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Archive for the ‘Photography’ Category

Why You Need a Digital Photo Frame

12 Jun

The post Why You Need a Digital Photo Frame appeared first on Digital Photography School. It was authored by Simon Ringsmuth.

One of the unsung heroes of modern photography is the tried-and-true digital photo frame. These simple devices have been around for years, and yet they are rarely discussed in photography circles. With huge televisions adorning our walls, and smartphones stuffed into our pockets, one might wonder why there is any reason to own a digital photo frame. In the past few years, I have grown to greatly appreciate these devices, and I have realized how valuable, useful, and downright practical they are. If you or someone you know needs a good solution to viewing photos, a digital frame might be just what you’re looking for.

When digital frames first came on the market back in the mid-2000s, they were a great idea severely hampered by bad technology. Bezels were huge, the screens were small, and the images were dim and blurry. Setting up frames required toiling through a myriad of menus with nonsensical buttons and on-screen context clues.

Adding images to a digital frame was an exercise in frustration and required many steps on the part of the user. Plus, transitions between pictures were garish and often unbecoming of the memories on display.

It’s no wonder most people have stopped thinking about digital frames!

If this sounds like you, you’re not alone.

I was in the same boat until recently. However, the more I investigated what modern technology offers, the more impressed I became. In contrast to their counterparts from a decade ago, today’s digital frames have bright displays, show large high-resolution photos, are thin and sleek, and cost less than you might think. They often have cloud-based interfaces, offer companion smartphone apps, and can even show video clips.

The Nixplay Seed Wave has a large screen and wi-fi connectivity.

One-Trick Pony

One of the best reasons to get a digital frame isn’t because of what they can do, but what they can’t do. It seems silly to have yet another device in a world where screens already surround us, but the digital frames eschew the traditional idea of a computer screen by turning it on its head. They follow the adage of doing one thing and doing it well.

Most digital frames don’t let you do anything but view pictures. And this is precisely what makes them so great. They don’t run thousands of apps, let you surf social networks, or make video calls. They don’t play games, won’t let you binge-watch Netflix or YouTube, and don’t bombard you with notifications.

Digital frames sit there, passively doing only one thing: showing your pictures.

The Aura Digital Photo Frame has facial-recognition built into its companion app and a touchscreen for navigating options.

In an era where every device and gadget continually begs for our attention, digital frames are like an oasis in the middle of the desert. It’s downright refreshing to see a bright digital frame sitting on a shelf, knowing you can’t do anything with it other than look at pictures.

You don’t have to worry about software updates, and your viewing experience isn’t cluttered with dozens of icons and bubbles vying for your attention. In a media-saturated world, digital frames are a great way to slow down and enjoy, appreciate, and reflect on your pictures without distraction.

Some smart appliances like the Amazon Echo Show and Google Nest Hub act as photo frames, but I prefer the simplicity and focus of a dedicated frame. Other devices like that are nice, but the features they offer can often distract you from just enjoying your photos.

Advanced frames like the Google Nest Hub Max do lots of things, but I prefer simpler frames that don’t have built-in cameras, digital assistants, or alert bubbles begging for your attention.

To print or not to print

Like many people, my wife and I have struggled for years with the question of what to do about getting prints made of our pictures. We’ve made yearbooks that adorn our end tables, mounted framed snapshots on dressers, and festooned our walls with large prints and canvases. These are great, and we enjoy them a great deal, but every one of them eventually grows old over time.

When that inevitably happens, we have to consider what to do next. Do we keep the old prints around? Do we put up new images in place of what was once there? There are also practical concerns, like where to get prints made, what size to make them, and what happens when our favorite photo book publisher goes out of business?

We enjoy seeing prints as much as anyone, but the logistical hassles have added layers of stress and indecision onto what should be an enjoyable process.

The Pix-Star 15-inch frame lets you see your photos without printing them.

A digital frame solves almost all of these problems. Our 8×10″ Nixplay Seed sits in our living room showing a massive assortment of images without any effort from us. In the course of a single day, we see photos of family vacations, our kids when they were infants, and old slides that we scanned from negatives. We don’t have to think about switching photos out, spend entire evenings trying to decide which images are worth printing, or wonder whether a particular photo is worthy of being displayed for all to see.

Of course, there are still plenty of reasons to get pictures printed. But if you want a simple way to enjoy your pictures without the hassle of making physical copies, a digital frame might be right for you.

As is the case with most digital gadgets these days, storage space is not the same constraint as it used to be. Many frames have internal storage of at least 8GB, which is enough for almost 10,000 images. If that’s not enough, you can look for one with a removable memory card slot to add even more space.

Modern digital frames have more than enough storage space for your pictures. Unlike your walls and bookshelves, which can quickly fill up with physical prints.

Image quality

If you think that displaying your images on a digital frame means sacrificing overall quality, think again. This might have been true in 2005, but now, frames are leaps and bounds beyond where they used to be. As recently as a few years ago, many frames had resolutions of about 72 or 96dpi – similar to that of older computers.

This resolution is fine if you’re viewing your images from a distance, as often is the case when using frames in a household setting. However, frames today often have much higher pixel densities or anywhere between 150-300dpi that put them on par with most laptop screens and even that of some mobile phones.

This means that your images, even when viewed up close, are as crisp and sharp as you would see if you got them printed and you’ll be able to make out every detail from wisps of hair to blades of grass.

Aura makes a 9.7-inch frame with 2048×1536 resolution, which shows your memories in crisp, clear detail.

Most modern digital frames use bright screens that are now viewable from any angle, unlike older versions which required you to stand in the right spot to see your images. Your pictures appear bright and colorful, and some digital frames even let you show video clips alongside your images.

Worry-free sharing

With all the recent problems regarding data privacy on social network sites like Instagram and Facebook, it’s no wonder so many people are deleting their accounts! If you, or your friends and family, are limiting your social media usage but still want to see pictures of the important things in your life, a digital frame is just the answer. To illustrate this, I’m going to use my in-laws as an example.

My wife’s parents aren’t on any social media at all, and they prefer to spend their time reading, gardening, walking the dogs, and going out with friends. This means they don’t get to see any pictures of their grandchildren unless we send them physical prints, which they have to find a spot to display. A few months ago, my wife and I bought them a digital photo frame and have since populated it with well over a thousand images of us and our kids.

Do you have friends or family members who aren’t on social media? Get them a digital frame and fill it with photos for them to enjoy.

We shared their frame information with other family members who have also sent pictures to the frame. My wife’s parents love it! The frame sits in their living room, showing photos of the people they love without any effort on their part. And, they didn’t have to join a social network or share any personal data.

If you have people in your life who are concerned about data-mining and privacy, consider a digital frame as a happy medium. It allows you to share pictures on a more limited and intentional basis than sites like Instagram or Flickr. But the tradeoff is, you are in full control of the images, and none of your personal information is sold to third-parties for advertising.

This simple Tenker 7-inch frame, and others like it, won’t send your photos off to be analyzed for advertising.

Tips

Here’s a few more tips that might help you with digital frames.

  • Set your display to change pictures less often. Every hour or less is much better than every 30 seconds. It will seem slow at first, but you’ll get a lot more enjoyment in the long term. You won’t feel like you’re seeing the same images over and over.
  • Export your photos to the resolution of your frame to save on storage space. Sending a 24-megapixel image to a 3-megapixel frame won’t do you any good at all.
  • Set your friends and family up with sharing permissions so they can send you photos. Then make sure to return the favor and send photos to their frames too.
  • You can build your own photo frame with a cheap Android tablet and some software, but I recommend getting an off-the-shelf model. It’s just easier and will probably make your life a lot simpler in the long run.
  • Most modern frames have built-in memory but also sync with cloud storage options like Dropbox and Google Drive. You might have to configure a few settings, but it can make the already-easy process of sending pictures even simpler.

Do you use a digital photo frame? Or, are there reasons why you don’t? Feel free to share with us in the comments below.

 

why you need a digital photo frame

 

The post Why You Need a Digital Photo Frame appeared first on Digital Photography School. It was authored by Simon Ringsmuth.


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Catalog Photos Like a Pro: ACDSee Photo Studio Standard 2019 Review

11 Jun

The post Catalog Photos Like a Pro: ACDSee Photo Studio Standard 2019 Review appeared first on Digital Photography School. It was authored by Glenn Harper.

ACDSee software has been around since the earliest days of digital photography. For 20 years, it’s been competing with Adobe Photoshop. Today, with Adobe offering its top image-editing programs by subscription only, there’s more room than ever for alternatives. ACDSee offers a compelling subscription model of its own, but it also maintains a full suite of standalone products. Photo Studio Standard 2019 is among them, and I’ll review it here.

ACDSee Photo Studio Standard 2019 - default layout

The default layout in Manage mode of ACDSee Photo Studio Standard 2019. You can move things around as you wish and close any panes you don’t need.

Aimed at keen photographers with growing photo collections, ACDSee Photo Studio Standard 2019 is ideal for sorting, finding, and viewing photos. It also has a set of editing tools that will quickly make your pictures look good for the web or printing. We’ll look at all this in detail. To avoid wasting anyone’s time, this program recognizes and opens raw files but it’s not a raw editor or metadata editor – it’s a pixel editor. You have no control over how raw files are processed and can only save 8-bit files.

Embedding ACDSee metadata into DNG files

Preview of a DNG file. You can embed ACDSee metadata into DNG files, unlike other raw formats.

This review of ACDSee Photo Studio Standard 2019 will include the following:

  • Starting up
  • Manage mode
  • Photos mode
  • View mode
  • Edit mode
  • Other features
  • Conclusion

Starting up

One thing that struck me immediately about ACDSee software was how quickly it opened. Sometimes I wait 2-3 minutes for Photoshop CC to start. There are technical reasons for that, like the plug-ins I have loaded into it and its sheer girth. Perhaps it connects to my Adobe account, too. Whatever. Photo Studio Standard 2019 opens in around 15-20 seconds every time.

Manage mode

Digital asset management (DAM) is the great strength of ACDSee Photo Studio Standard 2019. In Manage mode, the software offers all you need for sorting and locating your images. Like many people, you may already have your folders arranged chronologically. This is handy for sifting through them using the folder pane of ACDSee, but the software gives you lots of other ways to find pictures.

ACDSee Photo Studio Standard 2019 - folder pane

Here, I’m using the folder pane in Manage mode to browse photos. I’m not the best organizer, but I do have most folders labeled chronologically.

Calendar pane

I latched onto the Calendar pane within minutes of opening ACDSee. Even if you have your folders arranged by date, it’s so quick to rifle through your photos month by month using the calendar. You can widen the search by choosing multiple months or use single days to narrow it. I used this feature straight away to dig out a few files I might’ve overlooked as potential stock photos.

Catalog pane

The ACDSee Catalog pane gives you several ways to find what you’re looking for: color labels, keywords, ratings, saved searches, categories, and auto categories. Of course, you have to add most of this info yourself to the images, but that’s easy using the software. Auto categories come from EXIF data, so you can filter results by the lens or aperture used, for instance.

cataloging photos with ACDSee software

There are various ways to filter photos in the Catalog pane, some of which rely on you having rated, keyworded, labeled, tagged, or categorized your photos already. In this screenshot, I’m looking at photos taken with a particular lens.[/

Map pane

ACDSee includes a Map pane. Drag your photo(s) onto the place where they were taken, hit Save, and the GPS coordinates are automatically embedded into the EXIF data. Cool! That wasn’t a feature I expected at this price point (Lightroom has it), but it does show how thorough this software is in what it does.

Embedding GPS coordinates into photos

Dragging a photo or several photos onto a spot on the map and hitting “Save” embeds GPS coordinates into the metadata.

Shortcuts pane

The Shortcuts pane offers a way of bookmarking files you know you’ll often need. It makes it that little bit quicker to find any special photos – perhaps a collection of your best-ever shots.

Image Basket

Another neat feature of Photo Studio Standard 2019 is the Image Basket. Normally, when I’m preparing a gallery for the web, I create a new folder on my desktop to work from. The Image Basket is a way of gathering original files together without having to copy them elsewhere.

Keywording in ACDSee

Keywords are an invaluable way of quickly finding what you’re looking for, but they can be time-consuming to add. ACDSee is ahead of Adobe in this respect. It’ll import any keywords you’ve added elsewhere to the IPTC data, but it has excellent keywording capability of its own.

Adding keywords to images

The ability to create large keyword sets of up to 250 is enough to satisfy any lexicologist. I wouldn’t normally need that many, but 40 or 50 isn’t uncommon. Adobe software is restrictive in this respect.

A welcome feature of the new ACDSee ‘Quick Keyword’ tool is the ability to use 25 rows by 10 columns of words (i.e., up to 250 keywords). In Lightroom, you can only have 9 keywords max per set – a source of frustration for many users. ACDSee has its own metadata field that is stored in the database rather than embedded in the file, but you can embed it into suitable file formats.

Photos mode

In Photos mode, ACDSee catalogs all images from the location(s) of your choice and puts them on display so you can scroll through them. Like the Calendar pane, it’s an easy way for you to search visually and find pictures. Hovering the cursor over a thumbnail brings up a larger preview with vital info such as image dimensions, file size, and folder location.

ACDSee Photo Studio Standard 2019 - Photos mode

Photos mode on the daily setting. You can scroll through your whole database, but it’s still divided by daily, monthly or yearly headings.

View mode

Double-click on a photo in Manage or Photos mode and you’ll bring up a large view of the image in ACDSee’s View mode. Various viewing options are available as well as useful editing tools like Auto Light EQ™ and Auto Lens. You can rapidly scroll through files in this mode and tag images or add ratings, labels, keywords, and categories. It’s an extension of Manage mode if you want it to be. Clicking on Edit mode from here takes the open picture into editing.

ACDSee Photo Studio Standard 2019 - View mode

View mode is the place to be if you want to browse large previews of your pictures. Double-clicking on any picture in Manage or Photos mode brings you here, too. You can also perform a few basic edits in this space or categorize photos.

Edit Mode

ACDSee Photo Studio Standard 2019 has plenty to offer in terms of editing but something has to be sacrificed at this price point, and that’s parametric (non-destructive) editing. Photo Studio Standard is a pixel editor only, so you make physical changes to rendered images. You can still leave the original file untouched, but as soon as you finish editing and save a file, there’s no going back and tweaking your adjustments. This is more important if you’re in the habit of reworking pictures or if you edit extensively and want your work to be reversible.

Repair

There are a couple of tools under the “Repair” heading. The red-eye reduction tool is something I’d probably never have a need for, but I tested this with a public domain image. Works well – easy to use.

Correcting redeye in photos

With this close-up view, I found myself wishing the size of the adjustment would go slightly larger, as it barely covered the dilated pupil. But still, the red-eye has gone. Most portraits won’t be as near to the subject. Photo: Wikimedia Commons.

One of the few glitches I encountered in ACDSee Photo Studio Standard 2019 was a malfunction among the repair tools. I can get the Heal tool to work, and it does a nice job of blending the sampled pixels into a new area. But the Clone tool hasn’t worked for me even after a reinstall. I just get a blacked-out image. This appears to be a bug in the program, as it works flawlessly in other ACDSee software I have on my PC.

Add

Under the “Add” heading you can insert text into your photos or a watermark (the Watermark feature is new in 2019). The default watermark is the ACDSee camera logo, but you can use your own graphic if you want. There are also borders, vignetting, special effects and tilt-shift choices here.

tilt-shift photo effect

The Tilt-Shift tool makes Manhattan look miniaturized.

Personally, I’d be most likely to use vignetting out of these, as it helps direct the viewer’s eye and is a useful photographic tool. It can be fun to add borders to your photos, too, which you can customize in this case with a wide selection of textures or any color you choose.

I counted 54 special effects in ACDSee’s collection, and each is modifiable in some way. Even the ones that don’t instantly appeal might work for you with some adjustment, so there’s a lot to go at. Among my favorites are Collage, Lomo, and Orton. The latter is great for creating a dreamy look.

ACDSee Photo Studio Standard 2019 - Orton special effect

This is the Orton special effect, making a peaceful scene even dreamier.

Geometry

Under “Geometry”, ACDSee provides rotate, flip, crop, and resize tools. There are some thoughtful touches among these tools, like the ability to control darkness outside the crop area. The Rotate tool also has a cropping feature, so you can level the picture up if necessary and correct wonky horizons.

When resizing, the default algorithm is Lanczos, but it’s worth experimenting, depending on what you do with your photos. Lanczos gives a sharp result when downsizing, for instance, but if you want to back off that a little and achieve smoother edges, try Bicubic.

Exposure/Lighting

ACDSee offers some powerful tools under “Exposure/Lighting,” not least its excellent Light EQ™ technology alongside traditional tools like levels and curves. Light EQ™ is similar to curves, only better in some respects since it treats highlights, mid-tones, and shadows separately. That’s only possible to a degree using curves without layers.

ACDSee Light EQ technology

Here, I’m using ACDSee Light EQ™ to adjust the tone of the image. By having the Exposure Warning switched on, I can ensure a good tonal range without losing detail in the shadows or highlights. As soon as pixels appear in red or green, I back off the adjustment slightly. I have the histogram showing the blue channel, as that’s the nearest to clipping at both ends.

The auto buttons in these exposure/lighting controls are also worth a hit every now and again. Personally, I find the auto setting in Light EQ™ tends to make things too bright, but it might provide a better starting point.

You can set your black and white points using eyedroppers in levels and also define the clipping limits under “tolerance.” (Don’t worry if this means nothing to you – it’s only one of several options.

I should mention, too, that ACDSee provides an Edit Brush and gradients with many of these controls, so you can apply edits to selected parts of the image.

Color

Under “Color,” you’ll find White Balance, Color Balance, Convert to Black and White, and Color LUTs. The White Balance tool is excellent, though, like all white balance tools, it relies on neutral tones in the image to use as reference points.

You could also correct color using the Color Balance tool, especially in conjunction with the floating histogram. A good thing about the ACDSee histogram is you can stretch it out as far as you like for a detailed look at tonal distribution. There’s a hue/saturation tool alongside color balance.

Using the histogram - ACDSee software

You can make the floating histogram as compact or elongated as you wish.

“Convert to Black and White” is new to ACDSee Photo Studio Standard 2019. Based on the colors you know are in the image (e.g. blue sky), you can adjust their brightness to alter the contrast of the final result. This also lets you emphasize different areas of the photo. Good stuff! Contrast is also affected by the RGB percentages, which must always add up to 100. A high proportion of red usually creates more contrast in cloudy blue skies, for instance. Colorized monochrome images are possible, too, under Convert to Black and White.

ACDSee Convert to Black and White

Using the new “Convert to Black and white” feature, I’ve increased the brightness of cyan a fair bit to make the fire-escape steps stand out more. Then I’ve colorized the picture with sepia-like brown tones.

One of the best things in ACDSee Photo Studio Standard 2019 Edit mode has to be Color LUTs. These let you alter the look of your photos (often drastically) via numerical color shifts. They’re like photo filters on steroids. ACDSee LUTs are good, but you can also download LUTs from the web and load them into the program.

Using color LUTs in photos

The lower half of this picture has the ACDSee “Turin” Color LUT applied to it. Look closely and you’ll see it’s darker with deeper blue windows and yet has a more cyan sky. You can use the Edit Brush or gradients on many edits.

Detail

Sharpen, blur, noise, and clarity all lie under the “Detail” heading. These are all pretty standard. The sharpen tool is like unsharp mask with amount, radius and threshold settings. Typically, you use a low radius for high-frequency photos with a lot of fine detail or a higher radius to bring out coarse detail across a wide area. A sharpening mask slider would be a nice bonus here if I were compiling a wants list. That would be quicker than selective sharpening with a brush.

Other Features

In case all the above isn’t enough, there’s more. For instance, the external editor feature in Manage mode lets you swiftly open images in other programs. Perhaps that will be Photoshop or it could be ACDSee Photo Editor 10, which would complement Photo Studio Standard well.

ACDSee also has a dashboard that gives you stats on equipment used, database size, and photo counts that show you how prolific you’ve been at various times.

ACDSee Photo Studio Standard 2019 dashboard

The ACDSee Dashboard, indicating prolific use of a Sony RX100 in my case. There are numerous other stats available.

You can create PDFs, PowerPoint files, slideshow files, zip archives, contact sheets, and HTML albums straight out of ACDSee Photo Studio Standard 2019, too. There really isn’t a lot you can’t do.

More new stuff

ACDSee also introduced AutoSave and Auto Advance features in 2019. AutoSave does away with the “do you want to save changes?” dialog when you move onto another image. Auto Advance is good for rating, labeling, or categorizing photos, as it moves onto the next image automatically once you’ve clicked.

Also new in 2019 are customizable keyboard shortcuts, support for HEIF files (used on later iPhones), and print improvements that let you adjust for differences between what you see on screen and what your printer produces.

Conclusion

As much as I understand the benefits of SaaS and subscription software models, I think there will always be a market for standalone products that consumers can update when they want.

ACDSee Photo Studio Standard 2019 is, first and foremost, a great photo organizer. I’ve never seen better. It’s quick as a browser – doesn’t hold you up – and it gives you workflow choices. There are lots of nice touches to make tasks easier. It’s not especially advanced as a photo editor, but you can achieve a lot without layers, 3rd-party plugins, and even Adobe’s unassailable repair tools.

If like me, you prefer taking photos to organizing them, ACDSee Photo Studio Standard 2019 is the ideal way to get your collection under control. It drills into your database from several directions and helps you find any picture. Many people will want to supplement the editing capabilities with other programs, but you won’t find much better than this for photo management.

Disclaimer: ACDSee is a paid partner of dPS

The post Catalog Photos Like a Pro: ACDSee Photo Studio Standard 2019 Review appeared first on Digital Photography School. It was authored by Glenn Harper.


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How to Make Friends and Collaborate in the Photography Industry

11 Jun

The post How to Make Friends and Collaborate in the Photography Industry appeared first on Digital Photography School. It was authored by Karthika Gupta.

Have you ever seen or been a part of a photography conference? Or even just walked into a camera store and spent some time observing people interacting in the store? It is as if we photographers speak another language, live in another world, or even belong to a cult. Of course, I mean this without any form of disrespect. Photographers and photography enthusiasts are a class apart. We all get excited about new lens and gear, talk in F-stops and ISO settings, and some of us save for years and years to buy a particular brand of camera or lens!

Ballet inspired styled shoot collaboration with other wedding vendors Karthika Gupta

The photography industry is growing in leaps and bounds – not only in technology but also in the number of people who are aspiring photographers or even hobbyists. With easier access to gear and a wealth of free education around, photography is a career choice for almost any generation. However, it also means that many people are doing the same or similar things. Most photographers, at some point or another, think about industry competition to get ahead of the curve in the kind of money and work they think they need to get ahead.

I want to assure you that making a living is possible in this space. There is more than enough work to go around. Your peers and colleagues are not out to ‘get you’ or ‘steal work from you.’ Let go of that scarcity mindset and instead think of how you can collaborate with your competition in ways that can become a win-win for both of you.

Often times, the colleges and friends you make in the industry do more for you than you could imagine. They send their overflow work your way, and you make genuine friendships with people who speak the same language as you. You also get to collaborate on creative projects that improve your own skill as an artist.

There are several ways you can make friends and collaborate in the photography industry.

1. Attend conferences and photography related events

There is nothing quite like getting a bunch of photographers in a room to talk shop and discuss the latest and greatest gear and techniques. The energy and the learnings at such events are incredible. Most conferences and events get the best speakers and teachers, so this is a great way to increase your skill set and also meet some of your mentors and peers.

As someone who has started to speak and teach at conferences and events, I am just as nervous to get up on stage as you might be to come to an event! However, I am so happy to meet and mingle with my people – folks who love photography as much as I do.

So go with an open mind and be willing to put yourself out there to make genuine connections and friends.

Food styling and food photography workshop Collaborate with other photographers Karthika Gupta

I had the opportunity to attend a conference and took some food styling and food photography classes. While there, I made some amazing friends who, to date, have been very supportive of each other’s work.

2. Join local groups

If traveling for a conference or an event is not your thing, thanks to apps like Meetup and Eventbrite, there are plenty of local chapters and groups that are photography specific. Some groups routinely go out and photograph. Others have workshops and classes where members exchange ideas and knowledge. Find what works for you and be open to give as much or more than what you receive.

3. Connect with photographers who you admire

I have to admit; this one is one of my favorite ways to connect with others in the photography space. Most photographers are on social media because it is such a great visual tool to showcase your work. So I find it easy to find photographers whose work I admire on social and engage with them regularly. Sometimes it is a ‘like,’ other times it is a comment or a direct message (DM). Nothing crazy or weird, I just say hello and compliment them on something that I find enjoyable. This is not a place to ask favors or ask for work. Instead, this is a place to connect and be social. The more you engage, the more you become a familiar face. Then when the time comes to collaborate or work together, let that organically happen.

Don’t ask open-ended questions or ask to pick their brain. Instead, do your research and ask intelligent questions. Ask about their motivation or inspiration or an accomplishment that they are proud of. Perhaps you could ask how they get over a creative slump…anything that humanizes you and them.

Collaborate with other photographers Karthika Gupta

I collaborated with another photographer who I met online. I stayed at her house for the weekend and created some amazing work that I am most proud of to date.

4. Be friendly and cordial

Always be friendly and cordial. No matter the stage of business you are at, always remember you too started at the bottom of the ladder too. Just because you have ‘achieved’ success doesn’t mean you have to be rude. On the flip side, to the person who is reaching out to other photographers, do the same. We are all in this together. You will make genuine friends when you are honest and genuine yourself. You will just put people off when you are insincere.

5. Offer something of value – no, it’s not always money

I am of the school of thought that money is not the ultimate form of success. Yes, we need money to survive – to put food on the table, pay the rent and other necessities like that – but there are many people out there who are motivated by something other than money.

Find your passion and find what feeds your soul. The money is sure to follow.

When working with others, offer something of value. When you are collaborating with other creatives, put your best foot forward so that the collaborative effort is worth its weight in gold. That way, it is a win for everyone included.

Styled shoot and portfolio building Karthika Gupta

I conducted a styled shoot for new wedding photographers, and as a result, collaborated with many vendors who got photos in exchange for products and services – a win-win for all.

6. Pre and post follow through is important and essential

When collaborating with other creatives, communication about expectations and outcomes is critical. It is important everyone is on the same page so that each party knows what they need to put in and what they are going to get out of it.

Communication can be as formal or as informal as you all agree. Typically everyone pitches in or brings something of value (time, talent, props) to the table. After the collaboration, people share each other’s work, give critique and sometimes even share images for each other’s portfolios.

No matter what process you use, make sure everyone agrees.

It is also important to do a debrief on the collaboration. Figure out what worked and what didn’t. How can you all make it better next time? Make sure to address any issues so you can all walk away with a positive experience.

Collaboration isn’t just with other photographers. It can also include vendors and businesses in your area of specialty. You can make a trade of goods and services in exchange for photos. Here pre and post-follow-up are critical so that all expectations are met.

Collaborate with vendors and businesses not just other photographers.

Collaboration, when done properly, should be a mutually beneficial arrangement. By collaborating with others, you get to learn, improve yourself, and help others as well. It is a very healthy and creative way to inspire and be inspired while working on something atypical.

Have you collaborated on some great projects? Share your experiences with the dPS community in the comments below.

 

The post How to Make Friends and Collaborate in the Photography Industry appeared first on Digital Photography School. It was authored by Karthika Gupta.


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When is the Best Time to Photograph the Moon?

10 Jun

The post When is the Best Time to Photograph the Moon? appeared first on Digital Photography School. It was authored by Peter West Carey.

Moon phases are a key to understanding when you should be out taking photos. These days it’s easy to predict where and when you will see the moon for the type of photos you want to produce.

First let’s start with some tools you might want to look into, then options for different moon phase photos.

Tools

Astronomers have known the secrets of the moon’s phases and timing for eons. Ancient civilizations built monuments and shrines in regard to locations of the sun, moon and stars long before computers were invented. Our modern tools are a little easier to access.

Newspapers and Websites

Not into learning full astronomy? My first suggestion is to Google the phase you’re looking for. It’s that simple. One of the top sites that will appear in the results is Time & Date. You can find all the phases of the moon, based on the location of your Internet connection, right here. If the location isn’t correct, simply search for your city and the site will give you all you need to get started.

Another great option (that also has an app, but it is so much better on a large computer screen) is The Photographer’s Ephemeris (TPE). I wrote about using TPE here on DPS and they have a Web App available for those who don’t use phones and their apps.

The US Navy has a simple site that allows you to print out a year’s worth of times for any location on the planet.

Don’t have an Internet connection while you travel? Newspapers still print the information for the moon and sun phases (as well as setting and rising times).

Apps

Everyone loves a good app, and there are three that I keep loaded on my phone for photography purposes. All of these apps will show you the angle of the moon at any time, its phase, and some even help you calculate the best time to photograph the moon.

Full moon over Washington’s Cascade Mountains

My choices are:

    • Photo Pills   (DPS astrophotography instructions)
    • LightTrac
    • Photographer’s Ephemeris   (DPS full moon instructions)

Catching the Full Moon

The best time to photograph the full moon is the day before or after a full moon. Why’s this?

A full moon is marked at the height of its path across the heavens and this is often after midnight. Let’s say the moon reaches the height of its fullness at 12:26 am on July 2nd. This means the full moon actually rises on the day BEFORE that which is marked on the calendar. Throw in use of Daylight Saving Time and the timing can be wonky.

Full moon rising above Washington’s Cascade Mountains and Puget Sound

Going out the day before the moon is actually marked as full means you’re catching the moon rising just about at the same time as the sun is setting. So the sun is lighting the moon and often the foreground of your scene. This gives a nice, even lighting to your scene.

The same can be said for shooting the full moon setting the day it is marked on the calendar.

Late at night, you can still capture great images of the moon. However, you have to understand that the contrast difference between the moon (a giant reflector in space) and the black sky will be immense. This means you will lose detail in the moon if you attempt to hold the shutter open long enough to exposure the foreground. Some creative light painting can come in handy in this case.

Full moon and chorten with the Himalayas in the background. Mong La, Nepal

Half/Quarter Moons – Daytime wonders

Some people call them half-moons because half of the moon is illuminated. Some call them quarter because they are at the quarter phase of a full cycle. Either way, they look the same.

Half-moons will rise or set in the middle of the day. It matters on whether the moon is waxing or waning, meaning if it is getting closer to full or further away in its cycle. This is a good time to use an app or Astro calendar to plan ahead.

You’ll be best served by catching a half moon when it is rising or setting, just like with a full moon. Having it closer to the foreground subjects will help it appear larger. Let me give you an example.

Here’s the half moon rising in Canmore, Alberta, Canada just behind the Rocky Mountains.

Half moon and the Canadian Rockies

Nice and large when using a long lens and the moon is close to the ground. It is fairly high in the sky here as I am looking way up at the mountain.

Now, here are two examples with a nearly half moon over Half Dome in Yosemite National Park, and another of it over Seattle, Washington.

See the issue? It’s still a half moon, but later in its cycle, when it is far from foreground objects, it is relatively small and loses some grandeur.

Slivers or Crescents

Slivers, or crescents, are visible just before and after a new moon. Look for them a couple of days before and after the new moon and, just like full and half, try to find a time when they are low on the horizon.

Crescent moon setting over the Himalayas

You will also notice the sliver will seemingly rotate as it crosses the heavens and this may affect your composition choices. As with the half moon, you will have even more trouble giving the moon prominence in a mid-day shoot when it is high in the sky.

Lunar Eclipses

Lunar eclipses are all the fashion these days with this or that news source touting, “This will be the last blah, blah, blah for decades!”  But don’t let them fool you; lunar eclipses happen often enough – about once a year. However, their location can be the biggest issue. Let’s go back to Time & Date’s site for more info on upcoming lunar eclipses for the next 10 years. You’ll need to click on the “Lunar” tab once on the page.

Not all of those eclipses will happen in your neck of the woods, so you’ll have to click through and see where they will happen. As with solar eclipses, when the sun is blotted out by the moon, people will often travel far and wide for lunar eclipse shots.

A full lunar eclipse, at its height, means the moon will be completely in the shadow of the Earth. Because of the distance between the Earth and moon, some light still slips past the Earth, which causes it to have all colors except red stripped away. This is why lunar eclipses are sometimes called blood moons.

Again, having a foreground subject helps because the eclipse often happens high in the sky. The whole sequence of the moon moving into and then fully out of the Earth’s shadow can take a little over an hour, and you should plan accordingly. The colorful and best ‘action’ of the eclipse will span maybe 5-10 minutes.

More tips on capturing lunar (and solar) eclipses are found in this DPS article.

New Moon or No Moon – Photograph the Stars

When the moon’s not out, it’s a great time to photograph the stars. And my, oh, my, do we have a batch of great articles to help you with that!

  • How To Plan Astrophotography With The Photopills App
  • Astrophotography Made Simple
  • How to Choose a Lens for Night Sky Photography
  • Reducing Digital Noise in Astrophotography Using Exposure Stacking
  • How to Add More Interest to Your Astrophotography With Light Painting

Conclusion

Moon photography is a fun and challenging subject because the moon is constantly changing phases and its location in the sky. Thankfully, we have plenty of tools at our disposal to track and plan for great moon photos. While full moons are alluring, try your hand at the other phases, too.

Feel free to share your photos of the moon with the dPS community in the comments below.

best time to photograph the moon

 

The post When is the Best Time to Photograph the Moon? appeared first on Digital Photography School. It was authored by Peter West Carey.


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An Interesting Subject Does Not Make An Interesting Photograph

10 Jun

The post An Interesting Subject Does Not Make An Interesting Photograph appeared first on Digital Photography School. It was authored by Kevin Landwer-Johan.

Many beginner photographers, and some more experienced ones, fall into the trap of thinking a good subject will make a good photo. It’s not true. I’ve seen loads of terrible photos of fabulous subjects.

A good photographer makes good photos, no matter what the subject. I like how British photographer Martin Parr describes his work. He says his aim is to make the ordinary look extraordinary.

An Interesting Subject Does Not Make An Interesting Photograph

The late afternoon light makes this landscape more interesting. © Kevin Landwer-Johan

To make the best photo, whether or not your subject is impressive, you need to:

  • Expose it well.
  • Time it right.
  • Choose the best lighting.
  • Compose it carefully.
  • Connect on some level.

Achieving all these five aspects of interesting photographs in a single frame is challenging. It takes skill, practice, and patience.

Being mindful of these pillars of good photography will lead you away from the snapshot trap when you see something interesting. Learning to keep these things in mind, you will gradually improve and be able to make the most mundane object look great when you photograph it.

An Interesting Subject Does Not Make An Interesting Photograph

Without the interesting cloud formation, this landscape would be rather dull. © Kevin Landwer-Johan

Master your camera technique

Confidence in managing your camera is essential. Using your camera without understanding much of how it works will frustrate your creative growth. Learning what each of the main settings does on your camera is not difficult.

Control of the exposure is made using the aperture, shutter speed, and ISO settings. Focus is either automatic or manual. None of these are hard to master when you put your mind to it and spend some time practicing. Figuring out what part of your composition needs to be exposed well and where the focus point needs to be are part of your creative choice.

Mastering the basic technical aspects of using your camera will free you up to become more creative with your photography.

An Interesting Subject Does Not Make An Interesting Photograph

Careful exposure makes this winter tree more interesting. © Kevin Landwer-Johan

Press your shutter at the right time

Choose the optimum moment to take your photo. Consider the action happening in front of you. Look at the colors as they change when the sun is rising and setting. Watch a flower blooming in your garden. Each instance you take a photo, make sure it’s the optimum one.

What determines the decisive moment for when you take a photo depends on many things. Each circumstance is different, so it’s important for you to observe what’s happening carefully.

Sometimes you’ll need to respond quickly. Other times you’d best be patient and wait, or come back another time. This is so for landscape and architecture photography where the right light and weather conditions are so vital.

Anticipating when the best time is will help you nail it more often. Think about what will happen next. What is the sequence of events that will unfold? How are clouds moving in the sky? Will they cover the sun before it sets?

In situations where you have some control over your subject and the action, timing is not so difficult to predict. You can ask the model to flick her hair back on the count of three. You could ask your kids to run and jump over the sleeping dog and be ready for them.

Timing is one of the key elements which influence good photos. Each picture you take is a short moment in time. Making sure you capture the right moment can often make or break your photographs.

An Interesting Subject Does Not Make An Interesting Photograph

The day I took this photo it was raining – all day. The sun came out in the evening and it was worth waiting for. © Kevin Landwer-Johan

Craft your compositions

Relying on your subject to make your photo interesting means you may not compose it well. Don’t just plonk it central in your viewfinder, focus and click. Everyone with a camera can do that.

Move around. Look for a better background without distractions. Take a little time to think through some rules of composition. Are there strong lines you could incorporate? Will using the rule of thirds make the photo stronger? What else is in the frame and is it relevant to your photo?

Use different focal length lenses to incorporate more or less background. With a wide lens, you’ll see more background. Using a longer lens will cut more of the background and help isolate your subject. Longer lenses also give the impression of compressed distance where wide lenses do the opposite.

Lots of the best street photography looks as if it’s been made in a hurry. People rushing past, glancing at the camera. Or absorbed in what they are doing. Mostly these photos are not snapshots. The photographer has planned well and anticipated the action. Then waited.

Action is more easily caught and composed well when patience and observation are applied.

An Interesting Subject Does Not Make An Interesting Photograph

The whole dam was interesting, but it was too hard to find an interesting angle for the whole structure, so I cropped in tight. © Kevin Landwer-Johan

Lighting for feeling

Hard light or soft light will create different moods.

Strong contrast when you have hard light is more dramatic. If you want a softer, more romantic feeling, hard light is not the best. Even with an interesting subject, such as a newborn baby or a flower, harsh lighting will not provide a gentle feeling in your photograph.

Matching the lighting to the mood you wish to create in your photograph will make the photo feel right. There are no fixed rules. You must decide for yourself with each photo. This is part of your creative expression as a photographer.

Think about the direction the light’s coming from. It is hard or soft? How is it affecting your subject? Is there too much shadow or contrast for the mood you want?

An Interesting Subject Does Not Make An Interesting Photograph

© Kevin Landwer-Johan

Connect with your subject

No matter what you choose to photograph, the more you connect with your subject the better photos you will make of it.

I always thought this applied only to people, and maybe animals. I’ve changed my perspective, and now think it can apply to anything you photograph.

I love flowers. My wife loves them more and loves to grow them. She takes much better photographs of flowers than I do because she has that passion. It shows in her pictures.

If you love the location you live in, or maybe where you grew up, you will photograph it more intimately than a stranger to it probably will.

How you connect with people you’re photographing will certainly make a huge difference in your photos.

An Interesting Subject Does Not Make An Interesting Photograph

© Kevin Landwer-Johan

Conclusion

Take your time. Be more observant. When you find your next alluring subject, consider how you can make the best photo of it. Don’t rely on its interest value alone.

Travel photography is prone to snap-shooting. When you travel, you always see new and interesting things to photograph. This is part of what makes travel so interesting. I often encourage people who take our photography workshops not to be travel snapshooters.

Ansel Adams said, “The most important component of a camera is the twelve inches behind it.” Think about your subject and how you can treat it.

Remember, it’s the photographer who makes the picture interesting, not the subject.

 

The post An Interesting Subject Does Not Make An Interesting Photograph appeared first on Digital Photography School. It was authored by Kevin Landwer-Johan.


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Landscape Photography Accessories You Need to Own

09 Jun

The post Landscape Photography Accessories You Need to Own appeared first on Digital Photography School. It was authored by Nisha Ramroop.

Every photo genre has its arsenal of accessories. Portrait photographers choose light modifiers; macro photographers have extension tubes and sports photographers walk with monopods to support heavy telephoto lenses out in the field. Similarly, landscape photographers pack a few accessories to help them work with the natural environment, time of day and elements to maximize their time. Here are a few key accessories that you will want to leave in your camera bag.

1. Filters (Polariser, ND, GND, UV)

Filters are a great way to shape your available natural light and there are many different kinds. The most common ones used for landscape are the polarizer and the graduated neutral density filters.

Polarizer / Circular Polarizing filter (CPL)

Some landscape photographers never leave home without this accessory. The major pros of CPLs include the way they enhance your colors (think blue skies) and also cut glare/reflection. In contrast, there are situations when you will not want to use a polarizer.

Adding a polarizer to the previous scene cuts the glare on the water and enhances the colors of the ocean

Neutral Density (ND)

This filter is basically a darkened piece of resin/glass that reduces the amount of light that enters your lens. Furthermore, in a proper ND filter, the color of the light is not affected (neutral). It is most useful in bright conditions, where you want to use a longer/lower shutter speed or wider aperture. ND filters come in different increments, which vary the amount of light that you block.

Graduated Neutral Density (GND)

Also known as a split neutral-density filter, GNDs selectively transmit light. Therefore it is essentially an ND where only part of the filter is darker, which allows you to reduce the brightness in part of your image. As a result, it is particularly useful in a contrasty scene with a bright sky.

A Graduated Neutral Density filter helps balance the sky

Ultraviolet (UV)/Haze/Clear

While these filters do little to affect your image, their main purpose is to protect the front element of the lens from dust and scratches. That being said, compromising on the quality of a UV filter may degrade the quality of your images. The best reason to add a UV filter would be for lenses that need a filter in place to complete its weather sealing.

2. Remote shutter/Intervalometer

So by now, you know that when capturing an image, minimizing vibrations goes a long way towards the eventual sharpness. It is one of the reasons that most cameras have a built-in delayed shutter function (usually 2 or 10 seconds). A remote shutter release gives you even more control over this functionality and comes in wireless/wired options. Some remote shutter releases (or cable releases) have basic or expanded options.

One of these options, available in advanced remote shutters, is interval timing. An interval timer (interval meter or intervalometer) gives you the option of automatically taking images at preset intervals for a defined period. Hence the intervals can be small (seconds) or long (hours). This feature allows you to capture light as it changes over a period of time and is more commonly known as time-lapse photography. Consequently, the lines between advanced remote shutter controls and intervalometers became blurred over the years, as each now has similar functions. Most of the recent ones are now easier to use as they are integrated into phone apps.

Fun with an Interval Timer

Some camera models come with built-in interval timers. If your camera already has this, you need an intervalometer only when the more advanced features are required. This includes setting the timer to wait more than 10 seconds before shooting or more time options before/between each image. Another good reason is if you want to tweak your settings between your images. When using the built-in function, the interval timer locks your camera for too long before you can make adjustments.

3. Rain protection

Even if you have a weather-sealed camera, large amounts of water can still damage it. As a landscape photographer, you have to be prepared for weather changes. Alternatively, it may be your choice to shoot in the rain or snow. If either is the case, you are better off playing it safe and protecting your camera body, lenses and any connected electronic accessories.

Protection can be a simple or expensive solution, which ranges from shower caps or plastic/garbage bags with holes cut out or a purchase option. Camera rain protection (ponchos, sleeves, jackets, raincoats) are all variations of customized plastic solutions, tailored for shooting easier in inclement weather. Therefore, they are usually heavy duty or thin enough to maintain access to your controls, but more durable than your everyday plastic bags.

A Neutral Density filter allows you to shoot longer exposures during the day.

Ponchos/Sleeves are thicker plastic capes that fit snugly over your camera and usually have a drawstring to securely cover the lens body. Jackets are made from a similar weatherproof material as raincoats, which are usually more breathable material. These have cinch straps for medium and larger sizes and slip on and off quite easily. Thus jackets and raincoats for your camera are more durable (and pricier) than ponchos and sleeves. Whichever solution works for you, most take up very little space and should own a place in your camera bag.

4. Flashlight

Considered an essential pack for night photographers, this small tool comes in handy when you least expect, so keep one in your bag. If you are a sunset chaser, a small reminder that night follows closely. A flashlight can be useful to do a quick sweep of the area to ensure you do not leave anything behind. Furthermore, if you are a night shooter, these come in handy to focus or light paint a subject in the dark.

Pro Tip: Choose a tough and lightweight flashlight and store it in an easy to reach outer pocket of your camera bag.

5. Tripod feet

Chances are you already know the importance of having a good tripod. In some conditions, such as mud, snow, uneven terrain or wet sand, adding tripod feet elevates your stability. Additionally, you can buy a one fit for all, although most of the top-rated tripods customize their tripod feet by terrain.

Conclusion

Some of the accessories you take with you can make the difference between a successful expedition and an average one. Choose what you pack wisely or customize it based on location. Either way, some accessories should just be part of your everyday bag, just in case.

Which accessories do you always have with you?

The post Landscape Photography Accessories You Need to Own appeared first on Digital Photography School. It was authored by Nisha Ramroop.


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Teaching at Porto Photo Fest this October

09 Jun

Just a quick heads-up for anyone based in Europe that I’ll be teaching several classes at the Porto Photo Fest on October 12-13 this fall. This is the only time I’ll be teaching in a public event this year.

The folks at PFF gave us a lot of control in structuring the classes (which they may live to regret!) But we think we have come up with some really cool stuff.

PLEASE NOTE: There is currently early bird pricing in effect. So if you might be interested, it’s worth acting in a timely manner.

Co-Teaching with Sara Lando

I’m stoked to once be again collaborating with Sara Lando, one of the most creative people (and brilliant photographers) that I know. We will be co-teaching a class, something we last did together in Ireland in 2017.

This Sunday, October 13 class will be on photographing people. It will be taught from two different perspectives. Sara and I will essentially be representing the right and left sides of your brain respectively.

We’ll be flipping back and forth from between the lighting/technical side and the interpersonal/creative side. This is a class designed both to enhance your strengths and, more important, to really go after your weaknesses. At some point Sara and I will probably get into an argument. (Not to worry, she’s Italian, so this is perfectly normal.)

This setup is probably my very favorite approach to teaching lighting, because it interweaves some more organic/human/creative layers with f/stops and lighting techniques.

The course description is not very detailed, so here is what you should know. We’ll be a class of (max) 20 people, usually split into two groups of ten. We’ll work all day progressively hitting both the interpersonal stuff (with Sara) and the technical stuff (with me.)

We will further separate into smaller groups of 3-4 people, and you’ll be shooting all day. Lighting equipment will be provided. If time permits, we may bust out a little Iron Chef-style competition at the end of the day. We’ll have to see. No matter what, this class will be both fast-paced and fun.

Portrait Class details and signup

In the Fish Bowl

Later Sunday evening, Sara and I will transition from our co-class to an onstage event where we’ll be putting some of these yin-yang principles to the test in front of an audience, real-time, mistakes and all. Think of it as a tag-team portrait session between two brains that think nothing alike.

If you are in the day class, you are automatically included in the evening event. But you can also attend separately.

(Way) Outside the Box

On Saturday morning (October 12) I’ll be doing a 3-hour talk on some of the things we usually don’t think about as photographers. But these are things that, in retrospect, probably should have been obvious. This is an evolution of a talk I have given in Seattle, Berlin and London.

This class is designed to help you to integrate your photography with the rest of your non-photo life skills and expertises; to learn to think of photography not as an end-all but as a catalyst for creating more powerful and unique other things.

We’ll look at how other photographers have quietly applied this approach to great ends, and I’ll help you to roadmap how you can learn to adapt this thought process to your own situation.

In short, the key to being able to compete effectively with the bajillion other image makers out there is to create, and then own, a very un-level playing field. Because if life is not going to be fair anyway, it should at least be unfair in your favor.

Class details and signup


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Food Photography – When to Use Natural Light (and When Not To)

09 Jun

The post Food Photography – When to Use Natural Light (and When Not To) appeared first on Digital Photography School. It was authored by Suzi Pratt.

Food photographers, professionals and amateurs alike, know that natural lighting is among the best tools to take drool-worthy photos. However, there’s a time and a place to use natural lighting, and times when you won’t want to. In this article, we’ll discuss what natural lighting is and how it affects your photos – for better or for worse.

What is natural lighting?

Simply put, natural lighting is light produced by the sun. Another related term is ambient light, which refers to the available light in an environment. Ambient light could also be considered natural light if the photographer’s equipment is not producing it. In most parts of the world, natural light is abundant and can be used at no charge. This is one of many reasons why it is preferred by many photographers.

Two types of natural lighting

Generally speaking, there are two different kinds of natural lighting that you might want to utilize for photography. If you plan to utilize natural light for photography, it’s wise to learn about the different patterns of sunlight. Depending on where you live, you might have more of one than the other. You may have to adjust your style accordingly.

Direct light

Natural light - direct light

Direct sunlight that results in a look with harsher shadows.

A cloudless environment with full sunlight in the middle of the day produces direct light. This light is very intense, resulting in high contrast and very sharp shadows. The color of the light will vary depending on the time of day. In midday, it will be a neutral white color and a warmer tone of gold in the late afternoon. Depending on your photography style, you may prefer direct light if you wish to emphasize dramatic shadows and high contrast.

Diffused light

In a cloudy or overcast environment, natural light will appear diffused. This results in a soft, low contrast look with little to no shadows. Most photographers tend to prefer this lighting as you can make just about anything look good with it. If you have lots of direct light, you can also turn it into diffused light by using something like a shoot-through reflector.

Natural light_Food Photography 01

Natural sunlight that has been softened with a diffuser.

What about artificial lighting?

The opposite of natural lighting, artificial lighting is produced by gear such as speed lights or strobes. If the idea of flash photography intimidates you, consider this. Most forms of artificial lighting strive to recreate natural lighting. For example, a bare flash with no diffuser is akin to direct light, while a flash with a softbox results in diffused light. Even if you plan to use artificial light, it helps to understand natural light and how it affects your creative style.

Natural light_Food Photography 01

Natural light or artificial light? This is natural…

Natural light_Food Photography 01

…this is artificial light. It adds some dimension to the background but isn’t drastically different than the naturally lit image.

When to use natural light for food photography

Before determining what kind of lighting to use, consider your intended creative output. Do you want food photos with punchy colors and clearly defined shadows? If so, you want direct light and a cloudless, full-sun day is what you want. But if you want soft, diffused light for an evenly lit photo, a cloudy day will suit you best (or a sunny day with a reflector).

After you figure out your preferred creative style, take a look a the weather. You may have to plan your photo shoot around weather patterns if you want a particular quality of natural light. Alternatively, you’ll have to bring extra gear with you to compensate for it.

Natural light_Food Photography 01

Food photographed in natural light during the daytime, when the light is neutral in color.

When you may not want to use natural light

There are two times of the day when natural lighting may not be your best friend. Those are the blue hour and golden hours of the day. These times of day are cherished by landscape photographers as they provide the most dramatic lighting in the sky. However, this may not be ideal for food photography. That’s because both blue and golden hours emit different colored light. A dish shot at blue hour may have more blue tinges to it, while the golden hour will cast it in a warmer tone. Some of this can be fixed in post-production, but most food photographers prefer shooting with neutral daylight so that the food retains its natural color.

Natural light_Food Photography 01

Food photographed in natural light during blue hour, just after sunset. Natural light at this time of day distorts colors all around. Great for landscapes, not for food.

In Conclusion

Generally speaking, using natural light is the simplest solution for photographers. It’s rather straightforward to use natural lighting, although adding tools to your kit such as reflectors and diffusers will help you take it to the next level. Also helpful is a general knowledge of lighting patterns throughout the day so that you don’t end up planning a natural light shoot during golden or blue hours (unless you want that colored light!).

What do you think? Are you a natural light photographer, or do you prefer artificial light? Let me know in the comments below!

Food Photography Light

The post Food Photography – When to Use Natural Light (and When Not To) appeared first on Digital Photography School. It was authored by Suzi Pratt.


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Wildlife Photographer of the Year Disqualified Due to Image Manipulation

08 Jun

The post Wildlife Photographer of the Year Disqualified Due to Image Manipulation appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

Africa Geographic announced its 2019 Photographer of the Year title, awarded for a dark, captivating close-up of an elephant.

Just days later, the image was disqualified and the Photographer of the Year title revoked.

winning image

In a statement that’s become more and more familiar in past years, Africa Geographic explained that “post-production work by the photographer resulted in certain tears in the ears of the elephant not being accurately reflected.” This violated one of the Photographer of the Year entry rules:

“Entries should be a faithful representation of the original scene. Localized adjustments should be used appropriately. The objective is to remain faithful to the original experience, and to never deceive the viewer or misrepresent the reality.”

Africa Geographic provided another, unedited version of the same elephant:

elephant unedited photo

Note the holes and rips on the elephant’s left ear.

The CEO of Africa Geographic went on to say: “We are gutted to have missed this detail about the rips in [the elephant’s] ears…That said, we will take this on the chin and improve our systems going forward.”

When asked about the image, the winning photographer claimed that the violation was unintentional (that it accidentally occurred when he was “cleaning up the image,”) and the contest judges have accepted this explanation.

This brings to mind a few questions:

First, how unintentional was this violation? Looking at the disqualified photo, I have trouble believing that the photographer removed the holes and rips in the elephant’s ears by accident. Did the photographer not realize that such post-processing violated the contest rules?

What are your thoughts? Did the winning photographer know that they broke the rules?

And the second big question:

Should this type of editing be allowed? 

This is a much more difficult question, one that comes down to our values as photographers. Personally, I lean toward prohibiting this type of editing. There’s something important about showing an animal as it truly is, including all the hardships it’s faced, which I think the rips and tears in the elephant’s ears exemplify.

But I’d love to have your input:

What are your values when it comes to editing nature photography? What should be allowed in nature photography contests?

The post Wildlife Photographer of the Year Disqualified Due to Image Manipulation appeared first on Digital Photography School. It was authored by Jaymes Dempsey.


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Weekly Photography Challenge – Fog

08 Jun

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

This week’s photography challenge topic is FOG!

Sydney Herron

Go out and capture open plains, forests, mountains, bridges, or animals. Just be sure there is a beautiful mist/fog around it! 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!

Lukas Neasi

Image by © Jaymes Dempsey

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

Tips for Shooting FOG

4 Tips for Photographing Fog to Create Mystical Images

Tips for How to Enhance the Mood in Your Foggy Photos

How to Make Use of Foggy Surfaces for Abstract Photography

How to Use a Black and White Filter to Improve Your Photos

4 Key Elements to Help You Create Stronger Landscape Photography

 

Weekly Photography Challenge – FOG

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 #DPSfog 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 – Fog appeared first on Digital Photography School. It was authored by Caz Nowaczyk.


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