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Review of the Nikon D500 for Wildlife and Bird Photography

01 Jul

The post Review of the Nikon D500 for Wildlife and Bird Photography appeared first on Digital Photography School. It was authored by Shreyas Yadav.

Roller with Nikon D500 and Nikon 200-500 f/5.6

Fast action is at the heart of Wildlife photography. Wildlife action is fast and unpredictable. Most of the wildlife, including predators, are active during early dawn and late dusk. During the edge of the day, light conditions are low. Having a range of focal lengths is essential to photograph distant wildlife shots. The weather conditions are harsh in the wild. Moreover, wildlife photographers try to find a camera which is capable of capturing stunning images in every possible situation in the wild.

Nikon crafted a flagship DX-format DSLR camera – the Nikon D500, with excellent high ISO performance, a faster frame rate, and a fast and accurate focus – even in low light.

What it is?

Nikon D500 with the Nikon 80-200 f/2.8 lens mounted on Gitzo Tripod

The Nikon D500 camera body weighs around 870g (30 oz) including battery and XD card. It is a crop sensor (DX format) DSLR with a 20.9 MP CMOS sensor. The ISO range is from ISO 100 to ISO 51200. This ISO range is useful in getting better image quality even in low light. In addition to high ISO performance, frame rate and autofocus performance of the Nikon D500 is excellent. Frames per second for Nikon D500 is whooping 10 FPS. The autofocus is fast and accurate in low light as well. Nikon D500 is fully capable of focussing up to f/8 with center focusing points. These key features make the Nikon D500 excellent for Wildlife and Bird photography.

This article is a field-review of Nikon D500 from the perspective of Wildlife Photographer. This review will help you in understanding how the Nikon D500 performs in the field.

Note: All the wildlife and bird images are photographed in the natural forest with uncontrolled light conditions and within their natural habitat.

Images are captured with the Nikon D500 and the Nikon 200-500 f/5.6 lens with a bean bag. Images are captured either from a safari jeep or from a safari boat.

Specifications

Sensor and processor – DX format (23.5 mm x 15.7 mm) CMOS sensor with EXPEED 5 processor
ISO – ISO 100 to ISO 51200 (ISO Expandable from range ISO 50 to ISO 1640000)
AF Modes – Single Servo (AF-S), Continuous Servo (AF-C), Manual and Full-time Servo in Live View
AF Area Modes – Single Point AF, Group Area AD, 3D Tracking, Dynamic-area AF with 25, 72 and 153 points, Auto Area AF
Power – EN-EL 15 Lithium Ion Battery with MH-25a charger
Storage cards – SD, SDHC, SDXC, and XQD cards. One slot for SD card and another slot for XQD card
Dimensions and weight – Approximate weight of the body including Battery and card is 870 g (30 oz) and dimensions are (Width x Height X Depth) 5.8 in (147 mm) x 4.6 in (115 mm) x 3.2 in (81 mm)
Frame rate (FPS: Frames per second) – 10 FPS in Continuous High Mode and for Continuous Low mode FPS Selectable from 2 to 9 FPS
Shutter release modes – Single, Continuous Low (2-9 FPS) and Continuous High (10 FPS), Mirror Up, Self Timer and Quiet release
Shutter speed range – Slowest shutter speed is 30 s, and Fastest shutter speed is 1/8000 s
Metering modes – Spot metering, Center-weighted metering, and Matrix metering
Exposure mode – Manual (M), Aperture Priority (A), Shutter Priority (S) and Programmed Auto (P)
White Balance – Auto, Cloudy, Direct Sunlight, Flash, Fluorescent, Color Temperature (2500 k to 10000 k)
Flash – No Built-in Flash and External Flash is required
Image format – JPEG (Basic, Normal, Fine), NEF / RAW (12-bit or 14-bit with an option of Lose less compressed, Compressed and Uncompressed)
Lens compatibility – Full compatibility with Nikon AF lenses with G, E, D type and DX-format lenses. Partial compatibility with PC lenses, AI-P, and Non-CPU lenses

Controls and ergonomics

AF-ON is useful in back button autofocussing. The focus area selection button is next to the AF-ON button. The Nikon D500 has a touch screen, and it can tilt up to a certain angle.

Buttons for selection of White Balance, Exposure Mode, Metering and Image Quality.

Shutter release mode dial.

Buttons for Exposure compensation, ISO selection, and movie recording.

Focus mode selection button.

Controls

Controls on the camera feel perfect for wildlife photography.

Here is why:

Exposure selection mode – This button helps to select the exposure modes – Manual (M), Aperture Priority(A), Shutter Priority(S) and Programmed Auto (P)
Frame rate setting – This dial helps to set the Frame rate as Single ( S), Continuous Low ( CL), Continuous High ( CH ), Timer and Mirror lockup
ISO and exposure compensation setting – the ISO button allows you to change the ISO quickly
Focus point selection dial – The Focus point selection dial helps select focus point
Focus mode and Focus area mode selection – This button, along with Primary and secondary dials ( Dials used to change the shutter speed and Aperture), is used to select focus modes as Single, Continuous and Auto. The same button is used to choose focus areas such as Single, 3D, Dynamic with 25,72 and 153 focal points, Group area and Auto-area
Metering selection button – You can select Spot, Center of Matrix metering from this button quickly. In Wildlife photography switching between Matrix and Spot metering is often required depending on the light conditions
AF- ON button – This is one of the most useful buttons on the Nikon D500 for wildlife photography. If the bird is standing on a tree branch or takes quick flight, the AF-ON button helps to capture the image with accurate focus.

Build quality and weather sealing

The Nikon D500 is mostly made up of magnesium alloy, carbon fiber, and plastic
The weight and size of the Nikon D500 are suitable for all day shooting and even hand-holding. The size of the D500 is perfect while you travel in the wilderness and it is perfectly sized while hiking and traveling in the safari vehicle.
Body toughness of the Nikon D500 is decent but not great as that of Nikon D5. I find the durability of earlier versions, such as Nikon D200, D300 or D700 was better than D500. However, the build quality of Nikon D500 feels slightly better than the Nikon D7100 or the Nikon D7200 but up to the standard of flagship DX body.
Protection against dust and water splash is decent enough
I have used Nikon D500 in moderately dusty environments and medium drizzle. The camera performs fine. In fact, I clean the camera after a photoshoot in the rain or heavy dust and I recommend you do so too. This type of weather sealing may be sufficient for mild dust and water splashes, but it doesn’t look good enough in extreme weather.

Ergonomics and handling

Ergonomically, the Nikon D500 feels just right. Important command dials for wildlife and bird photography are located on the camera body itself. This helps you to change the settings quickly.
Hand-holding, the Nikon D500, feels better. One caveat is the video recording button is located a bit oddly. Despite using it multiple times, I still get confused in locating the video recording button. Apart from the video recording button, you will find the buttons and dials are at the right place with the correct size.

Camera performance from the perspective of Nature and Wildlife photographer

Autofocus performance

Osprey in flight. Focus performance of the Nikon D500 for Birds in flight is excellent. Exif : 1/800s , f/8 and ISO 450

Bird action happens fast and can be erratic. Wildlife movement is also fast as it occurs at dawn or dusk. The ability of the camera to focus fast and accurate is a must. With the Multi-Cam 20K Autofocus Sensor module, Nikon D500’s autofocus capabilities are excellent. The Nikon D500 focuses accurately (provided you choose the appropriate focus mode and focus area mode).

I use back button autofocus for focusing. There is a dedicated button for back button autofocus, which is AF-ON.

Hare in the clutter. The Nikon D500 precisely acquires focus on the main object even through the forest clutter.

The Nikon D500 focusses extremely well in following conditions:

Daylight
Cloudy and rainy weather
Low light
Distant objects
In the forest clutter and forest canopy
Dusty and snowy weather
Birds in flight and animals in action

In terms of autofocus performance, the Nikon D500 is an absolute winner.

Deer crossing the safari track. The camera’s focus performance for distant objects is excellent. This deer was crossing the Safari road. The distance between the deer and our vehicle was around 100 meters

Image quality – Colors, details and dynamic range

Colors of the peacock. Color rendition and image quality of the Nikon D500 is great. Exif: 1/100s, f/5.6 and ISO 720

Colors, tonal range, and dynamic range of the Nikon D500 images is excellent. Metering of the Nikon D500 is fantastic. It evaluates and produces correct image exposure.

Stare of an eagle. The Nikon D500 captures the details perfectly. Exif: 1/400s, f/5.6 an ISO 500

For most of my wildlife images, I use Matrix metering. For some tricky light situations, such as harsh lights or shadows, and if the animal is dark or bright, I switch to Spot metering mode. Matrix metering will give you excellent light exposure.

Jungle fowl calling. Feather details are excellent. Exif: 1/250s, f/5.6 and ISO 450

The elephant in its kingdom. Colors and details of the elephant are accurate. Exif: 1/1000s, f/5.6 and ISO 2200

The dynamic range of the Nikon D500 is improved as compared to earlier versions of the DX format Nikon cameras. If the light is sufficient, I set the exposure compensation to +0.3 or +0.7. Exposure compensation shifts the histogram towards the right. It helps in bringing out the details and enhancing the colors in an image.

Nikon D500 review for wildlife and bird photography 7

The Dynamic Range of the Nikon D500 is wide. The camera was able to capture the eyes and feathers in the shadow. Equally, the Nikon D500 captured the highlighted crest on the head perfectly.

High ISO and low light performance

Image quality and ISO performance in low light are much improved in the Nikon D500. The camera ISO has a range from ISO 100 to ISO 51200. In controlled light conditions or lab test, the Nikon D500 Images may look less noisy. However, when you are shooting with the Nikon D500 in the real jungle and natural light conditions, you have to be realistic when you select your ISO.

Nikon D500 review for wildlife and bird photography 6

Peacock at ISO 1600

I use a maximum ISO up to 6400 in most cases, and for some rare wildlife moments, I go up to ISO 12800. In the forest, especially during the early morning or late evening, an ISO of up to 6400 helps. With ISO 6400, I can get a sharp image with excellent dynamic range. The colors are also good. These images are perfectly usable for big prints and web-sized images.

Nikon D500 review for wildlife and bird photography 5

Bond of Nature. Family portrait at ISO 4000

Whereas, if you go ridiculously high on ISO such as ISO 51200, you will still get an image, but you will have to apply Noise reduction in post-processing. Also, the image loses the fine details. If you are going to print the image, select the reasonable high ISO at the available light conditions.

Bottom line

The Nikon D500 has improved high ISO and low light performance. Up to maximum ISO 6400, images are great. The sharpness and colors are fantastic and noise levels are low and manageable in post-processing.

Nikon D500 review for wildlife and bird photography 4

Sambar deer at ISO 6400. It was almost dark in the forest. Luminance noise is visible in the image.

Nikon D500 review for wildlife and bird photography 3

Mongoose at ISO 6400. It was almost dark in the forest.

White balance

Nikon D500 review for wildlife and bird photography 2

Fish eagle on the perch. Auto White balance for the Nikon D500 produces color temperatures and tint accurately.

The auto white balance of the Nikon D500 is accurate. The camera produces white balance without any shift in color or tint. All the color temperatures look right.

Other than Auto White balance, there are different white balances available such as Daylight and Shade. All produce good results.

For wildlife and bird photography, I recommend you choose Auto White Balance. It will help to reproduce the correct white balance for your images. If you want to add creative effects, you can always tune the raw image in post-processing.

Bonus: My D500 camera settings for wildlife and bird photography

Image Quality: RAW
NEF (RAW) Recording: NEF RAW Compression: Loose-less compressed and Bit Depth: 14-Bit Depth
Color space: Adobe RGB
Picture Control: Standard (SD)
ISO: Auto ISO with Maximum ISO as 6400 (It will depend on the lighting conditions, but I find 6400 is the right balance for image quality and low noise)
Autofocus mode: AF-C (Continuous)
Autofocus Area mode: Dynamic (25 points) or Group area focus
Exposure mode: Manual (Shutter speed and Aperture will be set based on the available light in the environment). You can also use Aperture priority as an Exposure Mode.
White Balance: Auto
Metering: Matrix
For autofocus, use Back button autofocus: AF-ON
Shutter release mode: Continuous High CH (10 FPS) or Continuous Low CL (6 FPS)

Conclusion and recommendations

Pros

10 FPS (Frames Per Second)
Fast and accurate focus even in low light
Good High ISO Performance
Superb image quality and dynamic range
Excellent ergonomics
Perfect location of camera buttons and dials
Autofocus with central autofocus points up to Aperture of f/8

Cons

No Built-in flash and GPS
Location of the video recording button
Above average Build quality and weather sealing (Not the best in class)

In summary

The DX sensor, superior autofocus performance, high ISO performance, best in class frames per second (10 FPS), and travel-friendly size makes the Nikon D500 perfect for wildlife and bird photography.

You will love using Nikon D500 in the wild.

What do you think about the Nikon D500 camera? Please do let us know in the comments below!

The post Review of the Nikon D500 for Wildlife and Bird Photography appeared first on Digital Photography School. It was authored by Shreyas Yadav.

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3 Photo Editing Mistakes to Avoid

30 Jun

The post 3 Photo Editing Mistakes to Avoid appeared first on Digital Photography School. It was authored by Lily Sawyer.

If you are a photographer who shoots in RAW, then you know that editing is a must!

Editing is a lot of fun. Personally, I enjoy seeing a blah photo turn into a good one by manipulating the details in the image. It’s almost like magic. However, editing doesn’t come without caveats.

In this article, we’ll look at three basic editing mistakes to avoid. They are easy to do, especially when you are new to editing and are overly enthusiastic about transforming your photo into something magical!

When I was a novice, my photos were over-edited (cringe). I looked at other photographers’ work with awe, and I wanted my photos to look like theirs. I got lured into using actions and using them too heavily for that color-pop, scroll-stopping, jaw-dropping impact a photo can have.

It was awful; as I later discovered. It was when I learned how to distinguish between a good photo edited correctly and a photo decimated by actions or over-editing that my images dramatically improved and my confidence as a photographer grew.

Let’s dive in and look at the three basic editing mistakes to avoid. The photos I used in this article are ordinary snaps, taken without the use of any lighting and on a normal bright morning. You don’t have to set up amazing sessions and shots for an excuse to edit your photos. Even the most ordinary of photos could do with a bit of magic.

dps-tutorial-editing-mistakes-to-avoid

1. Not shooting in RAW

The first mistake in editing is not shooting in RAW format. Editing and RAW are best friends. Editing a RAW file is the best combination you can use because RAW is a lossless format. That means it retains all the information in the image for you to play around with during the editing process.

RAW is untouched, unprocessed, and unedited. The raw information in pixels is all collated without any interference from the camera. On the other hand, JPEGS (whether that be fine or basic), is a format which allows the camera to process the raw information and compress it by discarding pixels. It does away with some of this raw information before saving the image to your memory card. As a result, you get a smaller image that has already been edited by your camera.

This means the colors and contrasts are already different from the original information. When you edit a JPEG image, you are further fiddling with the remaining information and processing an already processed image. This is not an ideal starting place, as it’s often difficult not to overedit from this point.

For more detailed articles on RAW vs JPEG, read here.

dps-tutorial-editing-mistakes-to-avoid

2. Incorrect white balance

This may sound basic to some of you, but many of you might not have heard of the term white balance. When I first had a DSLR, I shot on portrait mode. I didn’t know how to shoot in Manual and didn’t feel I needed to learn it. I relied on the camera modes until I realized I could not achieve the style and type of images I wanted. Until then, I did not know – let alone understand – what White Balance meant.

To put it simply, white balance is making sure white objects appear white. Many lighting factors can affect the whites in your image. These are called color cast. Color casts happen when whites look like different colors depending on the ambient light. A very common color cast occurrence is from incandescent light which, if the white balance is left unadjusted, will render white objects a yellow color, for example.

There is a thing called color temperature measured in Kelvins which offers a range of numerical values to which you adjust your white balance to get your white balance correct. When shooting outdoors in natural sunlight, for example, the color temperature is usually in the 5500K range. You want your camera’s white balance to match that so your white looks white. Conversely, indoors usually has a warmer color temperature. When there are tungsten lights involved, the Kelvins are around 3500K. You need to match this too to ensure your white looks white.

Sure the camera can do this by itself using Auto White Balance, and it does it really well too. The trouble I find is that it still varies quite a lot even though the variations might be minimal. For me, this proves a problem when editing thousands of images, especially when batch editing. My preference to counteract this is to shoot in Kelvin which gives me a pretty constant white balance, though not an absolute science, that I can tweak when editing.

Read more about demystifying white balance here.

dps-tutorial-editing-mistakes-to-avoid

3. Over editing

There are a hundred and one ways you can over-edit your images. I will touch on a few favorites, especially because they are the ones that affect the image the most.

a. Heavy vignette

I love vignettes. I apply vignetting to most of my images and love the way it draws the attention to the middle of the image by way of overall contrast: darker around the edges and lighter in the middle. However, it is so easy to be heavy-handed with it so that your image looks like “a moth to a flame” effect: black spherical shape on the outside and a very bright central area. The key word is subtle.

A good trick of knowing how much vignette to add is to slide the bar across both extremes and then you can see the effect of each stage and decide what looks right.

dps-tutorial-editing-mistakes-to-avoid

b. Over and under-saturation

Have you heard of the term “pop” in photography?

Photographers love using it! Add a color pop to make the image pop etc. Often, saturation is not the way to achieve this “pop”! I would advise against fiddling with the saturation slider. Only use it if the photo is so undersaturated that a saturation boost is necessary to make the colors get closer to a natural look.

The danger of using the saturation slider is making the colors look ‘neonesque’! A classic ubiquitous example of this is green grass. NO grass looks neon green yet often we see them in photos. I wouldn’t be surprised to learn the saturation slider is the culprit when I come across those images.

It is better to use the vibrance slider if you want to add some life to your color. Here is an article that explains the difference between vibrance and saturation.

Undersaturation is just as bad. This is when you strip the image of color so everything looks deathly pale or rather steely and cold. I have made this mistake before when I was starting out. Avoid it! Better yet, do not even attempt to do it.

dps-tutorial-editing-mistakes-to-avoid

c. Extreme contrasts

Contrast is simply the difference between the whites and blacks in the image or, if you like, the light areas and dark areas. Three sliders affect contrast: whites, shadows, and blacks. Move those sliders to see what effect they do to the image.

The best advice I can give is to choose a natural contrast where the blacks are just right, and the whites are not blown or overexposed. Keeping an eye on the histogram helps to ensure you are not clipping blacks and whites and are staying within the proper range of values when it comes to contrast.

So there we are – three easily made editing mistakes. I hope you have learned something from this little article.

Any more valuable tips? Do share in the comments below.

The post 3 Photo Editing Mistakes to Avoid appeared first on Digital Photography School. It was authored by Lily Sawyer.

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Is Photography Becoming too Easy?

30 Jun

The post Is Photography Becoming too Easy? appeared first on Digital Photography School. It was authored by Carl Spring.

The autofocus on the Sony A9 is amazing! Set it to eye AF, point in direction of the subject and let it do the rest. It’s almost too easy.

Everyone is a Photographer these days. It has never been easier or cheaper to create good quality photographs. People sincerely believe that the camera is what takes these amazing images. I am sure you have heard this as many times as I have; “You take beautiful photos, you must have a great camera.”

With the technology we see now though, I sometimes wonder, do they have a point?

We now have cameras in mobile phones, that not long ago professional photographers, paying thousands for their cameras would have dreamed of being able to use. Look at the ‘shot on iPhone’ campaign, and look at Instagram daily. People can take amazing photographs, with a couple of clicks and minimal effort.

Has modern technology democratized photography, or does it mean photography has become easy?

Technology continues to make things easier. But that didn’t start with digital!

Technology has always pushed to make things simpler. Be that the TV remote control or the digital camera. The digital camera was simply the technology industry’s answer to the market forces. Consumers wanted a camera that could take endless photographs. Businesses, noting this need, used the emerging technology to answer their customer cries. Thus, creating digital cameras and changing the face of photography forever.

Let’s get this out of the way early. There was no comparison between shooting digital and shooting film. After the first generations with their inevitable teething problems and huge price tag, photography became incredibly easy with digital. Instant feedback told you whether you had the shot or not. You were not limited by 24 or 36 exposures (or less if you shot medium format). Lastly, after the initial outlay, photography became much cheaper as there were simply no processing bills.

Depending on whom you ask, the digital evolution is either the moment someone got into photography or the beginning of the decline. However, let’s think back a little. If you had shot wet plates, imagine how easy those punks using 35mm film had it.

Imagine when autofocus cameras meant you no longer needed the skill of manual focus? Well, that is just ridiculous! Imagine a flash that didn’t need the incredibly dangerous use of flash powder for goodness sakes. The ability to refocus after the photo is in its infancy, but I can see it being a mainstay of every camera in less than ten years.

Technology helps make life better for humans. The most common way to make things better is often making things easier. In the modern world, we adapt quickly and then quickly rely on the new tech we use. It becomes part of our lives and frees up vital brain space. Every photography innovation, from the first camera onwards, has been about making it easier to preserve a moment in time.

Remember when we only had 18 megapixels, or 12, or six! How did we manage with only nine autofocus points rather than focus points over the entire sensor? Focus points that you don’t really need to use because the camera finds the eyes of humans (or animals), locks on, and all you need to do is decide which eye you want in focus.

I mean imagine how photojournalists in the ’80s would react to a modern digital camera? Moving even further back, imagine telling painters in the 1500s that one day there would be a box that captured the image of the person in minute detail and all you needed to do was to allow light into a box?

I remember the first 0.5MP digital camera I ever used. It was like magic. You could see the photograph instantly, and you never needed to pay for the processing. I was hooked instantly. Even though I had a crappy job, I saved hard for a digital point and shoot and began capturing photos again. I occasionally shot on an SLR camera, but could rarely afford to buy film and process it. I even took a night school class to get access to a darkroom and shot everything in black and white.

The Pentax 3-Megapixel camera I had been saving for months to own, changed my world. The quality wasn’t as good. I had no control over the shutter speed or aperture, but I could take photos. Hundreds of them. All the time. It was life-changing. I had moved more into film making, but this digital camera brought me back. I got hooked again. If it were not for that 0.5 Megapixel camera I got to use in my job, I would probably not even be writing this.

Is Photography Becoming too Easy - Lancaster bomber coming inn to land

The right place, the right time, but only a phone and no DSLR. Yet I still get an image like this.

Does gear make you a better Photographer?

We are photographers, and we love to lust over gear. The newest this, the better that. Camera companies spend millions trying to persuade us that we need new gear. Will the latest Sony with the mind-blowing eye autofocus really make your photos better? No. Will it make them easier? Undoubtedly, yes.

But, thanks to another wonderful technological invention – the internet – many of us spend more time talking about megapixels than actually using them.

We are as guilty as the influencers who “don’t even use a real camera” because we are the opposite. Instead, we sit pixel peeping the corner sharpness at four million percent and then badmouth how a manufacturer could release such a piece of crap.

A phone camera can take the most breathtaking image, worthy of an art gallery. Conversely, a multi-megapixel medium format camera with the best lens can take a snapshot.

50 years ago this photo was shot on a modified film camera. Gear does not matter as much as you think. Image courtesy of NASA.

Digital makes it easy, but so much harder to stand out

Estimates suggest that over one trillion photographs were taken in 2018 (if you want to see the zeros, one trillion is 1,000,000,000,000). Ninety-five million photos get uploaded to Instagram every day. Add to that the three hundred hours of footage uploaded to YouTube every minute and the number of photographs and videos we are producing is simply staggering. Now whilst you cannot deny that digital made this possible, digital has also made it much harder to stand out.

Camera manufacturers are great at making people believe that they are artists – that everyone has an amazing movie. In the same way that everyone has a great novel, song, or painting inside of them begging to get out. In reality, that isn’t the truth. Photography (to me at least) is art. And art is, for better or worst, elitist.

Some people are not great artists and some are not great songwriters. And many people are not great photographers.

The problem is, with so much poor and average stuff out there, how do you get to see the good stuff? In some cases, you don’t. There are photographers out there, who are taking photographs that are simply some of the best ever taken. However, we will never see them. There are filmmakers out there creating short films that should see them breaking down the doors of Hollywood, but they don’t. Instead, our feeds are filled up with yet more cat memes and average photos we have seen thousands of times before.

We are drowning in content.

It is to the point where photography seems to be a popularity contest, rather than about artistry.

Look at how Canon treated Yvette Roman because she didn’t have 50,000 followers or more on YouTube. Let that sink in. A photographer whose style they loved for a job, who they agreed to hire, was replaced simply due to her lack of numbers. That shows you how companies want to hire photographers who can use their social channels to add to the marketing campaign.

We live in the influencer age, where amazing photographers are turned down for jobs due to not having followers. On the flip side of that, someone who only uses their phone for photography can be given thousands for merely showing that they use a particular piece of gear. They travel the world for free simply because they are popular on Instagram.

This system makes perfect sense when looked at from a marketing perspective. However, these platforms are where most of us spend our time and where we discover new content. Therefore, algorithms now control the amount of photography we get exposed to.

An algorithm doesn’t care about quality; it cares about metrics. The aim is to find popular content and put it out there for more people to find. Does this mean that photography is being reduced to likes? In many ways, yes, but it also shows the power of a story.

My 6-year-old took this photo. Sharp, well exposed and decent color. Not even a DSLR, just a compact.

A camera does not know how to tell a story yet

We live in an age where you can throw your work out for all the world to see. The level of photography has never been higher. I can give my six-year-old a camera, and he can take sharp, well-exposed photos, telling the stories of his lego figures. But a camera, in fact, no technology, can yet create an image that tells a story.

A great photograph always tells a story. It makes us want to know more about the moment. It allows us to create our own story based on what we see in the image and our world view. The story I see in a photograph will be different from yours. In fact, you may hate a photograph I love and vice versa.

This is simply not possible with even the greatest camera. There is no Ai that will pick the perfect moment for you to click the shutter button. Yes, cameras may do 20 frames per second or more, but even then, you cannot continually record every second of the day. You need to find the angle, frame your subject in the way that tells your story and then press the shutter. Really, the technical aspect (no matter how much the camera companies persuade us otherwise) is not where the photograph is made. It is not in the corner sharpness – many great photos are not sharp. It is the story you tell.

The story is what you need to learn. Telling a story is hard. It has always been hard, and technology is nowhere near being able to do it for us.

You make the decisions before you press the shutter. You use the light, the subject, and find the angle. Then you open a box and let in some light for a little bit. It has always been the same. It’s just that technology over the years has made it easier to let the light in the box and get the image sharp if that is important to you.

Is Photography Becoming too Easy - Guitarist playing solo

No matter what the camera, knowing the moment to press the shutter is still a skill that is not computer controlled, yet.

The future

I am sure you all saw it? It finally happened – a couple hired a robot to shoot their wedding! Yes, I know it is just a photo-booth style alternative for now, but it does hint to the future. Are we going to be used to weddings where drones automatically take photographs that are better than a human can capture? Photographs that can then be instantly customized by the bride and groom at the touch of a button (or voice command)? Will this mean that people will become obsolete in many photography fields? Will they only need a device; a robot?

Will my future as a photography business owner involve owning several robots? The ten-year-old version of me prays that this is true. Alternatively, will people not need to hire anyone? Perhaps photography will be built into their daily devices? Will we become so vain that a device follows us around capturing our daily lives and then picks the best moments via an algorithm to share on social media for us? (Let’s hope not! – Editor)

What do you think? Share your comments with us below.

The post Is Photography Becoming too Easy? appeared first on Digital Photography School. It was authored by Carl Spring.

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Prime Lens Comparison – 24mm vs 35mm vs 50mm vs 85mm vs 135mm

29 Jun

The post Prime Lens Comparison – 24mm vs 35mm vs 50mm vs 85mm vs 135mm appeared first on Digital Photography School. It was authored by Caz Nowaczyk.

In this video, Julia Trotti does a prime lens comparison with portrait photography.

You’ll learn about focal lengths, background-to-foreground separation and compression, and distortion.

Take a look.

In this video, Julia compares the following lenses using her Canon 5D MkIII:

Sigma 24mm f1.4
Canon 35mm f1.4
Canon 50mm f1.2
Canon 85mm f1.2
Canon 135mm f2

Julia first tests the lenses shooting full body photos with her model, Maralyn, from the same standing position to show how much background compression each lens shows, as well as the bokeh.

Then she does shots where her model fills more of the frame. To do so, she moves closer and further away to get the model in roughly the same position in the frame but showing what happens to the background in each shot.

The Sigma 24mm has the least background to foreground compression (shows more of the background) when doing full body shots.

The 85mm and the 135mm have great compression, and large background to foreground separation, with no distortion. The 135mm has the most background to foreground separation and compression of all these lenses.

Be sure to watch the video to see the photo examples that detail how the background compression is effected by each lens.

You may also find the following helpful:

How to use Focal Length and Background Compression to Enhance Your Photos

5 Important Focal Lengths to Know and the Benefits of Each

Get Your Creative Juices Flowing with Different Focal Lengths

8 Focal Lengths Illustrated

The post Prime Lens Comparison – 24mm vs 35mm vs 50mm vs 85mm vs 135mm appeared first on Digital Photography School. It was authored by Caz Nowaczyk.

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Weekly Photography Challenge – Sport

29 Jun

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

This week’s photography challenge topic is SPORT!

Travis Yewell

Go out and capture sporty photos. It can be the kids playing sport, adult sports, animals playing sports, cycling, motorsports and action shots, or even sports related items. They can be color, black and white, moody or bright. You get the picture! Have fun, and I look forward to seeing what you come up with!

Kolleen Gladden

Thomas Schweighofer

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

Tips for Shooting SPORT

Top 5 Tips for Extreme Sports Photography

Tips for Doing Better Indoor Sports Photography

How to Photograph Agility Events and Other Dog Sports

Tips from the Sports Photography Pros to Help You Get the Money Shots

3 Tips for Taking Better Motorsport Photos

Tips and Tricks to Help You Take Better Youth Sports Photos

Weekly Photography Challenge – SPORT

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 #DPSsport 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 – Sport appeared first on Digital Photography School. It was authored by Caz Nowaczyk.

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Why Hiring an Assistant at Weddings Makes you a Better Photographer

28 Jun

The post Why Hiring an Assistant at Weddings Makes you a Better Photographer appeared first on Digital Photography School. It was authored by Jackie Lamas.

It’s no mistake that many wedding photographers have assistants and even second shooters at weddings. The reason being is that photographing a wedding longer than 5 hours on your own can be very challenging, especially since there are many important wedding details and moments that need extra coverage.

Hiring an assistant means you have help carrying your gear and keeping distractions at bay so you can photograph the important moments smoothly.

What is an assistant?

A photography assistant is not to be confused with a second shooter. While sometimes used interchangeably, the two terms are actually different, and it’s really important to know the difference.

An assistant is an extra pair of hands available for you during the wedding day.

They may be in charge of carrying the equipment, helping with setting up additional cameras and being available for any need that the photography may have during the wedding day.

Assistants can help gather details during a wedding day and help with styling as well.

Many assistants are aspiring wedding photographers or seasoned wedding photographers. It can vary in the level of experience. This is something that you should look into while interviewing or hiring an assistant.

Assistants can also help with styling certain shots like the wedding rings, or help to gather flowers. They can also help with posing families during that portion of the wedding day.

Assistants also offer a second point of view. They offer ideas to get better shots or additional photos that perhaps you had not thought of previously. They are also helpful when you need an opinion and also someone to talk to as weddings can run up to 12 hours or more depending on how much you are covering.

What is a second shooter?

A second shooter is a second photographer. Usually, the second photographer is solely responsible for taking photos of the event alongside you, the main photographer.

A second photographer can get those in-between candid moments that happen when the main photographer is busy photographing something else.

The second shooter helps to get a different angle of the same setup. Or perhaps they can be trusted to photograph a portion of the day alone while you cover another. For example, if you’re photographing the bride and her bridesmaids, the second photographer may cover the groom and his groomsmen.

Also, if you’re photographing the bride and groom together, the second photographer can shoot from a completely different angle. This gives the final images more variety of the same moments throughout the wedding day.

Having a second photographer can get images from a different angle.

Sometimes the assistant can also be a second photographer during certain parts of the day but perhaps not the whole day. For example, you can hire a second photographer and an assistant so that the two jobs don’t overlap during the day. That way, you have both a second pair of photos taken while having someone help carry your equipment and to help you set up.

Be clear about expectations

This brings me to this very important point; be clear about expectations when you’re looking to hire an assistant. Make sure that you outline what their responsibilities are.

An assistant can help carry gear when the terrain is less than ideal for your gear to be in. Like a sandy beach near the ocean.

Perhaps you’re only looking for an assistant? In that case, be sure to outline that their responsibilities will not include photographing the event at all. They will only be there to help with setting up, carrying equipment, and helping the main photographer during the event.

If you’re looking for a combination of the two, outline that from the beginning. Make sure to advise them to bring useful equipment if you will have them use their own. Also, specify which parts of the event they will be covering. Perhaps you need them to be an assistant during most of the day but will need them to be a second photographer during the ceremony only.

Why Hiring an Assistant at Weddings Makes you a Better Photographer 5

Be clear about what your assistant should help you with. For example, posing the family or helping to fluff out the wedding dress.

Also, be aware that it is very difficult to be a second photographer and an assistant simultaneously. You will need to be very clear about what you need from the person helping you at the event.

Be a team player

All photographers work and handle their businesses differently. However, when you are photographing a wedding, it’s best to make it clear that you and your assistant are a team. You are both there to work at the wedding together.

This creates an openness for the assistant to help with styling, and to offer their opinion or aesthetic input. This can be really helpful during the wedding day. Working together rather than bossing or ordering the assistant around can be really helpful since the assistant will feel included and part of a team.

Keep in mind the level of experience the assistant may have, which can also help you immensely during the event. Most seasoned wedding photographers have, at some point, been second photographers or assistants themselves. They are eager and accommodating on wedding days. If they are seasoned pros and are helping you out, consider their input.

Why Hiring an Assistant at Weddings Makes you a Better Photographer 4

When you are hiring someone who is just getting started, it’s important to talk with them before starting the photography. State your expectations, where gear is in your bag, how you approach the wedding day, and what you’ll need from them.

Some assistants are barely getting their feet wet and may need extra coaching. If this is the case, approach them with the mindset of being a team. They will work harder for you and be more willing to anticipate your needs.

Assistant contract

It is very important to have a contract drafted for the assistant position. Too often does it happen when images get published, used, sold, or otherwise from assistants who weren’t the main photographer.

Why Hiring an Assistant at Weddings Makes you a Better Photographer 3

A contract can outline image delivery expectations if they helped photograph a portion of the event, and what their pay is to be.

The contract can help you set boundaries, and outline their responsibilities, as well as set the pay for the event. Don’t skip on this tip! All too often we hear horror stories of assistants that never returned the equipment, didn’t deliver images and got paid what was due!

Why Hiring an Assistant at Weddings Makes you a Better Photographer 2

Having a contract is good to have for all parties involved.

Payment

Even though you can hire someone who is just getting started in the wedding photography business, this doesn’t mean that you can pay them less than you would expect to be paid if you were assisting.

They give you a pair of extra hands and help you for hours carrying most of your equipment, so pay them accordingly. Some more seasoned wedding photographers may have a going rate. However, it’s good to research your area for the going rate, either hourly or a set rate for the entire event.

Take into consideration the following:

The amount of time they will be hired to assist
Will they also be using their photography skills to photograph certain parts of the event?
Will they be using their own equipment or your own? If they are using their own equipment, then factor that into the payment.
How much will they be carrying in equipment?
Milage, gas, or extra costs

If the assistant will be there with you during the dinner portion of the event, make sure you let the bride and groom know. That way, they will know you have an assistant also eating at the wedding, even if it’s a vendor meal. If they aren’t going to stay for dinner, make sure you state what meals you’ll be covering or if you will be paying for their meal at all.

An assistant can help make a first look go smoothly by helping with positioning the bride and making sure to be available to switch lenses, cards, batteries, etc.

It’s also really important to state how the assistant will be getting paid. Will they be paid by bank transfer, deposit, invoicing, or any other method? That way they know when and how they will be getting paid for assisting at the event.

Having an assistant makes you a better photographer

The reason to have an assistant at a wedding is that it ultimately makes you a better photographer. It frees you up from carrying your equipment so that you can focus on taking important photos rather than checking to see if your camera bag is within reach.

Assistants can help with lighting, adjusting extra cameras, or even helping style the bride’s veil during the portraits. Having an extra pair of hands makes it easier for you to focus on getting the shot without having to do it all on your own.

Also, having someone there to help with making sure that the wedding photography goes smoothly and quickly will help you to focus on what really matters – getting the shot.

Moreover, having someone to talk to during the long wedding day can help you stay focused and in the present moment.

In Conclusion

Hiring an assistant during a wedding event can help you be free to really focus on photographing each and every special moment of a wedding day.

They can help by carrying your equipment, be a teammate and help with lighting or offer ideas. An assistant can be an extra pair of hands and eyes during the day too.

Have you hired an assistant before? If so, what additional tips would you include?

The post Why Hiring an Assistant at Weddings Makes you a Better Photographer appeared first on Digital Photography School. It was authored by Jackie Lamas.

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How To Use Lightroom Classic With Two Monitors

28 Jun

The post How To Use Lightroom Classic With Two Monitors appeared first on Digital Photography School. It was authored by Darina Kopcok.

how to use lightroom classic with two monitors

One of the best ways to enhance your workflow in Lightroom is to use two monitors.

Utilizing two monitors in Lightroom helps you work faster. You can also sort through your images more quickly. You can work with your thumbnails on one screen, and the full-sized image on another.

If you’re a high-volume shooter, such as a wedding photographer, you should seriously consider working with two monitors. You’ll find that it can make your workflow a lot more streamlined and productive.

Your second monitor doesn’t have to be as big or as high quality as your primary one. In fact, you can even connect a laptop to your monitor.

A two monitor set-up is great to have if you shoot tethered or travel with a laptop.

Alternatively, you can have two stand-alone monitors, depending on what kind of operating system you have, or a computer with a built in monitor, like an iMac.

For example, in my own workflow, I use a 27-inch iMac and a separate monitor in a similar size.

How to set up two monitors in Lightroom

To set up a two-monitor display, you first need to connect your second monitor and then get Lightroom to recognize the secondary display.

To do this, go to Window -> Secondary Display -> Show.

Then go to the monitor icons on the left side of the Filmstrip -> click the monitor icon labeled “2” to activate the secondary display.

The default for the secondary display is Loupe View, but you can change it.

The other options are Grid View, Compare View, Survey View, or People View. Click and hold the monitor icon marked “1” to see these options.

People is where Lightroom identifies faces in images, including new ones you add to your library. That way, you don’t have to assign keywords to tag people in your photos manually.

If you click and hold the icon labeled “1,” you’ll see a similar list of options for your primary monitor.

You can zoom and filter photos in Loupe View.

Loupe View on the second monitor allows you to zoom into the photo by clicking on the image. You can also right-click your mouse and change the color of your workspace background.

Note that Loupe View has three different modes: Normal, Live, and Locked.

In Normal, if you click on a thumbnail in Grid View on monitor 1, you’ll see a large version displayed in Loupe View on monitor 2.
In Live, the photo displayed in Loupe View changes as you move the cursor over the thumbnails in Grid View.
With Locked, the last photo viewed in Loupe View stays on the screen until you select one of the other modes.

To access Normal View, click on a thumbnail in Grid View on monitor 1 to see a large version displayed in Loupe View on monitor 2.

While in Live View, the photo displayed in Loupe View changes as you move the cursor over the thumbnails in Grid View.

In Locked View, the last photo viewed in Loupe View stays on the screen until you select one of the other modes.

Compare View in the secondary window offers the same functionality as the Compare View in the primary window.

Survey in the secondary display offers the same functionality as the Survey view in the primary window.

Options for display with two monitors

You can customize your workspace on two monitors in the following ways:

Use the Develop module on your first monitor and enable Loupe View on the second monitor. This will allow you to zoom in on the second monitor to check finer details such as noise, focus, or for chromatic aberration.
Set Grid View on the first monitor and Loupe View on the second monitor. You can look at one photo on one screen and thumbnails on the other.
Use Grid View on the first monitor and Survey or Compare View on the second monitor. This is recommended when you want to quickly cull images.
Alternately, you can have Grid View on your second monitor and Loupe View on the first monitor.

To hide the top or bottom panels in the secondary display, click the grey arrows, the same way you hide panels in Lightroom’s main window. Click them again to unhide them.

The “Full Screen” option in Lightroom is enabled by default. When you click on it, the window on your second monitor is taken out of full-screen mode, giving you a re-sizeable window that can be moved around the screen.

You can swap the displays around in Normal Screen Mode. In this mode, you can drag and drop the window over to the second display, automatically changing their positions.

You can also display the second window as a floating window by clicking the Second Monitor button in the main window and deselecting Full Screen.

To close the second window, –> click the Second Window button, or click it and deselect Show.

To sum up

One last note: be sure that at least the main monitor where you view your final images is calibrated. You want to make sure that the color in your images is technically correct, especially if your images will be printed.

If you have been doing your Lightroom post-processing on one monitor, you’ll find that getting a second monitor will change your editing life.

Do you use two monitors? What are your thoughts? Share with us in the comments below.

The post How To Use Lightroom Classic With Two Monitors appeared first on Digital Photography School. It was authored by Darina Kopcok.

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5 Photography Rules for Capturing Photos Your Audience Will Adore

27 Jun

The post 5 Photography Rules for Capturing Photos Your Audience Will Adore appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

It’s hard to stand out as a photographer.

These days, you have so many photos to compete against; the internet is drowned in smartphone snapshots (with layer upon layer of filters).

So how do you create images that cut through all the noise? How do you create art that will truly stun your audience?

5 Photography Rules for Capturing Photos Your Audience Will Adore

In this article, you’ll discover 5 simple photography rules for capturing photos – which will ensure that your photos are truly special.

Let’s dive right in, starting with…

1. Do everything you can to emphasize your subject

If you want to capture photos that stand out, then this is your number one rule:

Pick a subject. Something that stands out in your photo. Something that acts as an anchor point.

And make that subject stand out as much as you can.

You see, it’s your main subject that actually captivates people. The rest of the scene exists to enhance that main subject.

But how do you enhance your main subject?

Start by making sure that your main subject is extremely sharp. Make sure it’s the sharpest part of the photo, in fact.

And make sure that your main subject has some color. Color draws the eye!

Third, make sure your main subject is bright and well-exposed. A dark subject (especially if it’s surrounded by a dark background) just won’t work. If you do include a dark subject, then make sure that the background is extremely bright.

On a related note, more contrast is nearly always better. If you can incorporate some ultra-dark tones and ultra-light tones in your photos, your photo will instantly improve. Ideally, your background and your main subject will contrast heavily.

Last, keep your background as clean as possible. It doesn’t have to be completely uniform but should be simple and well-organized. When in doubt, go for a monochromatic background, such as black, white, or green.

2. Use complementary colors to make your photos pop

You already know how important it is to include contrast.

But there’s a special kind of contrast that deserves its own mention:

Color contrast.

Color contrast refers to the addition of colors that sit opposite one another on the color wheel (also known as complementary colors).

You’re probably familiar with color contrast, even if you don’t know it. We see complementary color pairs all the time: red and green, blue and orange, yellow and purple.

Now, color contrast is perfect for creating stand-out photos. It catches the eye, and it practically forces viewers to look more deeply.

One thing to note, however, is that you shouldn’t use too many contrasting colors. I recommend simply including two complementary colors (and potentially a third non-complementary color). If you incorporate too much contrast, the photo will become too powerful, and the colors will start to clash.

I also recommend you limit the amount of the complementary colors that appear. If you have two complementary colors, include a lot of one color, and a little of the other. This will prevent the photo from overpowering the viewer.

Finding contrasting colors might seem difficult. But with a little effort, you should be able to incorporate a contrasting color pair.

And you’ll love the effect!

3. Use negative space to stun viewers from a distance

Negative space is emptiness in a photo.

By this, I’m referring to empty sky, empty water, or even an empty background – it all counts as negative space.

And negative space is extremely valuable, for a few reasons.

First, it gives the main subject some breathing room.

It also makes compositions feel calm and more stable (which is generally nice to have in a photo).

But the best thing about negative space is that it is a place where the eyes don’t rest – thereby directing the viewer straight to the main subject.

So here’s what I recommend:

When you’re deciding on a composition, incorporate at least some negative space into the photo. If you can, create a lot of empty space – but even a little space will go a long way.

It’s best if the negative space exists around the main subject. That way, attention is immediately directed to the focal point of the photo.

But any negative space is good!

4. Include leading lines to draw in the viewer

I’ve talked a lot about emphasizing the main subject of your photos.

This is because the most striking photos hit the viewer over the head with their subject. They pull the viewer in and direct them through the frame – right to the focal point.

That’s the mark of a powerful photo.

And here’s another great way to emphasize your subject:

Use leading lines. Include them whenever you can.

Leading lines are lines that draw the viewer through the frame. They can be anything vaguely line-like: A river, an outstretched arm, even a flower petal.

Whenever you find a photo-worthy scene, search for leading lines. And incorporate them into your composition. Ideally, the leading line moves toward your subject. But you can also include leading lines that take the viewer around the frame.

Most scenes have some sort of leading line. You just have to look hard enough!

5. Always shoot in the best light you can find

Out of all the rules in this article, I think this one will give you the biggest bang for your buck. Because it’s so easy to shoot in the best light – you just have to know what the best light is.

And once you know this…

Your photos will never be the same. Seriously.

So, what is the best light?

The best light is the hour after sunrise and the hour before sunset, known as the golden hours.

These are the times when the sun is low in the sky, and casts a golden glow over the landscape. If you shoot during the golden hours, your subject will be bathed in beautiful light. And you’ll absolutely love the images you capture.

Now, there are other times when the light is good, depending on your genre of photography.

If you’re a street photographer, you should try shooting during the middle of the day, when the light is sunny.

If you’re a flower photographer, you should try shooting when the sky is heavily overcast.

If you’re a portrait photographer, you should also try working on overcast days.

But even though these types of light do work…

…the golden hours are perfect, without fail. They’ll always get you something wonderful.

Photography rules for capturing photos your audience will adore: conclusion

Standing out in the crowded field of photography is a difficult task.

But if you apply these simple photography rules, you’ll have a much, much better chance.

So take these rules to heart, get out, and start shooting!

Excitement awaits.

Have any more rules for capturing photos that your viewers will adore? Share them in the comments!

The post 5 Photography Rules for Capturing Photos Your Audience Will Adore appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

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5 Tips for Better Travel Photography

27 Jun

The post 5 Tips for Better Travel Photography appeared first on Digital Photography School. It was authored by Jeremy Flint.

Travelling with you camera is one of the highlights of embarking on any trip at home or abroad. Whether you enjoy visiting interesting places, soaking up the sunshine or embarking on adventurous activities, here are some tips for better travel photography.

1. Do your research

One of the most fundamental aspects of travel photography is to do your research about the destination you are visiting. Finding out about a location and obtaining information about a place and its attractions will help you to plan your trip. From this information gathering process, you can learn more about your destination. Ask yourself what you most want to see. Spend your time visiting the places that interest you.

2. Decide what to photograph

There are two approaches to consider when deciding what to take pictures of when on location. Firstly, you can come up with a plan for the things you want to photograph. Alternatively, you can be more spontaneous and walk around and photograph anything you see that inspires you. The advantage of the latter is that you can be more creative with no pre-conceived ideas of what you are going to photograph.

3. Manage your expectations

If you are visiting somewhere for a short period of time, you may not have enough time to cover all of the touristic sights and highlights. Therefore, you will need to decide in advance where you would like to visit and photograph and what your photographic priorities are.

Be realistic with your time. It will be a more enjoyable experience. Don’t try to do so much that you end up exhausted after the trip. You will often find that you won’t have enough time to cover everything on your first visit. I recommend choosing one or two places that you would really like to see and photograph. Just go there in case you end up running out of time. By visiting fewer places, you may do more justice to your photos – particularly if you can stay around to combat frustrations of travel photography such as adverse weather conditions.

Moreover, you can always visit again to cover the areas you miss.

On a recent trip to the Philippines, I was pushed for time and decided to base myself in one place where I visited and photographed my surroundings. This made for a much more enjoyable trip. I wasn’t rushing around trying to see everything in one go, and I could take advantage of any favorable weather.

Ultimately managing your expectations depends on your goals, what you want to photograph, and how much time you want to spend at different locations.

4. Embrace the culture

Visiting a new location with your camera should be about more than just taking pictures. When visiting foreign lands, you are bound to come across cultures that are different from those found in your home town and country. To make the most of the place you visit, be open to the culture that is present. Experiencing a culture first-hand is as much a part of the enjoyment and wonder of a new place as it is to photograph its landmarks.

On a recent visit to Romania, I wanted to photograph the country’s attractive landscapes. While there, I was bowled over by the kindness and hospitality of the people. By embracing the local culture, I found the trip to be so much more rewarding.

Be open and flexible. Allow time for cultural experiences to happen.

5. Enjoy your trip

Whilst taking photos is all part of the fun of documenting your adventures, be sure to have some non-photography time too.

Have you ever been on your travels only to find you feel worn out after the trip from doing too much photography? Well, try not to spend all your time behind the camera taking pictures.

To enjoy your travels more, take time out from photography and enjoy the sights and surroundings without your camera. You will feel more refreshed, and your creativity may be better as a result of it.

Conclusion

Travel photography is one of the most enjoyable aspects of photography, particularly as you have the opportunity to visit places near and far with your camera.

For better results in recording your journey, research your destination in advance. Decide what you would most like to photograph. Be realistic with what you expect to capture, embrace the culture and most importantly enjoy your trip!

Share your travel photos and any other tips for better travel photography in the comments below.

The post 5 Tips for Better Travel Photography appeared first on Digital Photography School. It was authored by Jeremy Flint.

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15 Inspirational Presentation Folders for Professional Photographers

26 Jun

Since the first consumer camera was introduced more than 130 years ago, photography folders have provided a solid means for organizing and protecting developed and printed images. Somewhere down the line, ambitious photographers began to use them to market their services and separate themselves from the pack by branding their work. Presentation folders for photographers should be taken seriously because Continue Reading

The post 15 Inspirational Presentation Folders for Professional Photographers appeared first on Photodoto.

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