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How to Sell a Travel Story to a Magazine and Help Fund Your Travels

10 Sep

The post How to Sell a Travel Story to a Magazine and Help Fund Your Travels appeared first on Digital Photography School. It was authored by Kav Dadfar.

There is nothing quite like when you sell a travel story to a magazine. Seeing all your hard work in print gives you a great sense of satisfaction. Editorial work has changed a lot over the past few years, and you must prepare yourself for some rejection. However, if you follow this simple process of selling a story, and don’t give up, you will reap the rewards.

Also note, once you have built up a few relationships with editors, things get simpler. Once editors know and trust you, they will be far more receptive to your pitch for a story.

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Publication research

Once you have an article idea, it’s always a good idea to research the type of magazines that may be interested in printing your story. Magazines differ significantly from one another. To give your story the best possible chance of publication, aim to pitch it to the right place.

For example, if your story is about walking, then pitch it to magazines that specialize in hiking or outdoor activities. Go to your local shop and flick through the magazine you intend to pitch to and see if it would be the right fit.

Also, research their submission process. Many publications have clear guidelines on how to submit work.

Image: An example of a travel article in 360ºMagazine by Jennifer Bell.

An example of a travel article in 360ºMagazine by Jennifer Bell.

Find a fresh angle

When you have your list of possible publications, ensure your story is fresh and unique. You don’t want to pitch ideas that are the same or similar to articles already recently published.

Most publications publish their articles on their website too, so check that what you are pitching is different. Also, remember to check upcoming articles as well. It may be that your article idea is set to feature in the next few issues.

The publication’s media pack is usually a good place to search for this sort of thing.

How to Sell a Travel Story to a Magazine and Help Fund Your Travels

Destination research

Now that you have your angle and a list of preferred publications, it is time to research your topic. Researching your topic is one of the most important aspects of any shoot, and one rarely mentioned when discussing selling a story to a magazine. Many photographers will have you believe everything just comes together out in the field. But the reality is very different.

If your story is on the best museums in a certain city, then make sure you have a list of the museums you plan to visit. Write down everything from the best times to be there to the most important exhibits. If your angle is about hiking, then plan your walk to factor in the best times at viewpoints for photography.

The more you research, the better your shoot will be.

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Prepare for rejection

If you want to be successful in any industry, you have to accept rejection along the way. Even as a pro with years of experience behind you, not every pitch will be successful. If only it was…

The key is not to take rejection personally. Don’t let it discourage you from pitching a different story to the same publication. If you are lucky and the editor gives you some feedback, take note of their suggestions, and work on these areas. Never get angry or burn your bridges with anyone as you will have an impossible task to win them round again.

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Shoot plan

Once you’ve got your angle and completed your research, its time to start putting a shoot plan together. Your shoot plan should be more than just a list of locations – think of your shoot plan like an encyclopedia of your shoot. Include anything relevant like opening times, best times to shoot (sunset/sunrise), and logistics of getting to your required shoot locations.

Make a note of other potential locations you can visit. It’s also worth putting together some contingency ideas in the case of bad weather or unforeseen closures. The key to a good shoot plan is to make it as easy as possible to capture the shots you want to take.

The last thing that you want to be doing is rushing around, wasting valuable shooting time.

How to Sell a Travel Story to a Magazine and Help Fund Your Travels

Image variation

The reason that a shot list is so important is it ensures you cover the shots that you need to capture, and will also give you variety. Your images should include a range of details, people, buildings, landscapes/cityscapes, food, and anything else that would be relevant to your story.

The more variation and options you can provide an editor, the more chance you will have of selling your story.

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Tell a story

The big difference between a story and just documenting a place is the story you are trying to tell. You want to try to make sure your piece isn’t just a photographic list of places. The key is to take the viewer on a journey with you. It is also important to take notes of all the necessary information that accompanies your story. People’s names, places, names of food dishes – you never know what might be needed.

The final piece should be a coherent story that has a variety in the shots.

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The pitch

Some people prefer to pitch their idea before embarking on their journey. While this is a safe option in regards to knowing you wouldn’t be wasting money unnecessarily unless you already have a relationship with an editor, it can be difficult. Even if an editor does like your idea, it is very unlikely they will offer you a commission straightaway. Any agreement will usually be on a speculative basis so they will not be under any obligation to buy your article afterward.

I personally believe you are best to pitch a finished piece that’s ready to go to press. Whatever approach you decide to take, the pitch is the most crucial part of the process. You’ve put in all that hard work and investment, so it’s important to get your pitch just right so you make a great first impression.

Your email should be direct and well thought out, showing off your knowledge of your subject. It should be backed up with the credibility required to give the editor confidence in you and your work. Take your time composing your pitch email and run it by friends and family for feedback. It’s okay to send a follow-up email a couple of weeks later but don’t keep pestering the editor. If you haven’t heard back after a couple of emails, assume it hasn’t been successful.

How to Sell a Travel Story to a Magazine and Help Fund Your Travels

Submission

If you do get that great bit of news that your story has been accepted, make sure to follow all submission guidelines. Otherwise, your piece will more than likely be rejected. Your text should be proofread to avoid any spelling or grammatical mistakes. Even if you are just providing images, typos make you look unprofessional.

The majority of publications will also have strict guidelines for images, so be sure to follow these. It’s a good idea to read these before you start your edit as there will usually be guidelines on color space, sharpening and even cropping. Many publications prefer to do this in-house.

How to Sell a Travel Story to a Magazine and Help Fund Your Travels

What next?

So you’ve sent your pitch and nothing even after the follow-up. You can either try another publication or go back to the drawing board with a different story. However, even if your story has been successful, be sure to go back with other ideas. Even if it takes time, going back to the same editor might be a little easier now that they have seen your work.

How to Sell a Travel Story to a Magazine and Help Fund Your Travels

Publications have limited space for freelance photographers to pitch stories. Inevitably there is also a huge amount of competition for any available space. The best way to give yourself a chance is to really research the publication and pitch something that would be too good for them to turn down.

Do you have any other tips about how to sell a travel story to a magazine? If so, share with us in the comments below!

 

How-to-Sell-a-Travel-Story

The post How to Sell a Travel Story to a Magazine and Help Fund Your Travels appeared first on Digital Photography School. It was authored by Kav Dadfar.


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3 Tips for Capturing your Holiday with the Nikkor 60mm Micro Lens

10 Sep

The post 3 Tips for Capturing your Holiday with the Nikkor 60mm Micro Lens appeared first on Digital Photography School. It was authored by Lily Sawyer.

Going on holiday is so exciting for me. It’s a chance to unwind and take it easy. The one thing I don’t want to do on holidays is carry heavy equipment for my photography. I do that already as my day job and heavy cameras paired with heavier lenses are a drag. When on holiday, I usually take one camera body and one small prime lens with me. That’s it!

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This article is about capturing your holiday photos with the simplest of gear: a camera and lens. I used my Nikon D750 full-frame camera and a Nikkor 60mm micro prime lens for all the photos featured in this article. The combination is small in size and light in weight. Just a note though, as the D750 has a full-frame sensor, the 60mm viewed through it is a 60mm. If you use a cropped-sensor camera, this 60mm becomes a 90mm when viewed through the smaller sensor. Therefore it’s not something I recommend as a holiday combo. If you only have a cropped-sensor camera, then you are better off going with a 35mm fixed lens.

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Why Nikkor 60mm?

You may ask why 60mm, not 50mm, not 35mm? That’s a valid question. I used to take the 50mm as that focal length is most versatile and I love it’s lightness too. I have previously written an article here on the 50mm and its versatility. But I have swapped this for my 60mm as my go-to holiday lens recently.

1. The 60mm medium focal range is versatile

Landscape

If you have enough space to back off from the subject, you can take a good landscape photo without distortions (like cropping out too many tourists for example) and without it being too unnecessarily wide. Landscape in wide-open areas is easy. You can do more “considered” compositions because of the viewpoint the focal length allows. You can also “crop” in-camera just by moving forward or backward to include or exclude areas within the frame.

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Portraits

A portrait, by strict definition, is usually a view from the shoulders to the head. However, you can loosen it up a bit by going half body or even full-body! It’s not close-up nor too wide. The Nikkor 60mm Micro is the perfect focal length for a portrait. Because it’s an f/2.8 lens, you can still get shallow depth of field and achieve a pleasing background compression for a flattering image. This is especially so when I want to accentuate the subject and blur the background.

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Close-Up

Because the Nikkor 60mm Micro has a micro/macro lens capability, I can capture close-ups (including extreme close-ups) with it too. The photos below are of a wall covering at Peterhof Palace in St. Petersburg, Russia. We were passing through the darkly lit rooms (no flashes allowed) in a tour group so there was no stopping for a long time. It’s quite literally aim, shoot and go! I wanted to capture the intricate embroidery on these fabric wall coverings and a patch of the design. The Nikkor 60mm Micro gives fairly heavy vignetting, especially when shooting close-ups in low light. Close-range photography usually requires more light which wasn’t available here. However, the vignetting created works for me because I wanted to focus on the central areas of the patterns.

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All in all, the Nikkor 60mm Micro is light and nifty and has macro capabilities. With it, you can shoot really close-up details, through to much wider views, as shown in the photo below.

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2. Shoot to tell a story

I have recently written an article, 3 tips in photographing details in a scene, where I talked about shooting to tell a story. This is essentially utilizing the elements of story-telling as you visually capture scenes. So, you can tell the beginning, middle and end of a story effectively just by using photos.

Varied angles

You can make a story more interesting by employing a variety of angles. Think of a film being shot. You often have several cameras with various lenses coming in from different angles: wide, medium, high, low and close-up. These viewpoints offer new and different insights into the scene at hand.

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Emotions

Capturing moments that carry emotions is a surefire way of immortalizing memories in our minds. Action photos often help with these. The photos below of my daughter blowing soapy suds will remind her of her delight upon seeing a fountain overflowing with foamy white stuff! It was a marathon day when we visited Tallinn, Estonia. Crossing roads was tricky with all the runners zooming past too. A nice smile at the camera when we got on a train, and a much-needed rest from miles and miles of walking while sightseeing. All precious memories.

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Series

A series of shots showing a progression or a beginning, middle and end can also be a fun and interesting way of telling a story of a moment. It doesn’t have to be a complicated moment. A snapshot of something that catches your eye will do, like the little scene below. Including a couple of other shots of the same material but from a different perspective will bring new interest.

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3. Don’t forget the details

Details help us remember and set memories firmly in our minds so we can chat about it for years to come. I make annual family albums which my kids love to pore over and talk about regularly. They give us a lot of laughter as we recall the fun events of our holidays and reminisce the special moments. Still life, scenery, close-ups…they all play a part in helping us capture details more effectively to tell stories of our lives.

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I hope you found this little article on how to capture your holiday photos with just one lens, such as the Nikkor 60mm Micro helpful. Do share more tips in the comments below.

 

nikkor-60mm-mico-lens

The post 3 Tips for Capturing your Holiday with the Nikkor 60mm Micro Lens appeared first on Digital Photography School. It was authored by Lily Sawyer.


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Great Reasons to put a Carabiner in your Photo Kit

09 Sep

The post Great Reasons to put a Carabiner in your Photo Kit appeared first on Digital Photography School. It was authored by Rick Ohnsman.

The carabiner is a device most closely associated with mountain climbing, but now it finds application in so many other things.  In this article, we’ll explore a few ways you can make good use of a carabiner as a photographer.

Interestingly, the carabiner was not initially invented for climbers.  The history of the device is interesting with an inventor nicknamed “Rambo.” It’s not a story I’ll detail here, but worth a read.  The carabiner is essentially a loop with an easily opened “gate.” It allows quick clipping onto objects and then which closes by means of a spring.  Some carabiners also have a locking mechanism which prevents the gate from inadvertently opening.

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Inexpensive carabiners are great for many of the applications we’ll discuss here. However, note, they are clearly marked “NOT FOR CLIMBING.”

Not for climbing

Carabiners come in a multitude of sizes and designs.  Those specifically made for climbers are carefully designed, tested, rated for strength, and marked with their load-bearing capabilities.  At the other end of the spectrum are the lightweight versions often sold for just a few dollars in hardware stores and the like.  These are often marked “Not for Climbing” as they are not built with the same care or performance capabilities of the climbing-specific types.

Image: The huge almost 8-inch carabiner on the left might have some good photo applications like car...

The huge almost 8-inch carabiner on the left might have some good photo applications like carrying multiple items or hanging an extension cord, but it’s not for climbing. The other three are climbing-rated carabiners. The one at the far right is a locking type.

For the purposes described in this article, we will cover possible uses by photographers. For those applications, the lighter weight, non-climbing versions may work fine.

As a disclaimer, I know very little about climbing. I am not a climber and certainly would not begin to suggest you take anything in this article as instruction on how to use carabiners for climbing. If that’s is your intention, go find an expert – someone you trust with your life.

In the climbing world, that really is the purpose a carabiner may serve.

Security and convenience

Carabiners serve two main purposes for climbers:

Safety – Carabiners are used as quick attachment devices to clip into climbing ropes. Those ropes act as safety devices so should the climber fall, the rope and the carabiner restrain the climber and save them from disaster.

Convenience – On the side of a mountain, it’s just you. Fumble and drop something, and it’s gone. Unable to carry a heavy load, you need a strong, lightweight device that provides security as well as easy access to your equipment (sometimes with just one hand). That’s just the job for which the carabiner is well-suited.

Safety and convenient use of carabiners by photographers is what we’ll address.

Security

When fragile things fall onto hard surfaces, bad things happen.  That is why climbers use ropes and carabiners – as safety devices.  If you’ve ever dropped a camera, lens, or other valuable photo gear, you learned this lesson the hard way.  So, what if we could come up with a few tricks using carabiners to provide some safety for your photo equipment so you aren’t punished by the law of gravity?

Image: A simple DIY camera-to-tripod safety tether as outlined here. The top knot is a clove hitch,...

A simple DIY camera-to-tripod safety tether as outlined here. The top knot is a clove hitch, the bottom one a cats-paw knot.

Camera-to-tripod tether

I do a lot of landscape photography and like to mount my camera to my tripod with a Swiss-Arca compatible L-bracket. The bracket clips into the lever lock mount at the top of my tripod. I prefer the lever clamp to twist knobs. It’s quicker to work, easier to see if it’s locked, and unlike a twist knob, doesn’t require periodic checking. After taking a few shots, when moving to a new location, I put the tripod over my shoulder and walk to the new spot with the camera and lens still mounted to the end of the tripod.

Now, I know I’m not the only one to do this – I remember watching Art Wolfe’s “Travels to the Edge,” where he’d routinely carry his camera like this. I like to be cool like Art – silhouetted against the sun with my tripod and camera over my shoulder. Never did I see his camera fall off the tripod and I’ve never had mine fall off…yet.

I’m afraid that one day I’ll be walking, carrying the camera this way, and suddenly feel the tripod get lighter and hear a crash behind me. I know my blood would run cold. A clamp failure or unplanned release could spell disaster and certainly, make a grown man cry. Rather than have that happen, I came up with this idea.

Get two carabiners and tie each to opposite ends of a short length of rope. Paracord works well for this as it’s light and strong. Don’t over-engineer this. You want to pick carabiners and cord with a load strength of maybe 50-lbs or greater to be on the safe side, but not so large as to be cumbersome. What is important is to tie the cord to the carabiners with the proper knot. If the rope comes loose from the carabiner when the need arises…yup…that would be bad.

Go online and find a good video showing how to tie a rope to a carabiner. I like the catspaw knot for this purpose. The clove hitch is good too.

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Walking with your camera on the tripod over your shoulder like in the inset image, if the clamp released your camera would be saved like in the large shot IF tethered. Otherwise…     = :-O

The length of the cord shouldn’t be much longer than the distance to reach from your tripod head to the camera. Usually, 6-8″ (15-20cm) will be about right. Get a split ring, the kind often used for keyrings, and mount that to the lug on the side of the camera made for a regular camera strap.

Now, clip one carabiner through the ring and the other one just under the mount on your ball head. (See the photo). Most ball heads will accommodate this. However, if yours doesn’t, you’ll need to find an alternate place on the tripod to clip the lower carabiner. Now head down the trail confident that if the clamp releases your camera, the tether will save it.

Yes, it might occasionally get in the way or prevent your ball head from completely free motion while photographing, but if so, unclip the carabiners while you work. The peace of mind I get as I walk the trail with my camera on my tripod over my shoulder is well worth a slight inconvenience.

Other uses for a safety tether

A similar DIY device, two carabiners connected by a length of cord, may find other applications in your photo work as a safety tether. The size and weight of the device you need to protect will dictate the strength of your carabiners and connecting cord, rope, or cable. People in lighting or theatrical work are likely familiar with such safety tethers. Having a heavy light fall onto the talent below would be bad, very bad.

Even if your photography doesn’t involve talent under lighting or other equipment, having expensive photo gear fall off a mount and crash to the ground is also bad. Consider devising ways you can create safety tethers for some of your other equipment with a little creative DIY engineering.

Image: A sling-style camera strap attached to the bottom tripod hole of a camera with a locking cara...

A sling-style camera strap attached to the bottom tripod hole of a camera with a locking carabiner-style clip.

Camera Straps

I get it, no one likes a strap around their neck, and most camera straps are a bothersome hassle. But like wearing your seat belt in the car, perhaps you need to consider the risk versus the inconvenience. I wish I had a dollar for every time I’ve seen photographers – even pros – holding their camera and taking a shot with the strap dangling down in front of them rather than around their neck. I see them shooting out the tour bus window, over the side of the boat, over a cliff edge or at the zoo with crocodiles below.

Also, I wish I had all the money wasted when cameras and lenses which could have saved with a strap instead were fumbled, dropped, and destroyed. I use an Op/Tech sling strap (Black Rapid is a similar well-known sling-strap designer). It is more comfortable, keeps the camera on my hip rather than my chest, an is still ready for quick action.

My work camera uses a different connection method. It uses a mount into the tripod screw hole and a snap-clip which is much like a carabiner. Before that, I modified my OEM strap and used a similar hardware store snap-clip.

I guess there are people who “free-climb” mountains with no safety devices, people who drive without their seat belts and, yes, people who don’t like camera straps. I’ll leave it up to you to decide.

Me? Camera straps, carabiners, and safety tethers are my friends.

Photographing near the edge

On a trip to Canyonlands National Park in Utah, we had a photo buddy in our group with less acrophobia than I. (We nicknamed him “Spiderman”). While photographing the canyon at Deadhorse State Park, he was uncomfortably close to the edge. I tried not to look and concentrated on my photography. Then I did look around…and he had disappeared! His tripod and camera were still there, but not him.

Panic!

I feared the worst and cautiously peered over the edge…

Looking…looking…

A few minutes later, with a big grin, he stepped out from behind some bushes.

For our next trip, I’m considering rigging him with a safety tether.

Image: That next step is a doozy! My photo buddy “Spiderman” on a trip to Deadhorse Stat...

That next step is a doozy! My photo buddy “Spiderman” on a trip to Deadhorse State Park in Utah.

I tell that story to suggest this, using a carabiner and length of rope to allow you to make those “edgy shots” safely. The shots where you extend your camera and tripod over the edge, out the window, over the side of the boat, cliff, above the crocodile pit (Crikey!). All of those places where if you fumble or your clamp releases you won’t be getting your gear back. At least not in one piece. There’s also the potential danger to those below to consider.

I’m suggesting attaching your camera/tripod to a tether.  A good device if you do a lot of hand-holding of your camera with a wrist strap.  There are various commercial designs, or you can fashion a strap with a velcro fastening to go around your wrist and a carabiner to clip to a ring on your camera.  Fumble the camera and the safety tether to your wrist saves it.

While working near precipitous edges, it may also be a good idea to have a tether on yourself. However, if you decide to do so, you enter the realm of “climbing.” As I said, don’t look to me or this article for guidance on that subject.

If you do tether your equipment, secure the other end of the rope to something secure, perhaps not yourself. You don’t want a falling camera and tripod dragging you over the edge too. Got all that Spiderman?

Image: Often the hook at the bottom of a tripod column just isn’t large enough to accommodate...

Often the hook at the bottom of a tripod column just isn’t large enough to accommodate a camera bag handle. A carabiner makes it work. Use this arrangement when you want extra weight and stability for your tripod or to keep your camera bag off the dirty or wet ground.

Convenience – What, where, and when you need it

Having what you need, where you need it, when you need it, and available for quick access and return to its storage location is essential to a mountain climber hanging on the side of a cliff. It’s also handy for a photographer who has hands busy operating the camera. Or doesn’t have the time to root through a backpack looking for something while the light is fleeting. Carabiner to the rescue! Putting easy access to equipment within reach is a hallmark of this little wonder.

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Zip-tie and gaff tape a carabiner to a tripod leg and you have a “third-hand” hook. Keep a filter or other accessory bag right at hand while you work.

Creative photographers will come up with many uses for a carabiner, whether in the field or the studio. Others marketing all manner of other goodies and gizmos have also incorporated carabiners into their equipment designs to make them more useful.

Let’s look at some photos that show both some DIY uses as well as product designs that leverage the wonders of a carabiner.

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Many products incorporate carabiners int their design. Here are just a few of possible interest to photographers. Urban Gear knife, TempaBright light/thermometer, Coghlan’s waterproof capsule container, Coghlan’s large carabiner carry handle, small carabiner keychains, Nite Ize S-biner, Nite Ize DoohicKey, LuxPro focusable flashlight, LifeLine weather-resistant First Aid Kit, and don’t forget the zip-ties.

Team these with a carabiner

You’ve seen some great uses for carabiners for a photographer, and hopefully, I’ve introduced you to something you can use. But I’d be remiss if I didn’t suggest some other devices to throw into your pack to increase the versatility of carabiners even more.

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My LowePro ProTactic 450AW backpack has MOLLE webbing on the outside giving many places to clip in carabiners and goodies.

Paracord

Originally developed as the suspension lines used on parachutes, this strong and lightweight nylon cord is a great accessory to have in your pack.  It’s available in many thicknesses and strengths, a rainbow of colors, is easily cut when you need a shorter length and you can seal the ends with a match.  It’s great stuff and a perfect partner to a carabiner.

Image: Need to tighten a loose line? Clip on a carabiner, twist the carabiner until the line is tigh...

Need to tighten a loose line? Clip on a carabiner, twist the carabiner until the line is tight, then clip the carabiner back onto the now tightened line.

Binder clips

Yes, the kind used in the office.  They come in a variety of sizes so you can suit the size to the need.  A perfect photographic application is hanging a backdrop.  Put a few binder clips along the top edge of the backdrop, clip carabiners through the loops of each clip and you can hang the backdrop from a paracord line or rod.

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Hang a backdrop with some carabiners used like curtain hooks on a line or rod. Binder clips work well for this, but these ProGrip TarpSharks were too cute not to buy a couple.

Zip ties –  (aka cable ties)

Zip ties are very lightweight, strong, and able to be pulled very tight and locked there. These are wonder devices.  When you can’t attach your carabiner directly to an object, try attaching a zip tie to it and before tightening, a carabiner as well.  The example above of attaching a water bottle to a carabiner is a good one.  You’ll think of dozens of other uses.  Zip ties can also save the day when straps or other things in your photo kit break and you need an emergency fix.

Gaffer tape

People in the film and theatrical professions know and love this stuff and no photographer ought to be without a small roll in their pack.  Don’t confuse this with duct tape, it will only make a sticky, hard-to-remove mess of your equipment.  Get real gaff tape and then go nuts with the many ways you’ll be able to use it.

Image: In the studio, an easy way to keep two joined extension cords from becoming unplugged.

In the studio, an easy way to keep two joined extension cords from becoming unplugged.

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Not a lock, but at least a way to use a carabiner on your backpack zippers to discourage a potential thief from a quick grab of your gear.

The DIY photographer

If you haven’t figured it out by now, I’m a real DIY nut! If I can figure out a cheaper, better, innovative way to do something, including my photography work, I’m all over it.

Carabiners certainly fall into the list of useful parts in the “goodies” bag I keep in my photo backpack.  I hope you picked up a useful tip here. If there’s something I missed that you’d like to share with the worldwide photographic community here on DPS, please include it and maybe a photo too in the comments section below.

Now go forth and photograph!

 

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An Introduction to Amazing Abstract Automotive Photography

08 Sep

The post An Introduction to Amazing Abstract Automotive Photography appeared first on Digital Photography School. It was authored by Rick Ohnsman.

Some photographs document an event or show a person, place or thing. These are photos of record accurately capturing an image that represents what we see. Other times we want to take a more artistic approach, making a photograph more about a feeling than solely about the subject itself. Sometimes the two mix, for instance in advertising photography, where we might want to accurately show a product but do it in an artistic way that invites the viewer to also feel a certain way about the product.

porsche abstract automotive photography

The beautiful lines of a Porsche and the curves of a twisting road. Put the two together to create a story.

When leaning toward the artistic and sometimes abstract interpretations of photo subjects, I like to remember the words of famous photographer Minor White:

“One should not only photograph things for what they are but for what else they are.”

abstract automotive photography

You don’t need to show the whole car to tell the story. The colors and lines contribute to the image of this American legend.

Applying this to the subject of abstract automotive photography, my intent here is not to teach you everything there is to know about making abstract automotive photos, but to simply get your creative juices flowing. You’ll note that none of the photos here show a complete automobile, but instead depict details, pieces, and parts.

The focus here is the artistic concepts of form, shape, line, tone, color, pattern, light, and shadow.

blurry mustang shot

The shot is blurry by design. I wanted to create a feeling of motion here.

dashboard of mustang

You can also get creative with interior images. The zoom-blur effect was added later in editing.

car steering wheel composite

Ever get the feeling you’re being watched? The patterns and holes in wheels can look like faces – a phenomenon known as Pareidolia.

Automobiles may be a mode of transportation, but they are also art objects – the work of designers who pay much attention to form as well as function. Know that an automotive artist purposely and artistically designed every detail of every car. We, as photographers, can explore that art, find the beauty, note how light plays across the curves and surfaces of an automobile, and use it to craft beautiful photos.

cars all in a row

You can make a shot like this on a car lot. It’s all about repeating shapes, lines, and patterns.

What and where

Finding cars to photograph and places to photograph them will depend on what’s available to you. I work part-time at a Ford dealership, photographing new cars for posting on the internet. These are not art photos. They serve the purpose I spoke of earlier: accurately representing the vehicles to interested buyers. The purpose, time, and volume don’t permit spending much time on each photo. However, when time does permit, the light is especially nice, or a particularly interesting car is available, I will get a little more creative.

mustang front angle

Find an angle that works and you can use it over and over. Can you tell I like this composition when photographing Mustangs?

abstract transmission composite

Why restrict yourself to the exterior components of a car? When I saw this transmission torn apart on the workbench, I asked the mechanic if I could take some shots.

You might not work at a car dealership, but you could probably talk a local dealer into letting you take photos of their cars particularly if you’d share some of your images with them.

Alternatively, perhaps you or a friend have a nice car you could start with. Begin making and showing some good work and, before long, you’ll have people asking if you can photograph their cars.

old cars

Car shows can be a great place for auto art photography. They often have a diversity of makes and models from different eras.

Car shows

Most areas have occasional car shows, where owners polish their vehicles to a mirror-like finish and proudly show them. Often there will be a nice variety of vehicles, sometimes exotics, hotrods, older classics, and antiques. Because the public is typically invited to these events, and they are held in public spaces, photography is generally not a problem.

In fact, the owners practically expect people to ogle and photograph their cars. One thing they will not appreciate (and will likely get you run off in a big hurry) is touching their beauties. Always be respectful and ask if there’s any doubt about whether you can photograph the vehicles.

And, above all, never touch the cars.

red Jaguar with raindrops - abstract automotive photography

Raindrops on red Jags…These are a few of my favorite things. The color, the diagonal lines, the iconic symbols, and the interest added by the raindrops on a freshly-waxed hood all combine to make this image work.

One problem is that there will typically be lots of people around. Because cars are covered with highly reflective surfaces, getting shots without people’s reflections can sometimes be a problem.

I have no real solution for this, other than to make two suggestions:

  1. When making tight shots of particular pieces of a car, the chances of getting a reflection in your shot is much less than if you were photographing the entire car.
  2. Learn to be patient. Frame up your shot, be ready, wait for the person in the shot to move on, and then quickly make your photo.
reflections in old cars

It can be hard to keep bystanders, or even yourself, out of the reflections in glass, chrome, and shiny paint.

red and white car

Fins up! How cool is this beauty, found at a local car show?

black and white old car

Sometimes monochrome is the best way to show the old classics, much like they might have appeared in an old film of the era. Sunstars are courtesy of the noon sun, a highly polished surface, and an f/22 aperture.

Lighting

High-end automotive photography can involve as much care in lighting as any product or model session. There are studios specially designed to drive a car inside to photograph. I know a local guy who has such a studio. It has full hard cyclorama walls, a glossy white floor, and a lighting system that includes the largest softbox I’ve ever seen. The softbox has to be at least 30 feet long, maybe more!

abstract hood ornament compositions

Hood ornaments are art objects unto themselves. Then add a sunstar with a specular highlight and a small aperture. Both images were made in full noon sun.

front of car - abstract automotive photography

The hood emblem of an old Ford F-100 pickup reminded me of the symbol used by the superhero the Flash.

At the opposite end of the spectrum are the shots in this article. They are all made outside with just daylight, no flash, sometimes on a tripod, but many times handheld. Often they were made in the bright noonday sun. Sometimes the bright sun is nice, such as when the specular highlights on chrome, combined with a small aperture, create sunstars.

The point is that you don’t need anything fancy to try this kind of photography. A creative eye, some imagination, and the ability to properly control focus, depth of field, and exposure are all you need.

rusing car - abstract automotive photography

The door handle is the only touch of reality in this otherwise purely abstract image.

Gettin’ funky in the junkyard

Even the nicest cars will wind up here one day – the junkyard.

One might think it a strange place to make photos. However, for some reason (perhaps nostalgia?), many of us are fascinated by old things. In the auto junkyard, you’ll often find old classics quietly rusting in peace. The once-shiny paint fades to all kinds of interesting colors and patinas. And the layers of peeling paint and rust make an incredible canvas for abstract art.

car in junkyard

On the right, an old tour bus used by country star Gene Autry is now parked in Palouse, Washington. On the left, a tight shot of the abstract art to be found if you explore the rust patterns on the old band bus.

junkyard abstract automotive photography

Corruption of Power

A word of caution about junkyard photography: Always ask the owner if you can take pictures on their property.

Yes, oftentimes auto junkyard owners will puzzle over why anyone would want to make photos of a bunch of old beat-up and rusting cars. Ask nicely. Convince the owner you’re only there to make photos and you won’t be taking any spare parts home with you. You’ll often get the go-ahead.

Now, you’ll be working in an environment of sharp rusty metal, broken glass, spilled oil, gas, and other automotive fluids, so caution is important. (It might be a good idea to have your tetanus shot up-to-date and carry a first aid kit just in case.)

Whatever you do, just don’t head onto the property without permission, even if the area seems abandoned. You don’t want to meet the infamous junkyard dog or his angry owner.

junkyard abstract hood

You can likely still tell this is the hood of an old car. Even so, it’s really about the patterns, textures, lines, and colors.

Getting really abstract

It could be argued that the previous photos in this article really aren’t “abstract” images.

So let’s take a deep dive into really abstract automotive photography – the kind not everyone will appreciate. You’re almost guaranteed to have viewers ask, “What’s that??!!”

No matter. Abstract art is an acquired taste. But once the bug bites you, you’ll find an auto junkyard is practically a gallery of images all begging for your attention.

I took a photo workshop by noted photographer Art Wolfe earlier this year called “Photography as Art,” and he really opened my eyes to this kind of imagery. After the workshop, the auto junkyard became a whole new experience. It was suddenly a place where abstract imagery abounded and peeling paint, broken glass, rust, and decay were the stuff of great photos.

junkyard automotive abstract

It’s still an old car, but now we’ve entered the world of pure abstract art. Unlike photographing iconic landmarks, where your photo is pretty much what everyone gets, making these kinds of images guarantees your photo will be one of a kind.

junkyard abstract automotive photography

I have to wonder if this vehicle was painted numerous times over in its life, or if this is just how the paint ages.

abstract car paint peeling

I’ve seen abstract art like this selling for big money and displayed on the walls of corporate offices. I hope to someday figure out just how to tap into that market.

Go do it

I invite you to look at the shots here, look at other abstract automotive photography online, and get inspired. Then just go do it.

Make it a point to not photograph the entire car. Instead look at the shapes, lines, tone, color, and all the other artistic elements of the vehicle. Isolate these to make your shot.

If getting truly abstract images interests you, find some old cars in a junkyard and get in tight. Use the textures, colors, and patterns to make your shot. Be less concerned about what the subject is and more concerned about how the image feels.

Have fun and, if you get some good abstract automotive photography, share them in the comment section below. Best wishes!

 

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How To Achieve Better High-Key Photographs

08 Sep

The post How To Achieve Better High-Key Photographs appeared first on Digital Photography School. It was authored by Kevin Landwer-Johan.

Lighting influences the atmosphere of a photograph. High-key photographs are associated with upbeat, positive feelings.

Using one main key light and avoiding contrast can help you produce photographs that convey a happy mood. This technique is popular with wedding and portrait photographers. It’s also often used in classy advertising campaigns.

How To Make Better High Key Photographs Young Clown

© Kevin Landwer-Johan

What is your key light?

Your main light source is your key light. It can be light from any source. The sun on a cloudy day is the best natural key light. Artificial light from a portable flash, studio strobes or a continuous light source can also be used. To infuse the right mood, you are best to diffuse the light.

Diffusing your light source scatters the light rays. This reduces the amount of shadow in your pictures. When you have a strong, softened key light, the shadows it casts will be minimal. You can use additional lights or reflectors to lessen the effect of the shadows even more.

To maximize the good-feeling effect, you need to produce photographs with a narrow tone range. The difference between the darkest and lightest areas in your composition should only be a few stops. You must work with the light sources to balance the light ratio.

How To Make Better High Key Photographs Young Woman in the Park

© Kevin Landwer-Johan

What’s wrong with shadows?

There’s nothing wrong with shadows, but they can imply a heavier mood.

Deep shadows in a photograph are often associated with more somber feelings. Shadows are often used with great effect to convey drama, mystery, and suspense.

Hard edges and high contrast restrict what a viewer can clearly see in a photograph. This lighting technique is often used by photographers and moviemakers to evoke feelings of doubt and mistrust.

Control the light and contrast levels using one diffused key light on your main subject. This produces a nice feeling.

Using one strong, undiffused light produces hard shadows on your subject. This often results in a darker overall feeling.

Man Studio Portrait

© Kevin Landwer-Johan

Use high-key light with the right subject

It’s always best to consider and control the light you use to fit best with your subject.

High Key and Low Key

© Kevin Landwer-Johan

During the portrait session I had with this young woman, we wanted to create two different moods. One light and happy, the other more serious.

For the high key photo, I used a large softbox on my main studio light and a smaller softbox on my secondary light. This produced a soft, bright wrap around light with little shadow. I also lit the background with two strong lights to add to the happy atmosphere. Obviously, her radiant smile completed the tone of this photograph.

During the same session, I changed the lighting. I used only one light and did not diffuse it. I also turned off the background lights and she turned off her smile.

Had I kept the lighting the same as she posed with the two different expressions, the mood would not have been conveyed so well.

How To Make Better High Key Photographs Cleaning Dispute

© Kevin Landwer-Johan

How does the background affect high-key photography?

I think the lighter the background is the more upbeat the feeling of a photo can be. But light-colored backgrounds do not have to be used exclusively.

In a photo session with a ceramic artist who wanted really get in touch with her medium, we produced a series of different photos. Some were high-key with a light background. Others we made with a dark background. Some of them I used high-key lighting. In others, I used one undiffused light.

How To Make Better High Key Photographs Clean Ceramic artist

© Kevin Landwer-Johan

This was one of the first photos in the series before things got dirty. The high-key lighting combined with the light background and another lovely smile produced a light, happy portrait.

Muddy Ceramic artist

© Kevin Landwer-Johan

Dropping in a dark background and keeping the key light the same. After applying some mud, it resulted in a fun, rather unusual portrait. The mood is certainly different from the dark background. The lighting was basically the same.

Muddy Ceramic artist Close Up

© Kevin Landwer-Johan

Wanting to create a different mood, I then used a single, undiffused light with a more gloomy, contemplative pose.

Pay attention to the shadows

Your key light source will determine the amount and strength of the shadows in your photos. You must pay careful attention to the shadows and ensure they are not too dark. Eliminating or lessening the shadow areas will enhance the effectiveness of your high-key photos.

Using a large, soft light source produces the least amount of shadow. This can be a large softbox on a studio strobe, as I have used in the examples above. You can also make use of sunlight for making high-key photographs.

On cloudy days or when your subject is in the shade, the shadows will tone down more. In full, bright sunshine, the shadows can be problematic. They will be darker and have hard edges. This high contrast will not add to the mood you want to create.

Finding an outdoor location where you can backlight your subject with the sunlight can help produce high-key photos. In situations like this, you’ll need a fill light, which will act as your key light. Even though the sun is brighter, the light you add will be the main light you must take your meter reading from.

How To Make Better High Key Photographs Young Asian Woman Outdoors

Young Clown

Setting your exposure by this light, as I have in the photo above, will result in an overexposed background. I was able to achieve this look because of the white-painted structures close by. They were reflecting light back into her face.

Conclusion

As in all styles of photography, working with the light to create the photos you want is an integral part of the process. The better your lighting is, the better your photos will be.

Experiment and try different light sources to achieve a high-key effect. There are no hard-and-fast rules, and you must work with what you have. Whether you’re in a studio or outdoors, you will face challenges.

How To Make Better High Key Photographs Chicken Nerd

© Kevin Landwer-Johan

In a studio, you may not have enough room, lights or diffusers. Be creative, think outside the box a little and innovate when you want to make high-key photos.

Do the same outdoors with natural light. Try introducing diffused flash to help balance the light ratio and reduce the shadows. Make use of reflected light bouncing off a wall or building. Carrying a fold-out reflector is also another practical way to help subdue the shadows.

How To Make Better High Key Photographs Strawberry Cheesecake

© Kevin Landwer-Johan

Give some thought as to how you can create some high-key photos using what you have available to you. You don’t have to photograph people. Food, still life and other subjects can be presented well using high key lighting too.

I’d love to see some in the comments below with a description of how you made them!

better-high-key-photographs

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Nikon Announces D6 in the Making, Plus Rumored D6 Specs

07 Sep

The post Nikon Announces D6 in the Making, Plus Rumored D6 Specs appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

Nikon Announces D6 in the Making, Plus Rumored D6 Specs

Well, it’s official:

The Nikon D6 is under development, as announced by Nikon earlier this week.

This shouldn’t come as a surprise, because the Nikon D6 has been whispered about for months, including a lengthy list of rumored specifications.

But it’s nice to know the D6 is on its way.

Unfortunately, Nikon’s announcement includes no details on the D6, except that it will be the company’s “most advanced DSLR to date.” This may be a reference to the D6’s autofocus system, which is rumored to be better than even the Nikon D5’s incredible system.

Note that the Nikon D5 is famed for its autofocus capabilities. The D5 AF system featured 153 focus points, including 99 cross-type points. Better autofocus capabilities would be an exciting upgrade for action photographers, especially if it includes some form of Live View autofocus to rival Canon’s Dual Pixel system.

The announcement also indicated that the D6 will be a DSLR rather than a mirrorless camera. This puts to rest any speculation about Nikon’s flagship system moving to mirrorless, though rumors suggest the D6 will have several mirrorless-style features.

For instance, the D6 will likely include in-body image stabilization, which Nikon included in its full-frame mirrorless bodies, the Nikon Z6 and Nikon Z7. The camera may also have a high-performing silent shooting mode, which will be appreciated by photographers who need to remain discrete at events.

Now, the Nikon D6 is a professional’s camera, competing primarily with the Canon 1DX Mark II (and its likely successor, the Canon 1DX Mark III). The Nikon D6 line is primarily designed with professional sports photographers in mind, hence the incredible autofocus capabilities. It will undoubtedly feature a rugged body and lightning-fast continuous shooting speed, as well.

The Nikon D6 will likely begin shipping in early 2020, which will give professional sports photographers plenty of time to get used to its capabilities before the Summer Olympics in Tokyo.

So if you’re a professional sports photographer, don’t worry:

The D6 is in the works, and it’s guaranteed to impress.

Are you a Nikon user? Will you be getting the Nikon D6 or are you switching over to mirrorless? Let us know in the comments!

The post Nikon Announces D6 in the Making, Plus Rumored D6 Specs appeared first on Digital Photography School. It was authored by Jaymes Dempsey.


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How to Make a Cool Double Exposure Effect Using Photoshop [video]

07 Sep

The post How to Make a Cool Double Exposure Effect Using Photoshop appeared first on Digital Photography School. It was authored by Caz Nowaczyk.

In this video from tutvid, you’ll learn to make a cool double exposure effect using photoshop.

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Some of the things that you will learn while going through this double exposure effect in Photoshop tutorial include:

  • How to isolate an image from its background using the magic wand tool and the Select and Mask Tool.
  • Fine-tuning your selection in the Select and Mask Window using the paintbrush.
  • How to output your mask selection to a new Photoshop layer – so that you save your original image.
  • Making a new Layer and fill it with a solid color.
  • Using the pen tool to create a path you can then make a selection from.
  • Making your image Monochromatic.
  • Using the Channel Mixer, Curves and Levels to fine-tune your monochrome image.
  • Turning your image Monochrome using the Black and White Adjustment Layer.
  • Working with contrast.
  • Merging multiple Layers.
  • How to choose images that will work together.
  • Adding your second image to your original as a new layer.
  • Using Photoshop Blend Modes.
  • Saving and loading selections.
  • Dragging Layer Masks to new Layers to create your double exposure.
  • Fine-tuning your double exposure by painting out parts of your layer mask.
  • Using the High Pass Filter to add more detail to your image.
  • Using Camera Raw to fine-tune your image.
  • Working with Gradient Maps.

Try this out for yourself, and share your creations with us in the comments section below!

cool-double-exposure-effect-using-photoshop

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Weekly Photography Challenge – Suburbia

07 Sep

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

This week’s photography challenge topic is SUBURBIA!

weekly photography challenge – suburbia

Gustavo Zambelli

The suburbs can be a photography wonderland, with fantastic old and new houses and kids playing in the yard. Then there are the day-to-day things about the suburbs, like the washing line, cars parked in driveways, bikes and toys strewn across lawns, letterboxes and picket fences, and street signs.

So go out and capture anything that represents the suburbs to you. They can be color, black and white, moody or bright. Just so long as they are suburban! You get the picture! Have fun, and I look forward to seeing what you come up with!

Image: Sophie Dale

Sophie Dale

weekly photography challenge – suburbia

Michael Tuszynski

Image: Rodolfo Mari

Rodolfo Mari

weekly photography challenge – suburbia

Robert Gramner

Check out some of the articles below that give you tips on this week’s challenge. While some apply to cities, you can apply the principles to photographing in suburbia.

Tips for Shooting SUBURBIA

8 Tips – How to do Storytelling With Your Images

The Ultimate Guide to Street Photography

7 Street Photography Tips and Exercises to Try This Season

5 Tips for Photographing Houses

How to do Great Photography Even When Your Surroundings are Boring

5 Tips for Thinking Out of the Box to Inspire Your Photography at Home

Photograph Close to Home to Improve Your Photography

Weekly Photography Challenge – SUBURBIA

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 #DPSsuburbia 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.

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Which Way? When to Photograph in Portrait or Landscape Orientation

06 Sep

The post Which Way? When to Photograph in Portrait or Landscape Orientation appeared first on Digital Photography School. It was authored by Megan Kennedy.

The standard camera sensor is rectangular in shape – a configuration that allows for both portrait and landscape orientations.

But is landscape orientation crucial to the execution of a landscape photograph? Must portraiture always be photographed in portrait orientation?

Plus, what if you’re photographing a subject that’s neither a portrait nor a landscape? What orientation works best?

In this article, we’ll have a look at how to choose between a portrait or landscape orientation in photography.

portrait and landscape orientation examples

A bit of history

Landscape orientation

Portrait and landscape designations likely stem from the orientations of canvasses used in art.

The dimensions of a horizontal rectangle best accommodate the wide vistas depicted by landscape artists. This earned the format its landscape title.

However, the landscape orientation is not restricted to landscape photos. Yes, landscape masterpieces by Vincent Van Gogh, Hokusai, and Monet have been in a landscape format. But artists like Sandro Botticelli and Wassily Kandinsky have created non-landscape art using landscape orientation. Frans Lanting, Andreas Gursky, and Gregory Crewdson all depict photographic subjects with the landscape orientation.

It’s the same for portrait photography. Photographers such as Robert Frank and Annie Lebovitz have approached portraiture in a landscape format.

horizontal orientation leaf

The landscape orientation of this image of a leaf conveys a more relaxed viewing approach

Portrait orientation

A canvas taller than it is wide has become known as portrait orientation.

Leonardo da Vinci’s Mona Lisa or Johannes Vermeer’s Girl with a Pearl Earring are famous examples of portraits depicted in the traditional format. And Dorothea Lange’s Migrant Mother and Steve McCurry’s Afghan Girl are well-known examples of portrait photography executed in a portrait format.

But portrait orientation isn’t limited to depicting people. Painters like Rachel Ruysch and Claude Monet worked in a portrait format to accommodate non-human subject matter.

And Edward Henry Weston used a portrait format to lend a formal quality to his investigations of organic materials, while the Bechers made hundreds of portrait-oriented images of urban landmarks.

vertical leaf abstract

The portrait orientation of this leaf abstract lends a more formal quality to the image.

Should you use portrait or landscape orientation?

Fitting the subject

One of the deciding factors in choosing between a portrait or landscape orientation is the dimensions of the subject itself.

In terms of framing the face and body of a human, a portrait format can be ideal. The vertical nature of the human body works well with a portrait orientation.

Vertical subjects like tall buildings, trees, and waterfalls may also require a portrait orientation to be captured in their entirety.

vertical orientation flower

Subjects made up of horizontal elements (like aircraft and landscapes) can fit better in landscape orientation.

Landscape orientation can also provide more room for incorporating additional elements into a photograph.

This is particularly useful in genres of photography like environmental portraiture, where the setting of the photograph is as important as the subject.

horizontal or vertical horizontal airplane

Because of the dimensions of aircraft, aviation photography is often carried out in a landscape orientation

Emphasis

The orientation of an image contributes significantly to visual emphasis.

A portrait orientation exaggerates the upright extension of subjects in a photograph. But a portrait orientation also speaks to our associations with tall subjects, emphasizing a sense of independence, wonder, modernity, and even superiority or unease.

In contrast, a landscape orientation places extra emphasis on space, illustrating ease and immersion.

In the simple example below you can see the different emphasis being placed on the floral silhouettes.

The portrait example emphasizes the energetic, upright quality of the flower. The landscape orientation creates a more relaxed perspective.

flower silhouette example

Cropping

Every photographic situation is different and sometimes an element in a potential image is less than ideal.

If there are elements present within a photo that you would rather omit, switching camera orientations might help achieve a more polished image, either in-camera or in post-processing.

Cropping out excess information with a portrait orientation will simplify an image and minimize distractions.

Switching from a portrait to landscape orientation will decrease image height, prioritizing the horizontal flow in a photograph instead.

abstract horizontal of water

Formality vs relaxation

Over time, our historic use of image orientation has associated specific visual qualities with both portrait and landscape formats.

Portrait orientation is associated with the formality of historic portraiture. It is also associated with being upright, which is attached to wakefulness, sociability, and energy.

A landscape format, on the other hand, can lend a more relaxed, organic impression to a photograph. So a horizontal orientation is associated with laying down, lending a more tranquil quality to an image.

woven mat

Conclusion

Choosing between a portrait or landscape orientation isn’t easy. There are many aspects to consider, and the orientation of an image depends heavily on the situation.

But if you understand the benefits and drawbacks of different orientations, you’ll be in a good position to decide which orientation to use!

Do you lean towards portrait or landscape orientation? Share with us in the comments!

 

portrait-or-landscape-orientation

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Everything You Need to Know About Photographing Cars

06 Sep

Car photography is every bit as exciting as photographing people. Each car is unique and has its own beautiful traits that translate perfectly into a photo. Whether you are taking photographs of vehicles on an F1 circuit or a full-on photoshoot of the most beautiful antique cars at an exhibition, your ultimate goal is to portray the personality and uniqueness Continue Reading

The post Everything You Need to Know About Photographing Cars appeared first on Photodoto.


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