are drastically underexposed, a few shots that are nicely exposed for the subject, and a few shots that are overexposed.

Eventually, you’ll find a technique you’ll like!

7. Shoot in color, then use post-processing to convert your photos

I’ve been talking all about capturing amazing black and white photos in-camera.

But a big part of the black and white photography process is the post-processing. After all, this is where you should be converting your color images to black and white shots!

When you first open your photos in an editing program, they may look bland. They might even look a little bad.

stunning-black-and-white-photography

But don’t worry. Because here’s what you do:

First, you drop the saturation all the way down, until it’s completely gone. This should give you a photo that’s full of grays.

Then you lift the contrast so that contrast shines through, and makes the photo pop off the page.

I also recommend boosting the Whites and lowering the shadows. This will add further contrast to the photo. It also ensures a greater tonal range overall, which looks quite good!

Conclusion

If you’re looking to create stunning black and white photography, then you’ve come to the right place.

You hopefully now know all about black and white photography.

All that’s left…

…is to get out and start doing some shooting of your own. Amazing photos await!

stunning-black-and-white-photography

The post 7 Tips for Stunning Black and White Photography (Comprehensive Guide) appeared first on Digital Photography School. It was authored by Jaymes Dempsey.


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Photoshop vs Lightroom – the Power of Photoshop

14 Sep

The post Photoshop vs Lightroom – the Power of Photoshop appeared first on Digital Photography School. It was authored by Caz Nowaczyk.

In this video from Nick Page, he Looks at Photoshop vs Lightroom and shows some things that Photoshop can do that Lightroom cannot.

In this tutorial, Nick covers the following using landscape photos as examples:

  • How to use the Quick Selection Tool to select skies against difficult backgrounds so that you can change things like exposure, and contrast more selectively.
  • How to use the Select and Mask tool to refine selections.
  • Applying the selection as a new layer mask.
  • How to fade your opacity levels of your selection.
  • Using the Hue/Saturation adjustment.
  • How to focus stack using layers, and Auto Align and Auto Blend Layers features.
  • Using Exposure Blend and feathered brushes for realism in your photograph.
  • A handy shortcut to create a white layer mask rather that a black one.
  • How to use Levels Adjustment to alter your image contrast.

 

Do you use Lightroom, or Photoshop? Or both in conjunction with one another? Let us know in the comments.

 

You may also find the following helpful:

  • How to Make a Cool Double Exposure Effect Using Photoshop
  • How to Make an Awesome Pop-Up Card with your Photos
  • How to Change a Background in Photoshop for Still Life or Food Photography
  • How to Make an Animated GIF in Photoshop
  • How to Create Custom Brushes in Photoshop
  • Photo Editing: When Does it Get to be too Much?

The post Photoshop vs Lightroom – the Power of Photoshop appeared first on Digital Photography School. It was authored by Caz Nowaczyk.


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Weekly Photography Challenge – Landscapes

14 Sep

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

This week’s photography challenge topic is LANDSCAPES!

Image: Photo by Simon Bond

Photo by Simon Bond

Landscapes are one of my favorite things to photograph. Being out in nature with your camera is a wonderful experience. So for this week’s photography challenge, I’d love for you to get out in nature and take some lovely landscape photos.  They can be color, black and white, moody or bright. Just so long as they are landscapes. You get the picture!

Have fun you awesome photographers, and I look forward to seeing what you come up with!

Image: Photo by © Jeremy Flint

Photo by © Jeremy Flint

Image: Photo by Adam Welch

Photo by Adam Welch

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

Tips for Shooting LANDSCAPES

11 Surefire Landscape Photography Tips

12 Tips to Help You Capture Stunning Landscape Photos

How to Photograph a Minimalist Landscape

The dPS Top Landscape Photography Tips of 2018

7 Landscape Photography Tips You’ll Wish You Knew Earlier

Easy Beginners Tips for Long Exposure Photography

How a Short Versus Long Exposure Will Affect Your Landscape Images

5 Framing Tricks to Help You Capture Better Landscape Photos

 

Weekly Photography Challenge – LANDSCAPES

Simply upload your shot into the comment field (look for the little camera icon in the Disqus comments section) and they’ll get embedded for us all to see or if you’d prefer, upload them to your favorite photo-sharing site and leave the link to them. Show me your best images in this week’s challenge.

Share in the dPS Facebook Group

You can also share your images in the dPS Facebook group as the challenge is posted there each week as well.

If you tag your photos on Flickr, Instagram, Twitter or other sites – tag them as #DPSlandscapes to help others find them. Linking back to this page might also help others know what you’re doing so that they can share in the fun.

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


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The iPhone 11 Pro Features a New Triple Lens and Night Mode

13 Sep

The post The iPhone 11 Pro Features a New Triple Lens and Night Mode appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

The iPhone 11 Pro Features a New Triple Lens and Night Mode

Apple has just announced three new iPhones: the iPhone 11, the iPhone 11 Pro, and the iPhone 11 Pro Max.

And, as usual, these iPhones come with new cameras and new camera technology.

But will these new smartphones be enticing for photographers? And if you’re looking to purchase a new smartphone, should you grab an iPhone 11 Pro?

Read on to find out.

The iPhone 11 Pro Camera

First things first:

While Apple has announced three new iPhones, the iPhone 11 Pro and the iPhone 11 Max are basically identical, save for the screen size. Hence, both the 11 Pro and the 11 Pro Max have the same camera specs:

Three cameras.

An improved front-facing camera.

Deep Fusion technology.

Let’s take a closer look:

iPhone 11 Pro: a three-camera setup

The three-camera design is Apple’s first foray beyond their (now standard) 2-camera setup. The iPhone 11 Pro boasts a telephoto lens (52mm equivalent), a wide-angle lens (26mm equivalent), and an ultra-wide-angle lens (13mm equivalent). The new camera (the ultra-wide-angle) should make it possible to capture sweeping landscape shots, or simply to gain a wider field of view when doing group portraits and event photography.

The iPhone 11 Pro Features a New Triple Lens and Night Mode

While the wide and telephoto lenses incorporate optical image stabilization, the ultra-wide-angle lens does not. This shouldn’t be a huge problem, because camera shake is less apparent in wider lenses. But it’s nice to have a bit of image stabilization, especially for night shots.

And speaking of night photography:

Apple has finally added a Night Mode to the smartphone camera lineup. This will supposedly increase detail in night photos, making it possible to produce less noisy images in near darkness. Given the poor performance of iPhones at night, this is a feature that Apple phones have sorely needed.

The iPhone 11 Pro Features a New Triple Lens and Night Mode

Unfortunately, we’ll have to wait and see whether the iPhone 11 Pro’s regular shooting mode will have improved low light capabilities. I’m not holding my breath, however. The iPhone XS’s low light performance is dismal in low light compared to competitors such as the Google Pixel 3, and there are no indications of a significantly improved sensor on the iPhone 11 Pro.

While the iPhone 11 Pro rear cameras all sit at 12 megapixels, the front-facing camera will see an upgrade from 8 megapixels (in the XS) to 12 megapixels. The lens has also been widened. I don’t recommend using the front-facing camera for serious photography, but it’ll be nice to take some higher resolution selfies and wider selfie-group shots.

The iPhone 11

The iPhone 11 is the successor to Apple’s cheaper iPhone XR.

Fortunately, it offers a notable camera upgrade: from a single wide-angle lens, the iPhone 11 now features both a wide-angle and ultra-wide-angle lens setup.

It also includes Night Mode, which will make shooting in low light (hopefully) easier.

Deep Fusion technology

The most intriguing aspect of the new iPhone cameras is the promise of a Deep Fusion technology. This should work on all the new iPhones, including the iPhone 11.

While this feature won’t be rolled out until after the iPhones are released (in a software update), Apple claims that this new technology will allow your iPhone to capture nine images at once, process them, and create a final image that’s optimized for detail, noise, and dynamic range.

If the feature is as impressive as Apple claims, then we have a lot to look forward to.

The iPhone 11 Pro: Should you purchase it?

If you’re a serious smartphone photographer, you’re going to want the iPhone 11 Pro over the iPhone 11. No question. It offers the additional telephoto camera, which you’ll appreciate if you ever want to shoot portraits or street photos.

The iPhone 11 Pro Features a New Triple Lens and Night Mode

But how does the iPhone 11 Pro stack up against its competition?

Personally, I would wait to grab the iPhone 11 Pro until you see what Google comes out with this fall. The iPhone 11 Pro, with its triple cameras and promise of Deep Fusion technology, is appealing. But Apple is currently behind Google in terms of low-light capabilities. And you don’t want to buy a new smartphone, only to wish you had waited just a bit longer for the Pixel 4.

The iPhone 11, the iPhone 11 Pro, and the iPhone 11 Pro Max are available for preorder starting this Friday, September 13th.

What do you think of Apple’s new smartphone cameras? Will you be purchasing an iPhone 11 or an iPhone 11 Pro, or will you wait to see the Google Pixel 4? Share your thoughts in the comments!

The post The iPhone 11 Pro Features a New Triple Lens and Night Mode appeared first on Digital Photography School. It was authored by Jaymes Dempsey.


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Tips for Creating Awesome Double Exposures In-Camera

13 Sep

The post Tips for Creating Awesome Double Exposures In-Camera appeared first on Digital Photography School. It was authored by John McIntire.

Tips for Creating Awesome Double Exposures In-Camera

Techniques for creating double exposures have been around since the beginning of film photography. While the days of being able to expose the same frame of film multiple times are mostly gone, a great many digital cameras do offer that functionality. While the technique can be unpredictable and hard to get right, that’s part of the charm of it (in my opinion) and what makes it so fun. This article provides you with a few tips to help you create double exposures in-camera.

What about Photoshop?

double-exposures-in---camera

Photoshop (and alternatives) offer an infinite number of ways to blend exposures, but doing it in-camera can lead to spontaneous and unpredictable results.

Of course, you don’t need to do it in-camera. The almighty powers of Photoshop absolutely give you a great deal of control over blending images. You didn’t need to do it in-camera in the film days either as you could sandwich negatives together in the darkroom before putting them in the enlarger. So yes, by all means, use Photoshop to your heart’s content, but if you want to inject a bit of unpredictability and spontaneity to the process, do think about trying to create a few in the camera.

Understand the functionality in your camera

This first step may seem obvious, but every camera that I’ve run across handles the settings for double exposures in different ways. Taking the time to learn and understand how to set up your camera for multiple exposures ensures that when you get out to start creating the images, you know exactly what’s going on. For example, unless I turn on the right setting, my camera will take a single sequence of images and then revert back to normal settings. This can be (and has been) frustrating when I’m lining up a second exposure of a moving subject and find that I’m back to taking a single image.

This is probably just a matter of reading your manual and then putting it into practice a few times in your backyard or somewhere where the results don’t matter.

Start simple

double-exposures-in---camera

While getting to grips with the technique, you can start simple with just a few moving elements to help you understand the process better.

When getting started with a technique like multiple exposures, it is easy to start snapping away without putting too much thought into it. The results can be less than inspiring and may even make you second guess the technique.

Try to keep it simple in the beginning. Instead of many exposures layered together, try to keep it to a simple double exposure until you figure out how the exposures work with one another. Of course, the results are almost always going to be unpredictable, but once you start to take a lot, you will quickly learn how to judge what two frames might look like on top of one another.

Look for bold shapes and textures

Image: Mixing silhouettes and textures is an effective way of creating bold double exposure images.

Mixing silhouettes and textures is an effective way of creating bold double exposure images.

One of the easiest ways to get results with double exposures is to overlay a texture onto a recognizable shape. Silhouettes of people work great for this. If you start your sequence with a  silhouette, you can then take a photo of something with a lot of texture and the shadows of the silhouette will reveal that texture in the final image.

Another simple one for you to try is to layer your main image on a background of clouds. The whole concept is simple and done a lot, but it is still effective. If you start with these simple processes, you will quickly start to see how you can use the technique for more complicated images.

Think in terms of design

Image: Finding things that match up together to make a cohesive image can be tricky, but when it hap...

Finding things that match up together to make a cohesive image can be tricky, but when it happens, the results speak for themselves.

Because you are layering your images, it can help if they work together with a theme or if the final image helps to convey a message. Keeping the various elements in your images (whether that be the subjects, colors, lighting, etc) in line with your intended end result can help for better images. It also helps to start with your final composition in mind. How will the various elements line up? How will they react and line up with one another? Is there a particular sort of framing that would help tie the whole thing together? Asking yourself these questions before your camera is even out of the bag can help your final images be the best they possibly can.

Go abstract

Image: The double-exposure effect can be weird and sometimes it’s best to embrace that weirdne...

The double-exposure effect can be weird and sometimes it’s best to embrace that weirdness.

Now, your images don’t have to be of anything at all. Don’t be afraid to go for the abstract (or non-objective if you prefer). You can layer a bunch of modern buildings (or the same building) together for some interesting effects where there is no real focal point.

You can do the same with multiple textures. Just roll with it and see what happens. You might find you have a bunch of images that don’t work, but you might also find that one that really, really does. Try looking for things with lines or shapes, without too much texture, that can overlap one another.

Block your lens

double-exposures-in---camera

To manage your backgrounds while creating a double exposure in the studio, cover a portion of your lens with a black card to avoid the background being exposed twice. In the top middle of the frame, you can see where that has happened.

Block your lens if you want to photograph the same subject, human or inanimate, multiple times in one frame. You can use this trick for photographing fireworks to help control your exposure. When you’re lining up your first exposure, cover your lens with a piece of black card so that you are blocking the part of the frame that will contain the subject of your second exposure. In a double exposure, this will stop the background being exposed twice. Your backgrounds will be darker, but your subject will also be clearer where it appears in the frame.

Use grids

double-exposures-in---camera

Turning on guides and grids in your camera can help you line up subjects between the multiple frames.

If your camera has the option for a grid overlay (rule of thirds) in the viewfinder, turning it on can help you to line up various elements throughout the multiple exposures.

It’s okay to post-process

Image: Not everything is going to go right all the time. If something doesn’t line up, like To...

Not everything is going to go right all the time. If something doesn’t line up, like Tower Bridge in this image, don’t be afraid to use Photoshop to help you get the results you were after.

Although this article is about creating double exposures in-camera, there is nothing wrong with taking your results and fine-tuning them afterward.

Did you overlay a silhouette with a texture but you don’t want the texture elsewhere in the frame? Photoshop can help. If it helps you to create what you had in your head, by all means, go for it.

That’s it

Creating double exposures in-camera is a finicky technique, but sometimes the results can be incredible. More important, it’s a technique that’s a lot of fun. I encourage you to go out and give it a try for yourself, and hopefully, some of these tips will make your results a bit more predictable.

Please share your results with us in the comments section – we’d love to see them!

 

double-exposures-in---camera

The post Tips for Creating Awesome Double Exposures In-Camera appeared first on Digital Photography School. It was authored by John McIntire.


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Top Tips for Photographing the Best a City has to Offer in 48-hours

12 Sep

The post Top Tips for Photographing the Best a City has to Offer in 48-hours appeared first on Digital Photography School. It was authored by Matt Murray.

photographing a city-matt-murray

Always be on the lookout for interesting scenes in cities. I saw this view in Taipei from a metro train and went back at dusk.

You have two days and two nights to photograph a city you’ve never been to before. How will you make the most of this opportunity and come away with amazing photos?

You could just turn up without much advance thought and deliver a stunning set of images that fits the brief perfectly. Leaving things to chance is not always the best plan, though. You will be better prepared and more confident if you research and plan your trip in advance.

Whether you’re working for a client, an editor, or taking photos for your own portfolio, these tips will help you make the most of your trip. Here is a guide to photographing a city and the best it has to offer in 48 hours.

photographing a city-matt-murray

Find what is unique about your destination and capture it.

What’s unique about the city?

The first question you need to ask is what makes the city unique? Does it have stunning architecture? An incredible food scene? Unique modes of transport? Vibrant markets? Make sure you keep this in mind as you plan your trip.

What types and styles of images are you being asked to deliver?

What type of shots are you, your client, or your editor expecting? Find out what their expectations are in as much detail as possible. Is there a particular style or theme you need to shoot for? Will your images be used to accompany a story on a particular subject, for advertising, or as a standalone photo essay?

Think of the final use of your photos. Will you need to capture landscape or portrait orientation photos? Do you need to shoot images with negative space to allow for text to be overlaid?

Image style is an important consideration. Is your client looking for bright, colorful photos? Images showing well-known landmarks? Hidden gems? Photos with a shallow depth of field? Moody black and white images? Photos of people experiencing the city? It’s important to get agreement on this too.

Create a mood board

Visualizing your shots before you go can help the planning process. One way you can achieve this is by creating a mood board for the trip, showing the types and the style of photos you will aim to produce. The good news is, it’s easy to do with a tool such as Pinterest.

A mood board can also be handy if you don’t have a formal brief. If you create one for yourself or your client showing the type and style of images you propose to take, this can stimulate further discussion. It might be exactly what they’re after, or it could prompt them to get involved in the process and suggest changes.

photographing a city-matt-murray

On my list of shots for Taronga Zoo was an iconic view of the Sydney with animals – thankfully, this giraffe helped me out!

Weather and climate

The next thing to research is the expected weather and climate at your destination. Bear in mind, some destinations, such as London and Melbourne, are notorious for variable conditions all year round. Getting a sense of what to expect will help with your daily planning and can guide your choices for clothing and equipment.

For example, if you’re heading to Asia during the wet season, you’ll need to think about taking clothing and camera gear that is water-resistant, whereas if you’re on a trip to somewhere hot and dry, such as Dubai or Death Valley, you may need to consider a hat and sunscreen.

Next, look at the sunrise and sunset times for the city when you will be there and plan your day accordingly. Make a note of them and think of the most important shots you need to capture at those times. These times will also indicate the number of daylight hours you have on location.

photographing a city-matt-murray

Autumn in Sydney was a good opportunity to capture golden leaves.

Online planning resources

Two resources that can help you are the Photographers Ephemeris and PhotoPills. These handy guides for photographers also give you information like how long the blue hour and golden hour last for, the direction of the sun at sunrise and sunset, and much more. This can be very helpful, though, remember, in built-up environments, you’ll never truly know how the light falls on your scene until you’re there.

Background city research

Researching your destination is one of the most important things to do before you leave. Learn as much as you can. Potential sources of information include travel magazines, travel blogs, official tourism websites, and YouTube videos. It’s also worthwhile downloading guidebooks from companies such as Lonely Planet, or if you’re on a tight budget, you could borrow them from a friend or your local library.

As you’re doing this research, make a note of previous coverage the destination has had in published articles or photo essays. If you plan to use the same or similar angle, aim to capture the destination in a unique or better way.

photographing a city-matt-murray

Image research

Pay close attention to the types of images used to illustrate and promote this city. What style are they? Do they fall into a particular genre? What kind of lenses do you think the photographer used? This is all useful information.

Then turn to more visual references. What kind of images show up for your destination using a Google image search? Is there a famous view of the city you’d like to capture? Next, search on Instagram. Look at images used by the official city or country accounts, popular hashtags for your destination and even geolocation image searches.

Take a look at recent Instagram posts, carefully reading the description. Was the image taken in the last few days? If it was, this might help you understand the weather or lighting conditions at your destination. If there is no context to when the image was taken, it could’ve been from last month or last year.

Another key place for researching your destination is stock photography sites. What images are the best sellers for the city? Keep these in mind when you’re shooting. As well as your main client, think of other markets where you could sell your images such as stock libraries.

photographing a city-matt-murray

Always look for detail shots at your destination that show the way of life.

Create your shot list

I love travel photography as it includes so many other genres. On a single assignment, you can include landscapes, cityscapes, street scenes, portraits, food shots, detail shots, architecture, and documentary-style images. Remember this as you create your shot list.

First, lock in the locations you need to be for sunrise and sunset and have a rough plan for the rest of the day. Plot these locations on a map and make sure you’re leaving yourself enough time to look around and photograph unexpected sights. Sometimes the best shots at a destination are not the things you expect to see, but things you didn’t expect to see.

Then list the next most important shots for you or your client. Make these a priority.

Try to capture well-known landmarks in a new or interesting way. This could be through the frame of a doorway or window, a reflection, or a completely different angle or viewpoint not used before.

Jot down a reminder to get a good variety of images at each location you visit – landscape orientation, portrait orientation, images with negative space, and images that crop well for Instagram. Also, think back to why this city is unique or exotic and make a note to get images of the food, people, clothing – anything that’s different.

photographing a city-matt-murray

Booking your hotel

Now you’ve created your shot list, look at the key locations on your map, and book a hotel nearby. It can be tempting to save money by staying at a hotel further away, but being close to your proposed photography locations is a huge advantage. Not only will it cut down on travel time, but you will also have the advantage of popping back to your room whenever you like throughout the day.

Quite often when I’m photographing a city, I head back to my hotel for a break. You can have a quick rest, grab a hot or cold drink, back up your images, and review the progress you’ve made ready for the next round of photos. You may even need time to warm up or cool down depending on the weather.

With your hotel search, always be on the lookout for historic or beautiful hotels that could provide additional photographic opportunities for you. Also, remember to choose a hotel where you feel like your gear will be safe when you’re not there.

photographing a city-matt-murray

Carry a travel tripod so you can capture scenes with a slow shutter speed.

Packing your kit

Versatility is the key when packing your kit. Fast zoom lenses are generally the travel photographer’s best friend. Also, look at the notes you made during your research. What type of lenses do you think the photographers used? Does your client expect any images with a very shallow depth of field? Do they want images taken with long telephoto lenses or ultra-wide angle lenses?

Plan your kit, taking into account these considerations along with the expected weather conditions. For a two-day trip, I would typically take the following:

  • Two camera bodies that use the same batteries and lenses, at least one of which is weather resistant.
  • Two zooms covering a wide focal range, at least one of which is weather resistant.
  • One or two small fast prime lenses – these are very handy for low light conditions and shallow depth of field shots.
  • As many reliable high-quality SD cards as you have. Make sure you format them before your trip.
  • As many batteries as you have for your camera system.
  • A small travel tripod and some neutral density filters.

You can see more about the travel kit I take in my article, The Best Fujifilm X-Series Kits for Travel Photography

photographing a city-matt-murray

Sydney Opera House sails with the Sydney Harbour Bridge in the background.

Traveling to your destination

As your trip approaches, keep an eye on the weather and current events for the city you’re heading to. Will this present any issues or challenges? Is there other gear you may need to bring? As I write this, I am preparing for a few days in Hong Kong, where there are currently protests taking place. I don’t think these protests will affect my trip or what I plan to photograph, but it’s good to always good to stay up-to-date with what’s going on.

Before I arrive at my destination, I always sort out some way to use my iPhone when I get there. This can mean either having a SIM card for the country I’m visiting or setting up international roaming before I go.

On the way from the airport or train station to my hotel, I look for interesting things to photograph. I have my phone at the ready with maps loaded up tracking the journey I’m taking. If I see something interesting, I screenshot the map, so I have the exact location on my phone for future reference.

photographing a city-matt-murray

Children playing in the Faroe Islands photographed on a telephoto lens.

Once you’ve arrived

You’ve arrived at your hotel, dumped your bag and are now ready to hit the streets and tick off that shot list. Before you go, make sure you have everything you need and leave anything you won’t need at the hotel. Remember to go easy on the air conditioning or heating – extreme temperature changes can fog up your camera lenses.

Take a few minutes to double-check your camera (especially your ISO and image quality settings), make sure you have fully-charged batteries and formatted memory cards. Then synchronize the clocks on your cameras at local time.

Regardless of the time I arrive, I always try to hit the streets as soon as I can to get a feel for the place. In tropical locations, shooting conditions are not always ideal during the middle of the day when it’s very bright with the sun overhead. It’s still possible, however, to look for opportunities to keep shooting. On a recent trip to Indonesia, I found the most beautiful light in a semi-covered market place in Borobudur. I took some of my favorite shots of the trip at that market.

photographing a city-matt-murray

Borobudur Market.

After the sun is well and truly below the horizon, you may think it’s time to head back to the hotel, but always see if there are opportunities to photograph food vendors or night markets. You’ll need either a fast prime or zoom lens in conjunction with using a higher ISO to capture handheld shots or a tripod for longer exposures.

Backups

When you’re finished shooting for the day, it’s time to head back to your hotel and backup your images.

For each trip, I create a new Lightroom catalog on my laptop. I then import the images into Lightroom, specifying that the images should be copied from my SD cards to an SSD hard drive plugged into my MacBook.

After the import, I copy these folders and the Lightroom catalog to a second SSD drive. I always keep these SSD hard drives in separate locations – one with me in my camera bag, and one in my luggage. As I review my shots in Lightroom, if there are any that I think are perfect for my needs or my client, I make another backup of those select images to DropBox. When I get home, I transfer the folders and Lightroom catalog from my laptop straight to my desktop computer.

photographing a city-matt-murray

Final thoughts

I hope these tips will help you think about what you need to plan and research when you’re in a city for the first time on assignment.

Always remember, though, despite the amount of research and planning you do, things are often out of your hands. If you can’t get that iconic shot due to weather conditions, street closures, scaffolding or who knows what else, don’t beat yourself up too much about it. Instead, concentrate on other opportunities that you can capture while you’re there to make the most of your time.

Do you have any other tips you’d like to share on photographing a city in 48 hours? Share with us in the comments!

 

photographing a city in 48 hours

The post Top Tips for Photographing the Best a City has to Offer in 48-hours appeared first on Digital Photography School. It was authored by Matt Murray.


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Back to Basics: Understanding the “Sunny 16 Rule” in Photography

12 Sep

The post Back to Basics: Understanding the “Sunny 16 Rule” in Photography appeared first on Digital Photography School. It was authored by Adam Welch.

sunny-16-rule-in-photography

In life, we are sometimes met with certain inalienable truths; water will always flow downhill, there will always be an unhappy baby on your flight, and the milkshake machine at your favorite fast food place will always be broken when you need it the most. There are also some self-evident truths that we must accept when it comes to photography; one being, one day, you will need to set your own exposure manually. If you’ve been shooting exclusively in Auto Mode or Aperture and Shutter Priority Modes, this can be an enormous challenge.

Take heart! I’m about to show you one of the easiest and most long-standing methods for calculating exposures. Using it will help you almost always get a usable baseline exposure when shooting your camera in full manual mode. Yes, really.

It’s called the Sunny 16 Rule, and it’s going to be your best friend.

Back to Basics: Understanding the "Sunny 16 Rule" in Photography

You may very well have heard of it before but never fully understood how simple it truly is to implement (and modify) this handy little formula to fit the situation in which you find yourself shooting.

Getting to know the Sunny 16 Rule

Understanding the Sunny 16 Rule couldn’t be more simple. It’s all based around the relationships between our three key elements of exposure: ISO, aperture, and shutter speed.

Sunny 16 had its roots in film photography when it was used to help photographers figure out their exposure when a light meter wasn’t available. However, it works perfectly well with digital photography too. In fact, since we have the added convenience of on-the-fly ISO adjustments with our digital cameras, the Sunny 16 Rule becomes even more universally useful.

sunny-16-rule-in-photography

As you might have guessed, the concept of the Sunny 16 Rule begins with bright sunlight and setting our aperture to…*drum roll*…f/16. Bright sunlight refers to unobstructed sunlight on a cloudless day; think noon with a clear sky, and its brightness is virtually constant.

After we’ve got our aperture set to f/16, we can now dial in our shutter speed based on the ISO we happen to be shooting. To calculate your shutter speed based on Sunny 16, all we have to do is put “1” over our ISO. This will be your shutter speed.

Keep in mind that some cameras measure exposure in full, half or third stops and your shutter speed might not be exactly the same as your ISO. For example, in half-stop increments, if you are shooting ISO 400 then your exposure would be (for slight underexposure) f/16 at 1/500th of a second. At ISO 100 your settings would be f/16 at 1/125th of a second. For ISO 800 it would be 1/1000th of a second and so forth.

As far as ISO settings are concerned, it is a good practice to “set it and forget it.” There’s not much need to adjust the ISO as we can vary our exposure using our aperture settings – unless the scene dictates otherwise…more on this in just a bit.

Back to Basics: Understanding the "Sunny 16 Rule" in Photography

Why the Sunny 16 Rule is so useful

The reason the Sunny 16 Rule is such a fantastic concept is due to the fact it gives us a usable exposure setting based on what will likely be the brightest light you will encounter – the sun. 

Once you know what your shutter speed will be at a given ISO and f/16 in bright sunlight, you can essentially estimate any exposures for darker environments. The reason for this is that ISO, aperture, and shutter speed are all connected. You can adjust each relative to the another so that you can control your exposures based on the needs of a particular scene. If you’d like to learn a little more about how ISO, aperture and shutter speed relate to one another, have a look at this great article on understanding the exposure triangle.

Perhaps one of the best things about working with the Sunny 16 rule is that it’s a great way to teach yourself to read light and adjust your exposure based around the creative requirements for your photo. Let’s look at some considerations to take into account when you need a little more control over your photographs when basing your exposures around the Sunny 16 concept.

sunny-16-rule-in-photography

How to modify the Sunny 16 Rule

Years ago, when I first heard of the Sunny 16 Rule, my first thought was “That’s great, but what if I don’t want to shoot at f/16?”

Indeed, a great question.

What happens when you need a more shallow depth of field than f/16 can produce? Alternatively, what if the indicated ISO-based shutter speed just isn’t fast enough or slow enough for your subject? Furthermore, you definitely won’t always photograph in blazingly bright sunlight (ironically not ideal for most photography).

The good news is that the Sunny 16 Rule is incredibly flexible.

Remember, the Sunny 16 Rule does nothing more than eliminate variables in your exposure to produce a baseline camera setting which you can then manipulate given your particular needs.

sunny-16-rule-in-photography

Virtually identical exposures in direct sunlight based on the Sunny 16 Rule with constant f/16 apertures and ISO-dependent shutter speeds.

For example, let’s say you’re shooting a subject that requires a more shallow depth of field, like a portrait or still life that is in bright sunlight. At ISO 100, your resulting Sunny 16 exposure would be f/16 at 1/125. For reference, here’s a sample photo I shot at those settings in direct afternoon sunlight.

Back to Basics: Understanding the "Sunny 16 Rule" in Photography

Needless to say that if I open up my aperture to f/2.8 (five full stops wider) in order to better blur the background, the resulting image will be completely overexposed, and looks something like this:

Image: Yes…there is a photo there.

Yes…there is a photo there.

So, how to remedy this problem? Since we are working from the Sunny 16 Rule, all we have to do is apply some basic photographic principles (remember the exposure triangle?) to normalize our exposure based on our new, wider aperture.

Seeing as we opened up our aperture by five stops, we simply need to increase our shutter speed by five stops to compensate.

So if my initial shutter speed were 1/125th at f/16, my new adjusted shutter speed setting at f/2.8 would be 1/4000th. Here is the resulting exposure:

Image: Blurred background and a normalized exposure based on the Sunny 16 Rule.

Blurred background and a normalized exposure based on the Sunny 16 Rule.

The same is true in the case of fast-moving subjects. If you’re experiencing unwanted subject motion at, say, 1/125th of a second at f/16, and you want to try a faster shutter speed of 1/500th of a second to help arrest the motion, you need to compensate for the faster shutter speed with a corresponding wider aperture setting to allow more light to come into the camera. In this case, 1/500th of a second – two full stops faster than 1/125th – so we would open our aperture by two stops from f/16 to f/8.

Some adjusted Sunny 16 baseline exposures

If you’re wondering about lighting situations other than bright sun, here’s a quick (but by no means definitive) list of baseline aperture adjustments derived from the Sunny 16 Rule. I’ve listed Sunny 16 at the top as a baseline exposure at ISO 100 and 1/125th of a second. To adjust your exposures for varying degrees of brightness, all you need to do is change your aperture.

  • Direct bright sunlight with harsh shadows: f/16 at 1/125th of a second and ISO 100
  • Indirect bright sun with soft shadows (shade/cloudy): f/11 at 1/125th and ISO 100
  • Overcast skies with little to no shadows: f/8 at 1/125th and ISO 100
  • Dusk/morning light: f/4 at 1/125 and ISO 100

I also want to point out the elephant in the room which is holding a big neon-yellow sign that reads, “Why not just bump up the ISO?”

In short, you can adjust your ISO settings to compensate for more or less light in the scene. Modern cameras are becoming better and better at reducing high ISO digital noise. The Sunny 16 Rule was based on the fact that most film cameras are limited to the ISO of the film used. In these cases, the ability to read and understand light becomes paramount.

The concept of Sunny 16 gives us digital shooters a way to nail exposures (or come close) every time in-camera without constantly checking our images after each shot.

Final thoughts on the Sunny 16 Rule

Of course, as with most things, the Sunny 16 Rule isn’t a true “rule” in the sense that you must follow it to the letter. Instead, it is a rule in the way that gives something to relate one thing to another; in our case it allows us to relate the luminance of available light to our camera settings to achieve predictable and reproducible results.

Sunny 16 is also a great learning tool to help us understand the nature and measurement of light. Going further, it is a guide that is extremely versatile once you understand just a few basic principles of exposure. I, for one, feel as if I don’t use Sunny 16 enough in my work. I think that is about to change.

Do you practice the Sunny 16 Rule? How has it affected your shooting? Let us know in the comments below!

 

sunny-16-rule-in-photography

The post Back to Basics: Understanding the “Sunny 16 Rule” in Photography appeared first on Digital Photography School. It was authored by Adam Welch.


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5 Photo Editing Mistakes Every Beginner Must Avoid

12 Sep

The post 5 Photo Editing Mistakes Every Beginner Must Avoid appeared first on Digital Photography School. It was authored by Kunal Malhotra.

We are fortunate enough to be able to capture photos in digital format and edit them later using multiple software. You can adjust exposure, white balance and replace the background with only a few clicks. Being able to edit our photos as per our requirement is a great power – but we must not overuse it. In this article, I share 5 photo editing mistakes which I have made in my initial days as a photographer. I hope that some of you photography enthusiasts will benefit from my learning over the years.

1. Selective coloring

5-Photo-Editing-Mistakes

The image on the left looks more professional and is an ideal portrait, while the image in the right looks very unprofessional.

Sometimes we get so obsessed with a particular element in our frame that we desperately want to highlight it. One of the options that you might opt for is selective coloring, and it can easily go wrong. This is a technique where you keep a selective part of the image colored, making the remainder of the image black and white.

As a beginner, you might be super excited while working on your first few selective-colored images. And you should be.

However, if you wish to step up your photography game and make your images look more professional, avoid using selective coloring.

5-Photo-Editing-Mistakes

I would suggest you work on your perspective and composition if you wish to highlight a particular object or color in the frame. Try to frame that highlighting subject in a manner that it stands out in the frame.

If not, you can selectively boost the exposure or saturation in editing without applying the selective coloring method.

2. Overuse of HDR technique

Of the 5 photo editing mistakes I list, if there is an award for the most overused editing technique, it must go to the HDR effect. I must admit that during the first two years, I used to click multiple exposures of almost everything. Then later, I used to merge those exposures to get the HDR effect, thinking I was such a cool photographer.

You must understand the actual meaning of HDR, which is High Dynamic Range. Use it only when you feel that the camera is not able to capture the dynamic range of the scene the way you see it with your eyes. All you have to do is capture 3, 6, or 9 frames of different exposures and later merge them using apps such as Adobe Lightroom.

Image: This is an over-processed HDR image.

This is an over-processed HDR image.

There are few apps which allow you to get the HDR effect using a single photo, but that is simply a gimmick which you must use carefully.

3. Over-saturation

We all come across photos with vibrant and attractive colors, especially on photo-sharing apps such as Instagram. Trying to gain similar results, you might be boosting the saturation level way too far. Over-saturation in your photos can make a well-composed frame look average because you boosted the colors way too much.

Image: The image on the right has way too much saturation, as can be clearly seen on the face.

The image on the right has way too much saturation, as can be clearly seen on the face.

While editing a photo for 3-5 minutes or more, it’s difficult to tell if the photo is well-saturated or over-saturated. Here is a quick tip that I follow that may help you as well: After your final edit is complete, take a 2-minute break from the screen. Now come back to your device and see if the saturation level works or is too much. Trust me; this practice is going to help you a lot if you edit a single photo for more than 4-5 minutes.

4. Converting to ‘Black & White’ when not required

Simply taking the saturation slider all the way to ‘-100’ does not make any image look good in monochrome. If I am converting any image black and white in editing, I check if the frame has contrast in it. If not, I try and avoid converting that image to monochrome.

Image: The colors in the image on the left are much more appealing as compared to the monochrome ima...

The colors in the image on the left are much more appealing as compared to the monochrome image on the right.

Even if a scene has good contrast, check if any prominent colors might complement the colored image. Your frame might have a beautiful and colorful sunset, but because you are used to converting any image into monochrome, you might make a wrong decision.

Be patient and analyze the image. If you feel the colors are not that appealing or the image has high contrast, go ahead and convert it to black and white.

5. Overuse of vignetting effect

The use of the vignetting effect in editing is a personal preference. I have seen many beginners use strong vignetting effects, especially in portraits. I love using a vignetting effect in photos where I want emphasis on a particular subject – but not in every image.

Try and avoid using this effect on photos such as landscapes, or try to keep it subtle so that the overall beauty of the frame does not get destroyed.

5-Photo-Editing-Mistakes

The image on the right does not look good because of the overuse of the vignetting effect.

Have you been making any of these 5 photo editing mistakes? Or if you wish to add any editing mistake to the list, feel free to comment below.

 

5-Photo-Editing-Mistakes

The post 5 Photo Editing Mistakes Every Beginner Must Avoid appeared first on Digital Photography School. It was authored by Kunal Malhotra.


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Tamron SP 35mm F/1.4 Lens Review – A Perfectly Executed Prime Lens?

11 Sep

The post Tamron SP 35mm F/1.4 Lens Review – A Perfectly Executed Prime Lens? appeared first on Digital Photography School. It was authored by Adam Welch.

I’ve evaluated and reviewed quite a few lenses over the years – twenty-three to be exact. Throughout those reviews, I’ve been fortunate enough to encounter many that were good, a few that were great, and an oh-so limited few that were absolutely magic. Yet, I can honestly say that I have never experienced the overwhelmingly universal praise and excited electricity surrounding a freshly released lens as I have witnessed with the new Tamron SP 35mm F/1.4 Di USD (for Canon, Nikon). This is the prime lens that is currently wowing the masses with its mind-bending sharpness and wide-open f/1.4 speed.

Tamron SP 35mm F/1.4 Lens Review – A Perfectly Executed Prime Lens?

Ironically enough, this little beauty marks the 40th Anniversary of Tamron’s “Superior Performance” line of lenses. Tamron has specifically geared all of the glass in SP line towards meeting the needs of discerning professional photographers.

So, needless to say, whenever I get the chance to review any new SP lens from Tamron, I always feel all warm and fuzzy inside. Would the Tamron SP 35mm f/1.4 live up to the hype? Could it? I was incredibly curious to find out, and, of course, I want you to come along for the ride.

Out of the box

First things first; this is a gorgeous lens. It possesses a clean and simplistic style which in my experience has been the hallmark of virtually all of the modern SP line. The lens itself is a velvety deep satin black with white lettering and, of course, that signature metallic-colored ring finishes off the minimalist design.

Tamron SP 35mm F/1.4 Lens Review – A Perfectly Executed Prime Lens?

Tamron SP 35mm F/1.4 Lens Review – A Perfectly Executed Prime Lens?

Tamron SP 35mm F/1.4 Lens Review – A Perfectly Executed Prime Lens?

Tamron SP 35mm F/1.4 Lens Review – A Perfectly Executed Prime Lens?

There isn’t a lot to see here aside from the focusing ring (which is nicely rubberized), and the AF/MF switch. Oddly enough, the SP 35mm F/1.4 lacks the Vibration Control functionality which leaves quite a bit of open real estate on the lens body.

Tamron SP 35mm F/1.4 Lens Review – A Perfectly Executed Prime Lens?

I say the absence of Tamron’s proprietary VC image stabilization is odd not because it will necessarily be missed on a lens of this focal length, but instead because it is present on the close cousin of this lens – Tamron’s 35mm F/1.8 Di VC USD (Canon, Nikon, Sony). The exclusion of VC on this 35mm could very well be a weight-saving measure to avoid making an already robust lens heavier. More on this in just a bit.

This lens includes generous moisture sealing throughout, which if you’ve read any of my other reviews of Tamron glass, you’ll know that I absolutely love. There’s just something extremely comforting about the physical presence of that rubber gasket at the rear of the lens.

Image: Image courtesy of Tamron

Image courtesy of Tamron

Tamron SP 35mm F/1.4 Lens Review – A Perfectly Executed Prime Lens?

It also comes with a very nice storage bag.

Tamron SP 35mm F/1.4 Lens Review – A Perfectly Executed Prime Lens?

Overall, it’s safe to say that the look of the new SP 35mm lens impressed me right out of the gate.

Here’s the list of specifications for the Tamron SP 35mm f/1.4 Di USD courtesy of Tamron:

Tamron SP 35mm F/1.4 Lens Review – A Perfectly Executed Prime Lens?

As you can see, this is not a feather-weight prime lens. The 35mm F/1.4 with the lens hood comes in weighing just shy of 2lbs(907g) on my home scales. That makes for a hearty setup when mounted on larger DSLR cameras.

Tamron SP 35mm F/1.4 Lens Review – A Perfectly Executed Prime Lens?

With that said, the overall balance of the lens, when mated to a Canon 5D MK III, is remarkably pleasant. It’s not light, but it’s not overly bulky either. Take into account the fact that the lens houses 14 elements, and you become somewhat surprised that it doesn’t weigh more.

That lens hood though…

“But Adam…it’s only a lens hood. Do you really think it’s worth its own section?”

Yes, yes, I do.

Don’t get me wrong, I understand how trivial this may very well be, and it’s most certainly only my highly subjective…borderline neurotic…opinion.

Tamron has recently introduced a locking mechanism to some of its new lenses. This is the second time I’ve encounter this hooded curiosity from Tamron with the first being the 24-70mm F/2.8 Di VC USD G2 (Canon, Nikon).

Tamron SP 35mm F/1.4 Lens Review – A Perfectly Executed Prime Lens?

In short, I’m conflicted. Of course, the goal of this feature is to keep your lens hood from accidentally popping off your camera. The issue I see with this is that such a static locking mechanism could possibly lead to a broken lens hood, or worse, breakage of the front mount of the lens barrel. Instead of the lens hood simply popping off, there could ultimately be a situation where “something’s gotta give” should a substantial impact occur. What’s more, the need to depress a button to remove the hood is just a little tedious. Then again, I must say the locking mechanism is finely executed and works quite well for its purpose. It’s a feature that I could come to enjoy, but for the time being, not so much.

Relax. I’m finished talking about the lens hood.

A fresh take on Autofocus

Newly introduced with the Tamron SP 35mm f/1.4 is a revamped mechanism that supposedly aids in more speedy and less noisy autofocusing. It’s called the Dynamic Rolling-Cam System.

Image: Image courtesy of Tamron

Image courtesy of Tamron

Not only is that a pretty cool name but the Dynamic Rolling-cam System assists Tamron’s already capable Ultrasonic Silent Drive AF with moving that large f/1.4 focusing unit and is reported to make the entire AF experience of the Tamron SP 35mm f/1.4 much more reliable. I tested the AF with my Canon 5D MK III and my trusty Canon 7D Mk1. In both cases, the AF of the lens was quite snappy and accurate, even in low contrasted scenes. This lens also features a full-time manual focus override so that you can easily tweak focus manually while still in AF mode.

Performance and image quality

If you’ve heard anything about this lens already then you probably know it’s reported to be sharp – I mean scary sharp – with beautifully creamy bokeh and superb contrast. Well, it’s all true. So if you want to take my word for it, feel free to skip down to the sample images. If not, keep reading.

Sharpness

Yep. The Tamron SP 35mm f/1.4 is exquisitely sharp even wide-open at f/1.4. The center is tack sharp with only a minuscule softening at the corners. At smaller apertures beyond f/2, this lens absolutely shines with virtually no vignetting past that aperture mark as well – virtually zero distortion. Also of note is that as you move toward f/16, there are majestically pronounced starbursts at point sources of light.

Color and Contrast

Colors pop wonderfully with this 35mm lens. Equally, the contrast is great, and I noticed no chromatic aberrations even at f/1.4. I wasn’t as overly impressed with this area of the lens as some have been, but it truly does produce some beautifully contrasted photos with perfectly adequate color separation. Tamron has also introduced the second generation of their BBAR element coating which is purported to reduce ghosting and flare greatly.

Here are a few sample images for your inspection. There have been no adjustments to sharpness, color (except WB) or contrast.

Image: F/8

F/8

 

Image: F/4.5

F/4.5

 

Image: F/8

F/8

 

Image: F/16

F/16

 

Image: F/1.8

F/1.8

 

Image: F/1.8

F/1.8

 

Image: F/2.8

F/2.8

 

Image: F/1.8

F/1.8

 

Image: F/2.8

F/2.8

 

Image: F/1.8

F/1.8

 

Image: F/13

F/13

 

Image: F/2.8

F/2.8

 

Image: F/4.5

F/4.5

 

Image: F/1.4

F/1.4

I’ve also put together a full-length video review of the Tamron SP 35mm f/1.4 if you would like to dig a little deeper into the characteristics of this lens.

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Final Thoughts on the Tamron SP 35mm f/1.4…

What else can I say about the Tamron SP 35mm f/1.4 lens? Fortunately enough for both of us, the results from this lens happily speak for themselves. I’ll admit that going into this review I had already been bombarded with tales of its sharpness and high contrast, so the bar was set alarmingly high. So high in fact, that I was concerned that I would be let down by the performance of this lens once I actually used it. Banish all such thoughts!

The SP 35mm f/1.4 Di USD from Tamron is a perfectly executed fast prime. It combines all the best attributes of fine glass and bundles them into a sleek looking package that performs fantastically. It’s a fast focusing beauty that would be right at home in the field or on the street.

The best part? It will set you back considerably less than some other lenses in its class. At the time of this review, the Tamron SP 35mm f/1.4 sells for $ 899US.

Have you used the Tamron SP 35mm f/1.4 lens? Do you have any other “go-to” prime lenses that you absolutely love keeping in your bag? Let us know in the comments!

 

dps-tamron-sp-35mm-f-1-4-lens-review

The post Tamron SP 35mm F/1.4 Lens Review – A Perfectly Executed Prime Lens? appeared first on Digital Photography School. It was authored by Adam Welch.


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5 Top Tips for Marketing Your Photography Business Successfully

11 Sep

The post 5 Top Tips for Marketing Your Photography Business Successfully appeared first on Digital Photography School. It was authored by Darina Kopcok.

Marketing is something that often falls by the wayside for photographers. We push it aside when we’re busy, only to find the clients aren’t there when things slow down.

The best marketing efforts are those that are organic and purposeful. There is no quick fix. Promoting your work is not as simple as “build a website and they will come.” It takes consistency and effort to keep your name out there, no matter how long you’ve been in the business.

Here are my five top tips for marketing your photography business the right way.top-tips-for-marketing-your-photography-business-the-right-way

1. Curate your online portfolio

As a professional photographer, you need an attractive, well-curated website to highlight your work.

Your website will brand you as either a professional or an amateur. It will serve as the first impression of you and your work. You need to pay attention to every detail, from the template you choose, to how your images flow together to create a cohesive narrative of who you are as an artist.

Put only your best work in your online portfolio, but try to approach your images as a potential photo buyer might. It’s easy to get emotionally attached to certain photographs, but sometimes your favorites are not the ones that are going to resonate with your target market. Create galleries that organize your photos into a grouping that make sense. Pay attention to the colors, shapes, and lighting that flow well together. Create an experience for the viewer as they move through your body of work.

If you feel you can’t see the forest for the trees when it comes curating your work, hire a photo consultant who can give you an unbiased and expert opinion.

Starting an online portfolio from scratch? You might want to choose a web builder made for photographers, such as Photoshelter or Format, as they also offer various tools to help sell and distribute images.

Squarespace is popular with a lot of photographers because of their beautiful, minimalist and modern templates. Wix is also another site that has improved in leaps and bounds in the last couple of years. It is highly customizable and unlike some of the other options, offers tons of different templates to choose from.

5 Top Tips for Marketing Your Photography Business Successfully

2. Print your work

The demand for digital imagery is huge, however, print is not dead.

If you’re a commercial photographer, having a print portfolio is essential for meeting with clients. Showing up at an agency meeting with an iPad to show your work will make you look like an amateur.

In the commercial and advertising world, agencies want to see how your images hold up in print because any flaws become much more obvious. It’s important for them to see how your work translates into print before they hire you.

Creating a top-notch portfolio can be very expensive, but there are several sites like Artifact Uprising and Blurb where you can have good quality photo books printed at a reasonable price.


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If you’re looking for commercial work and want to work with ad agencies, design firms, or magazines, you’ll also need to send out printed promos to your target market three or four times a year.

It’s said that it takes an average of seven contacts with someone before they buy from you, so this tactic may not pay off immediately.  However, never underestimate the silent watchers.

If you work on the retail level, such as in wedding photography or portraiture, it’s still useful to have printed work to show prospective clients. People love to see something tangible, something they can hold in their hands that will help them experience your work in a more direct way. The photographers who make a lot of money in these niches print out their photographs to show to clients in-person, which drives sales exponentially.

5 Top Tips for Marketing Your Photography Business Successfully

3. Create a quarterly email campaign

Do you have a ‘subscribe to email list’ on your website? If not, you should. Nothing converts like email. An engaged list is far more important than any form of social media. The changing algorithms and whims of companies like Instagram and Facebook can leave your business incredibly vulnerable if you depend on them.

By sending out a regular newsletter or a PDF mailer to your past clients and other relevant business contacts, you appear busy and relevant. Fresh content helps you connect to your audience.

Research whom you want to work with, and regularly make contact with them. Keep track of these contacts via a spreadsheet or CRM (customer relationship management), so you know who has received your previous mailing.

Hire a designer that can create a template for you. This will allow you to swap out pictures every time you do a new campaign with new work. Include your logo on the front and a short bio inside, along with your contact information. Alternately you can create a promo “newspaper” or magazine through a company like Blurb or Newspaper Club. 

Your email promo should look as professional as possible. The email campaigns should go out to your target clients every quarter to keep you top of mind when they’re looking for a photographer.

Even if you send out printed promotions, you should also send out email campaigns.

Printed promotions are expensive, which means you can only send them out to a select group of people – your most ideal clients. But with email, you can send out a promotion such as a PDF mailer to hundreds or prospective clients.


5 Top Tips for Marketing Your Photography Business Successfully

4. Use social media strategically

Everyone is complaining about their love/hate relationship with social media, but if you’re using it for business, it’s non-negotiable. The keys to success are your perspective and using social media the right way.

It’s best to pick one or two social media channels and concentrate on bringing up your visibility there. Start by asking yourself what you want to achieve?

Do you want to:

  • Drive traffic to your site?
  • Connect with agencies and brands?
  • Connect with potential brides or portrait clients?

Put aside time every day to post and engage with your target market by leaving thoughtful comments. 

Know that the path from a “like” to any “purchase” is a really big leap. Social media should be part of a wider strategy of creating visibility and engaging with a community. It’s great to follow other photographers and support one another, but most of them won’t be your potential clients. Avoid the big time suck of social media and focus on the people that are likely to hire you.

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5. Write a WordPress blog

I’m always going on about writing a blog. I think most photographers should have a blog.

One reason is that if you have a WordPress blog connected to your site, you can get a massive boost to your SEO. Updating the blog regularly will get you a higher ranking in search results.

Writing a blog will also help you connect with your audience and build trust. Your clients will feel like they have come to know you.

If writing is not your strong suit, you don’t need to write a lot. In fact, your posts should have lots of images instead. You can share about a family or personal branding session. You can share shots and a short narrative about the latest wedding you shot or write about how you recommend clients dress for their personal branding session.

However you decide to approach it, make sure that your content adds value for the people reading it.

5 Top Tips for Marketing Your Photography Business Successfully

 

To sum up

Marketing gets a bad rap. As an artist, you may feel like a used car salesman when you’re trying to sell your services. However, think of marketing as a way of putting yourself in front of people and letting them know you’re there.

The most successful photographers are those that demonstrate that they can add value and solve a specific problem.

By taking a more curated, thoughtful approach to promoting yourself, you’ll be able to build a business that stays strong in the face of trends and stands out amongst your competitors.

Do you have any other Tips for Marketing Your Photography Business? Share with us in the comments!

 

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The post 5 Top Tips for Marketing Your Photography Business Successfully appeared first on Digital Photography School. It was authored by Darina Kopcok.


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