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Before and After: Students Becoming Better Photographers After 31 Days Course

18 Apr

The post Before and After: Students Becoming Better Photographers After 31 Days Course appeared first on Digital Photography School. It was authored by Darren Rowse.

Remember when you first started taking photos? Feelings of excitement and hope being replaced by disappointment and confusion when you couldn’t figure out why you and your camera didn’t seem to be seeing the same thing? Or maybe that’s you right now?

We just had to share these ‘before and after’ photos taken by students of our course, 31 Days to Becoming a Better Photographer, just to remind you of where we all start, and what is possible. If you’re a seasoned photographer, please jump in the comments and give these photographers the encouragement they deserve to continue their photography journey.

If you’re a beginner, take some inspiration by what is possible with the right support and guidance. We’re very proud of all of our students and thank the few below who have allowed us to share their progress with you.

Current course intake coming to a close soon

We open the doors to our most popular course just a few times a year so that instructor Jim Hamel can focus on his students and guide them through the course. He is the most attentive mentor we’ve seen, and our students love him. Doors close for the current class midnight (PDT) on the 18th of April so be quick and check out the details here.

Our students’ before and after photos

A big shoutout to our students below for letting us share these photos of their progress, and to all of our students who have taken up this course. We’re very proud of how far you’ve come!

Rebecca Garnett

Rebecca says, “I enjoy taking photos at the beach and was not happy with the way my photos were turning out.” The before photo was taken in 2017 at Pismo Beach when she had taken the camera off auto and used aperture and shutter speed priority.

Rebecca Garnett Beach Before the 31 Days Photography Course

Rebecca Garnett’s beach photo before taking 31 Days to Becoming a Better Photographer Course

 

Rebecca Garnett Beach Photo After the 31 Days Photography course

Rebecca Garnett’s beach photo after taking the 31 Days to Becoming a Better Photographer Course.

The after photo was taken in December 2018 at the same place but shot in Manual Mode.

“I never thought I would ever use manual mode as it was too confusing, until Jim’s course. The course was awesome! It helped me get to know more about my camera and improved the way I take photos and editing. The class was enjoyable, and it was great interacting with the other classmates on Facebook. Well worth it!!”

~ Rebecca Garnett

George Conant

George shares, “Before taking this course, I appreciated really good photos from others but found most of mine weren’t that good. This course improved my photography a lot.”

George Conant's landscape photo before taking Jim's course

George Conant’s landscape photo before taking Jim’s course

“This photo was taken (I think) in auto mode. Although the clouds look good there is no major point of focus, nor rule of thirds. I had no thought at the time of working on focus. The result is that the distance is not in focus, and the in-focus foreground is not very interesting,” says George.

George'a landscape after taking the 31 Days to Becoming a Better Photographer course.

George’a landscape after taking the 31 Days to Becoming a Better Photographer course.

In addition to the huge improvement in his photo, George’s commentary on his ‘after’ photo clearly demonstrates what he has learned from the course.

“This photo was better than the last for several reasons.

  1. There is a leading line with the road.
  2. The sun is at an angle coming from the left.
  3. There is interesting color contrast, particularly with the red in the bushes to the side of the road.
  4. While the foreground is not in great focus, much of the photo is from a point part way down the road, extending to the mountain.
  5. The composition is more interesting with the bushes forming a bit of a V with the mountain in the distance.”

“Jim is an excellent teacher. He provides both really good videos and documents that include what he discussed in the videos as well as providing homework for each day. He motivated us class members to post our ongoing work in a Facebook group for our class, where he and other class members provided praise as well as constructive criticism. He was very good at answering posted questions. Finally, even though the course I took finished in early 2018, Jim still participates in our group. I don’t know of any other course this good for people like me.”

Lorayne Hudson

“Prior to this course I took few photographs and when I did, the camera was always on Auto. My main issues were with my landscapes never looking like they’re in focus, and not being able to get close to flowers,” says Lorayne.

Check out her before and after photos which illustrate her continued improvement.

Lorayne Hudson's 'before' photo at the river

Lorayne Hudson’s ‘before’ photo was taken in 2010 at Fingle’s Glen, Dartmoor with no post-processing as she didn’t know it was possible.

 

Lorayne's 'after' photo at the river

Lorayne’s ‘after’ photo was taken this year one early morning whilst out for a walk. The sun was just coming up and there was a light mist on the ground.

 

Lorayne Hudson's photo of a flower before 31 Days course

Lorayne Hudson’s photo of a flower before taking the course

“This is a standard photo of a flower that I have very many of… it’s flat with no light. Taken in Auto, I had no idea about depth of field, but was quite impressed with the blur but didn’t think much further. I now strive for similar effects knowing how it’s done,” explains Lorayne.

Lorayne Hudson's flower photo after taking the 31 Days Course

Now Lorayne’s flower photos look like this, with minor adjustments to the highlights, shadows and clarity in Lightroom.

Lorayne shares what she has learned from the course:

  1. To use my camera with confidence and not be afraid of it or the subject.
  2. The right light can make such a difference to the subject.
  3. Rules are made to be broken.
  4. Don’t just stand, move around, up and down, change your perspective.
  5. Using post-processing tools is not cheating – they are your friend.
  6. Having a good group of like-minded people to share your photographic achievements – and woes with – makes photography more enjoyable.

Bob Truran

An example of Bob Truran's beach photos before the course

An example of Bob Truran’s beach photos before the course

 

Bob Truran's beach photos after the course

Bob Truran’s beach photos after the course

Bob is pleased with the many compliments he has received for his ‘after’ photo.

“I have seen a marked improvement in my photography and have even received many new followers on Instagram as well as added comments from my friends on Facebook. This course is great for beginners as well as those that may require a brush-up.”

Marie Costanza

Marie gets the unofficial dPS prize for best ‘duck transformation’!

Marie Costanza Duck Before

Marie Constanza’s ‘before’ photo of a duck

 

Marie Constanza's after photo of a duck

Marie’s photo of a duck after taking 31 Days to Becoming a Better Photographer Course

“When I began the course, I was a novice photographer who used Auto mode for all my images. I occasionally tried Aperture Priority, but I was totally intimidated by Manual. A year later, thanks to this course, I completely use and understand how to use Manual, but more importantly, I understand several techniques for composing an effective image.

Thanks to Jim’s excellent teaching style, and the effective resources that he provides, I now feel like a competent photographer. I have actually won several competitions, was asked to display an image in a local photography gallery and have been asked to show 8 images in an upcoming gallery show. A year ago, I never would have believed that I could do all of this. The pace of Jim’s course, his calm teaching style, the practice assignments, and the regular feedback provided by Jim make this the most effective photography course I have ever taken.”

~ Marie Costanza

Rick Willingham

Meet the once overwhelmed Rick – “How in the heck am I supposed to figure out how to use this thing?” His first ‘selfie’ image was taken in 2012 from his then brand new Canon T3i.

Rick Willingham's 'before' selfie

Rick Willingham’s Selfie on his new camera, before taking the course.

Rick Willingham's 'after' selfie

Rick’s ‘selfie’ after taking the 31 Days to Becoming a Better Photographer course – ISO 100 or 100 proof?

The latter was shot almost one year after purchasing the 31-days course, with a Canon T3i and a nifty-fifty EF 50mm f/1.8 lens.
Rick's before shot of the ocean in 2012

Rick’s before shot of the ocean in 2012

Rick Willingham Beach photo after the 31 Days Course

Rick’s ‘after’ beach photo shot shot with a recently purchased refurbished Canon 6D and 24-105 f/4L II lens.

So, what does Rick see as changes or improvements to his photography?
  1. Shooting earlier/later in the day
  2. Using post-processing to get the visual “mood” I want
  3. Getting lower to get the shot
  4. Using lighting to my advantage
  5. Composing shots more carefully than before
  6. Controlling the depth of field to match the composition
  7. Conscientiously selecting the shooting position and focal length to match the desired composition

Shaun Bentley

Shaun Bentley's river photo before he took the 31 Days course

Shaun Bentley’s river photo before he took the course

 

Shaun Bentley's 'after' shot of the river

Shaun Bentley went back to the river to take this shot using what he had learned from the course

The first photo was taken back in 2017 as a standard jpg. Shaun returned earlier this year and got a similar shot but this time applied the camera and post techniques he learned from Jim Hamel.

Of the course he says, “Simple yet comprehensive instructional videos combined with sharing and learning groups made the course easy and enjoyable. I now have the knowledge and confidence to take my photography further.”

Kay Koufalakis

Kay says, “Apart from post processing, the biggest improvement I have made is looking at things from a different perspective and planning – when to go to get the best shots, for example. I still have a way to go, but I can see progress and it is getting easier.”

Kay Koufalakis' waterfall before the course

Kay Koufalakis’ waterfall before the course

Whilst she captured the water the way she wanted in this photo, she really wanted sky too and left side of the waterfall is overblown.

“I’ve learned that this is a difficult shot to get in one and now know how to take it bracketed,” says Kay. The following ‘after’ shot of a waterfall demonstrates her understanding of taking a different perspective. “Same waterfall, different perspective. I climbed higher which negated the overblown and shadows problem,” explains Kay.

Kay Koufalakis waterfall photo after the course

Same waterfall, different perspective!

Can you become a better photographer in 31 days?

Well, these students have proven that, yes, you can make some amazing progress in a short time. But the teaching (and learning) doesn’t just stop after 31 days! Access to the class Facebook group is for 3 months and many of our students then transfer to our Graduates group. Here they continue to learn and support each other with challenges and constructive feedback, and the instructor Jim Hamel still pops in to see how they’re all doing.

If you’d like to be in our next graduate group with your own before and after photos to share, sign up today before you miss the cutoff!

The post Before and After: Students Becoming Better Photographers After 31 Days Course appeared first on Digital Photography School. It was authored by Darren Rowse.


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5 Tips for Photographing Portfolio-Worthy Costume Portraits

18 Apr

The post 5 Tips for Photographing Portfolio-Worthy Costume Portraits appeared first on Digital Photography School. It was authored by Charlie Moss.

There’s been an explosion of interest in photographing costume portraits over the last few years. From movie cosplays to historically-inspired portraits – there’s no end to the kind of costumes that could make their way into your portrait portfolio.

Shooting someone who is playing a role can bring a whole new dimension to your images. It can add depth and vibrancy to your portfolio. People often lose their inhibitions about being in front of the camera if they are pretending to be someone else!

With that in mind, here are my top five tips for creating portfolio-worthy costume portraits.

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1. Be inspired by history

Fabulous costume portraits have been created throughout history, both in photography and in other kinds of art. Julia Margaret Cameron, for example, was a British photographer born in 1815 who used to shoot people dressed up as characters from Shakespeare. Her contemporary, David Wilkie Wynfield, would photograph his friends wearing fancy dress in the style of the great 16th-Century Venetian artist, Titian.

And don’t just stop at taking inspiration from photographer either – there are thousands of years of portraits to take inspiration from. In the portrait above, I took inspiration from a painting called La belle ferronnière by Leonardo da Vinci. Other times I’ve been inspired by different historical artists – Rembrandt lighting is a popular technique amongst photographers too and a great place to start!

Never be afraid to try self-portraiture when you’re experimenting with different lighting and looks inspired by historical portraits. It can take a bit of practice to get it right, and you will almost certainly be your most patient model! The shot above is the result of an hour locked in my studio experimenting with light and self-portraiture. I cannot recommend the Fujifilm camera system and app highly enough for shooting self portraits. You can focus and shoot at the touch of your phone screen!

Costume portraits are a great excuse to step away from the kind of lighting that you would usually use and try something different. If you always use studio lights then how about trying some available light? That’s how artists would have mostly worked in the past, and if it worked for them then it must be worth trying! Equally, if you usually work with available light then perhaps this is an excellent opportunity to step outside your comfort zone and try something tight and controlled with studio lights?

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2. Check the costume faithfulness

I’m not suggesting for one moment that you should become a victim to historical or film accuracy in your costume portraits. But it does pay to just think through all of the elements that your subject is wearing or surrounded by.

In a costume portrait, even more so than a regular portrait, every aspect of the costume and any props contribute to the story being told by the final image. Ideally, nothing should appear in the final image that wasn’t intentionally put there to be a part of the story.

So if you are shooting a portrait inspired by a period of history, or perhaps inspired by a film or comic book, just take a little time to research your inspiration before scheduling a shoot. Check that your costume, accessories, and props aren’t going to be jarring to the story you are trying to tell.

This is where it might be worthwhile working with costume designers if you are new to styling costume portraits. Their expertise and advice on putting together and styling different kinds of costumes could save you an awful lot of time and heartache in the long run! Of course, there are always opportunities to hire costumes from theatres too – it can be a surprisingly cost-effective option.

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3. Set the scene

Think about the scene that you want your character to inhabit. Are they royalty sitting atop a beautiful throne, or are they a post-apocalyptic warrior tracking danger through the forest? Scouting out a location and sourcing props to suit can be half of the fun when it comes to staging a costume portrait!

You can find great locations in the most surprising places. I have shot in front of huge roller shutter doors on industrial estates, in a scrubby bit of forest that looked like a dreamy estate in the final images, and against an old stone wall in my back garden. With the right lighting, lens selection, framing choices, and post-processing the most unexpected locations can look great in portraits.

But, of course, there’s always the option to head into the studio! Taking a subject into the studio and placing them against a plain backdrop can serve to really highlight the story you are telling through their costume and appearance. It puts the focus squarely onto the subject. This style of studio shooting can be a double-edged sword. There’s less room for mistakes in this kind of controlled studio portrait, but the payoff can be more than worth it when it comes to portfolio-worthy images.

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4. Give your subject a character

When people usually sit for portraits they are playing themselves. So when you have someone sit for a costume portrait, it is helpful if you can have them play a role. It can help them to get into character more quickly and easily.

Before you do the shoot – while you’re pulling together your styling and location – think about the character that you’re looking to capture and write down a few thoughts as part of a shoot plan.

Are they a brooding young Victorian poet who lost their love? Perhaps they’re an underground rebel trying to uncover a government conspiracy four decades in the future? This is the driving force behind the entire shoot, so gear everything towards bringing this character to life.

Once you have your subject dressed up and with makeup done, equipped with props, and in the location you have chosen, all these elements should come together to help them portray the character. It’s their portrayal of the character that will shine through, tell the story, and truly make your shots portfolio-worthy.

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5. Don’t forget the post-processing

You’ve styled an amazing shoot in a fantastically atmospheric location with a great team, and you’ve collaboratively told a compelling story. So what is next? Post-processing – that’s what.

The choices you make on the computer or in the darkroom after the shoot really help you focus the storytelling. Good post-processing can help elevate a portrait to something extraordinary.

You can make stylistic choices in post-processing that you may not otherwise make if you were shooting regular headshots or family portraits. For instance, when I shoot images with an apocalyptic theme, I tend to add lots of layers over the top to create a grungy look to the piece. If I am shooting something inspired by a sci-fi movie, then I often choose to push the colors quite hard to resemble the film grading used by cinematographers. Moreover, if I shoot something medieval- or viking-ish, I usually dull all the colors down and make the finished shots look “dusty” and worn.

With practice, you’ll find your style for post-processing costume portraits. Don’t be afraid to step outside of your comfort zone and do something different from your usual approach. Everything about these images is already completely different from how most people would approach a regular portrait. It’s a chance to experiment!

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Now that you’re armed with my top tips for shooting costume portraits, it’s time to try it out yourself! Remember to create a character, set the scene, and think about every element that you’re placing in the image. That way, you’ll tell a compelling and consistent story that shines through in the final image.

I’d love to see your attempts at shooting costume portraits. Post an image in the comments for everyone to see!

The post 5 Tips for Photographing Portfolio-Worthy Costume Portraits appeared first on Digital Photography School. It was authored by Charlie Moss.


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12 Photography Errors You’ll Make When You’re New to Photography

17 Apr

The post 12 Photography Errors You’ll Make When You’re New to Photography appeared first on Digital Photography School. It was authored by Simon Bond.

It’s a universal truth that everyone has to start somewhere. It’s also true that when you start something new, you’ll make mistakes. All the expert writers on this site will have gone through this process – myself included. In this article, you’ll learn about 12 common photography errors that are typically made, and how you can quickly correct those mistakes. So read on if you want to avoid some of the pitfalls of photography, and fast forward to creating amazing photos!

To demonstrate that everyone has to start somewhere, the photos used here are among my earliest photos. Taken with an SLR camera, and of course in the days of film. There are plenty of mistakes in the set of images in this article. At this point, I certainly knew my way around an SLR camera, but clearly there were still things for me to learn.

1. Crop in the wrong place in pursuit of minimalism

You’ll have heard photography is the art of subtraction. That is, removing unwanted elements from your frame will give you better photos. You’ve arrived at a popular location to take photos, only to find crowds of people there. The solution is to begin your photo, where the head of the tallest person in that crowd ends.

In other words, crop your photo halfway up the side of a building. While this does remove that unwanted element, it leads to a poorly composed photo in the pursuit of minimalism. This could arise from other objects like parked cars, or wires in the wrong place in your image. So what can you do instead of this overly tight composition?

  • Arrive early – One of the best ways to avoid crowds of people or cars is to arrive early. Wake up for sunrise, and get that great angle before the crowds get in the way of it.
  • Multiple photos – Set you camera up on a tripod, and take a sequence of photos of the same scene. Ensure people are moving around. Then stack the photos in Photoshop, and use the median function to remove people from the photo.
  • Cloning – You can use clone stamping to remove elements in the photo you don’t wish to be there. This requires some skill, but can be used to remove wires, people and sometimes larger objects.

This is a photo that would benefit from more foreground being visible. There is too much dead space at the top of the image.

2. Photograph into the light

Not taking the time to plan when you’ll visit a location will lead to this mistake. Perhaps you’re on a walking tour, and your next location is a famous landmark. It just happens to have the sun behind it, with all the interesting detail of the object obscured by bad light. The same is also true when you photograph a person towards the light, unless you’re reflecting light back onto them or using external flash then the portrait is likely to be lacking. So what solutions are there for this problem?

  • Know the light – Do your research on the location you’re visiting, and make sure to arrive when the sun is in the right direction. You can use suncalc for this purpose, it shows the direction of the sun in relation to time of day and geographic location.
  • Change sides – In some cases, you can move to the other side of a building, where you’ll be able to photograph a person from the other direction. This is a relatively simple solution that can improve your results.
  • Light modifiers – The use of reflector discs and or off-camera flash can make portrait photography towards the light possible.
  • Digital blending – Photographing towards the light, when the main subject is larger than you’d be able to light with external flash? You can instead bracket your photos, and use digital blending with your image. This is an effective solution when you want to photograph towards a sunset.

A photo that’s reasonably composed but that would have benefited from being taken at another time of the day. This type of photo would work well during blue hour.

3. Never change your point of view

If all your photos are taken from a standing position, or perhaps seated position when you’re eating, then you’re missing a trick. A change in perspective is a great way to produce much more interesting photos.

That’s not to say there aren’t great photos to be taken in a standing position. A lot of street photography and portrait photography uses this perspective to great effect. There are plenty of other angles to use though, and adding variety to your photography through these angles is a great idea.

Changing your angle might be as simple as kneeling down, or as challenging as finding access to a high vantage point from a nearby building. The worm’s eye view and bird’s eye views can be used to great effect.

You don’t need to photograph straight up or straight down though. Photographing from lower down might emphasize a leading line on the road that much more, or allow plants and flowers to become a more important element within your frame.

Clearly the focus of the image is the roof tiling and the eagles. Area’s to the top and bottom of this image are not needed, and different framing should have been used.

4. Over reliance on post-processing

One of the common photography errors you can make is an over-reliance on post-processing. The aim as much as possible should be to get your result in-camera.

Your camera is, after all, an incredibly powerful creative tool. Of course, it’s important to learn post-processing. If you don’t do so, you’ll be at a disadvantage. It’s a good idea to learn how to use your camera and post-processing in conjunction with each other.

What can happen if you allow your skill in post-processing to outstrip your knowledge of the camera?

  • Fix the photo – Instead of getting the photo right in camera, the idea is to correct mistakes in post-processing. This will stall your progression as a photographer, and it makes you a lazy photographer.
  • New photography techniques – Post-processing can add that “x factor” to your image. So much so, that you may progress more slowly in learning new camera techniques.
  • Transformations – It’s possible to make some quite radical changes to your photo. Compositing images is certainly something you should learn. It’s also possible to just change the sky in a landscape scene to something more dramatic. In doing this, are you as motivated to return to a location many times, until you get a dramatic sky in real life?
  • Filters – Post-processing is all about subtle changes. Overcooking your photo by using a filter at too strong a strength might make your photo stand out, but perhaps not in a good way.

This photo needed to be taken at another time of the day when the sun lights up the building. The lamp to the left also adds nothing and should be removed by changing the angle.

5. Not learning your camera settings

Your camera is fulling of settings that affect your image. A lot of these settings are connected to one another as well. The relationship between aperture, shutter speed, and ISO is fundamental to photography. You need to take the time to learn each of these settings on their own, and how changing one of them can impact another setting. The first and most important thing to do here is to stop using your camera on automatic.

One setting at a time

You won’t learn everything at once, but you want to get to the point that you subconsciously know the correct settings to use. It’s a good idea to spend time getting to know one particular camera setting at a time and what it does.

A good setting to focus on is aperture.

Learn how aperture can be used to control the depth of field, blur the background, and perhaps produce a starburst in your photos. Having learnt how this setting works, move onto a new setting and learn that one.

This detail photo would have been improved by using a larger aperture. At the time this sort of lens wasn’t available to me.

6. Not using selective focus

Getting sharp images is an important part of photography. To get the sharpest images you’ll need to learn how to use the focus settings on your camera correctly. One of the most important of these settings is selective auto-focus.

Another of the common photography errors is to let your camera decide where to focus for you.

Instead, you should be in control of this process.

It’s not always the case that you’ll want to have your focus point in the center of the image. Use selective focus, so your camera focuses where you want it to focus. Your camera will have a grid array that can be seen through the viewfinder. Use your camera’s direction controls to move the focus point to the appropriate position, and you’ll be ready to photograph.

The photo uses the rule of thirds, so composition is okay. The tree on the left is somewhat distracting though.

7. Going it alone

Photography is a great past time to practice on your own. It dovetails very well with nice long walks by yourself in the country or city. Indeed you can learn a lot about your craft through self-exploration, and perhaps reading articles on sites such as this one. To only do this would be a mistake though. There are a lot of good reasons to seek out and befriend other photographers. Here are a few things you’ll gain from teaming up with other people.

  • Feedback – One of the best ways to improve as a photographer is feedback. Some of the best feedback you’ll receive is from fellow photographers.
  • Collaborations – Not all photography is easy to achieve on your own. Once you start using off-camera flash to photograph models, working as a team makes sense.
  • Learning – Tapping into the knowledge base of other photographers is invaluable. Different people learn about different things in photography, so being able to share that knowledge helps a lot.

The horizon line isn’t straight, showing this photo was taken too quickly. Another indicator of this is not waiting for the man to move out-of-frame. A rushed photo, and a poor result.

8. Not developing your own style

This is true not just in photography, but in many art forms. It’s easy to look to famous photographers, or perhaps local established ones, and look to emulate their photography. It’s a good idea to learn about how photographers take their images on a technical level. Once you know how other photographers work though, it’s then time to interpret these techniques in your own way.

There are, as mentioned, many benefits to joining a group of photographers, but one potential pitfall is developing their style of photography. Learn what makes their photography work, then spend a bit of time of your own developing a style that suits your work.

A photo that is spoiled by the wire at the top of the frame. Simply moving forward and using the same composition would have removed this wire from the photo.

9. Not learning new techniques

As you progress and become comfortable in your skin, you’ll come to one of the next big photography errors. You’ve developed a style, but then stopped progressing. It’s an easy trap to fall into, especially if you’re getting attention for the photography you’re now producing.

Photography is always evolving and to stay at the vanguard of the field you need to be learning new techniques. They might not necessarily become your signature style, but learning new ideas allows you to freshen up those styles that are your signature techniques. This might lead to you combining two photography techniques. You might learn a different way of post-processing your images that allows you to improve all the photos you take in the future.

This was once a photo I liked. Today, I know that it really needed a graduated neutral density filter for the sky. This aspect of photography was something I’d not learnt at this point.

10. No main subject

How do you elevate a good photograph into a great one? To do that you’ll need a narrative to your photo, and that means a main subject.

It’s possible to take nice photos of a landscape or abstract detail photos that are very eye-catching. A silhouetted person on the brow of a hill instantly adds more story to your scene, making it a stronger composition. A detail photo with one part of the image that’s different? Now you have a photo with a subject.

Sometimes the main subject will be readily available, like a single tree in a landscape scene. At other times you may need to wait patiently for a person to walk into your scene, thereby giving your scene its subject.

This is an awkward photo that lacks a main subject, and leaves a lot of dead space on the right.

11. Too many distracting elements

In photography, you want to keep it simple. Once you’ve settled on a strong main subject, you need to frame it correctly.

Another regular in the photography errors list is a busy photo. This is often because the background has too many elements, but distracting elements can also extend to the foreground. How can you eliminate extra elements from your scene such as unwanted wires? It’s true that you could use post-processing. On the other hand, you can develop your photographer’s craft. So what options are there?

  • Angle – That means changing the angle, perhaps as dramatically as walking to the other side of your main subject.
  • Focal length – You can also use different focal lengths, longer focal lengths will compress your scene which might allow you to remove things you don’t want from the frame.
  • Aperture – Get stuck on automatic mode and you won’t learn about this. A great way of removing a busy background is to blur it out. You can do this by using a large aperture, the resultant shallow depth of field will blur the background but keep your main subject sharp.
  • Closer – Walking closer to your subject, when that’s possible, means you’ll remove elements from your frame. They’ll now be behind you, but you might need to use a wider focal length to take the photo.

The water makes some nice patterns, but the photo lacks interest. In addition to this, the bottom is overexpose. A well-placed GND filter could have fixed that problem.

12. Bad composition

There are some basic rules of composition, and it’s worth knowing what they are. These are things like the rule of thirds, leading lines, and framing. It’s also true that not every photo benefits by doggedly sticking to the rule of thirds, those photos that use minimalism for instance might not work so well. It is a good idea to know what composition techniques work though, and to look at how you can apply them to your photography. When you don’t do this you’ll begin your photographic journey with awkward composition mistakes.

Chloe, I miss you. This is quite a nice photo of this dog. The foot should not have been cut off though, and the angle is clearly from a standing position. Kneeling down might have worked better here.

Cut down on your photography errors!

As you’ll see, there are lots of photography errors you can make. Are there any on this list you’ve made? Perhaps there are other photography errors you’ve made while learning, and you can share them with the community here? As we all know, making mistakes is a part of the learning process.

So now it’s time to pick up the camera, and having read this article, hopefully you’ll know more of the photography errors to avoid!

 

The post 12 Photography Errors You’ll Make When You’re New to Photography appeared first on Digital Photography School. It was authored by Simon Bond.


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RAW vs JPEG Format Editing in Lightroom

17 Apr

The post RAW vs JPEG Format Editing in Lightroom appeared first on Digital Photography School. It was authored by Kunal Malhotra.

As a photographer, you have most likely heard or read discussions about RAW vs JPEG file formats. It is said that a RAW file consists of a lot more data and details as compared to a JPEG file. How about we conduct a few experiments and talk about why one file format is better than the other?

If you are someone who mostly edits in Lightroom CC, get ready to know some shocking reasons why you must avoid using JPEG files. Going forward in this article I am sharing a few experiments that I conducted using the JPEG and RAW files of the same shot. I am sure that by the end you will be convinced to always edit using the RAW file format.

Experiment 1

Adjusting Highlights and Whites

The left image shows the jpeg file, while the right image shows the RAW file.

In this first experiment, I am going to import a JPEG file as well as a RAW version of the same frame in Lightroom. You can see these in the image above. You will notice that the sky in this frame is overexposed and the details are not visible because I exposed for the foreground. In this test, I am going to bring down the highlights as well as the whites all the way to -100 and see what happens with both JPEG and RAW files.

The left jpeg image has struggled to retrieve the highlights, while the RAW file on the right has retrieved the highlights well.

Surprising, isn’t it? If you look at the sky in both the JPEG and RAW files, you can see the difference quite clearly.

The details of the clouds in the JPEG (left) file become ruined when I reduced the highlights and whites to recover the details. Whereas, the RAW file (right) does an excellent job in recovering the details in the sky – even though it was completely overexposed.

This experiment concludes that if you wish to recover the highlights in a photo, RAW files achieve much better results. The JPEG file would fail at recovering details from highlights and whites.

Experiment 2

Detail and Sharpness

The JPEG image on the left is soft, while the RAW file on the right is sharp.

In this experiment, for reference purposes, I again placed the JPEG file on the left and the RAW file on the right. In the image above, I have a 1:1 zoom in Lightroom CC to show you something very interesting. Look at the difference in the sharpness and details on the face of the person. The difference is quite shocking. One would conclude that these are two different shots, with the left one being softer. However, that is not the case here. This is the same shot but just in different file formats.

Next time if you are shooting portraits or events, you know that shooting in RAW can help you preserve far more details than the JPEG file. I usually shoot in RAW and JPEG. Then I use the RAW file to edit my photos while using the JPEG files for reference or shortlisting purposes only.

Experiment 3

White Balance Adjustment

Experimenting with White Balance, I moved the slider to the warmer end of the White Balance scale. The JPEG image on the left, has lost detail and is flat, while the RAW file on the right, is far more usable.

In this last experiment, I wanted to check if adjusting the white balance does make any difference. You may have heard that a RAW file allows you to later adjust the white balance as per your desire? But how different is it from JPEG? Let’s find out in this experiment.

Here I moved the temperature slider all the way to the warmer side in both the RAW and the JPEG files. Interestingly, the JPEG file (left in the image above) was almost unusable for me. At this stage, the sky was almost flat and lacked contrast. Whereas, the RAW file with the same exposure had so much information stored that at this stage the elements in the frame had details and contrast.

Conclusion

The above experiments demonstrated a few key reasons why I always prefer using a RAW file in Lightroom to ensure my final image has maximum details. My advice here would be to shoot in RAW and JPEG to be on the safe side. If you wish to make a quick edit or directly use the image for social media, go with JPEGs. If you wish to edit the same image seriously, use the RAW file.

I hope next time you import an image to Lightroom, these experiments will encourage you to shoot and edit in RAW format.

Feel free to share your views in the comment section.

The post RAW vs JPEG Format Editing in Lightroom appeared first on Digital Photography School. It was authored by Kunal Malhotra.


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Aerial Time Lapse Basics with DJI Mavic Pro 2 Drone Specific Examples

17 Apr

The post Aerial Time Lapse Basics with DJI Mavic Pro 2 Drone Specific Examples appeared first on Digital Photography School. It was authored by Peter West Carey.

Drones can capture images and footage you might have only dreamed of in the past. Now that ability is easily extended to time lapse photography.

I prefer to refer to my drone as a flying camera. While there is certainly some fun to be had in the simple joy of flying around and looking at stuff from high up, I use my drone primarily to create images and footage with an eye toward cinematic appeal. Time lapse imagery can convey a sense of place that still images and videos lack.

The Basics

This post is written based on experience with the latest model DJI Mavic 2 Pro. While manufacturers differ how they handle time-lapse creation, the tips below are meant to introduce you to what’s available. Some tips will be specific for this model but I will also offer more tips for aerial time-lapse creation in general.

Some drone manufacturers will compile the time lapse video for you while others simply record each individual photo, allowing you to compile the video yourself.

It’s important to note that all experimentation and practice should be done in an open space, away from people, buildings, pets and in accordance with all laws and regulations for your location. I practiced over land many, many times before I felt confident using the automatic modes for time lapses over water.

Tips Before Getting Started

Check exposure and anticipate

Changing exposure during a timelapse shoot, be it on land or in the air, is often a tricky endeavor. I suggest, when getting started, to anticipate your lighting situation and not attempt to change exposure during a timelapse shoot if your drone allows it.

It can be difficult to make exposure adjustments depending on your brand of drone (and some don’t allow it at all) – it’s hard enough to safely fly a drone while shooting. Try not to add too much complexity on top of that.

Try different interval timings and drone speed, 2 seconds is a lot different than 10 seconds

The speed of your drone, distance to objects and the length of your interval will have a large impact on your time lapse. There’s a reason DJI limits the speed of the drone in certain modes (explained below) to 4.5MPH. Anything faster than that and the video shows way too much motion to be palatable.

But if you’re flying slow, a 10-second interval might be ideal for helping show the movement of slow-moving clouds or shadows.

Let me show you the difference between a 2-second interval (at 1.6MPH) and a 5-second interval (at 4.5MPH) while a drone circles me.

It’s going to take some experimenting to get it right.

Look at your total time to create 

DPS writer, Ryan Chylinski, explains the importance of shoot length in this helpful post. When flying a drone, it’s even more important to make sure you don’t run out of card space and that you judge the movement of your drone compared to the total time it will take to shoot your time lapse.

Will you cover too much ground? Will your drone still be in line-of-sight (which most countries require as part of drone flying regulations)? What obstacles might your drone encounter when flying that long?

Plan ahead to avoid simple mistakes.

Point one way, film another

Facing one direction while flying another can offer a dynamic look to your video, rather than simply flying straight ahead. You can use a backward facing drone to get a typical pull-back shot or point slightly off of perpendicular for a dolly shot, such as the sunrise below.

Leave yourself time to return home

Do you have enough battery to shoot and return?

This is one of the most important question to ask. Some drones will warn you, but some won’t.

I had a frightening experience when I misjudged distance and return time while shooting a time lapse over water and nearly lost my drone (and polluted the environment). Midway through the flight I aborted the shoot and returned with a safe margin of battery, but I lost the shot.

Work altitude shifts into your scene

Altitude shifts are a like using a typical slider, but on steroids. You’re not limited to the four or 10 feet of a ground-based slider so the changes can be over a much larger distance. You also don’t need to stay moving parallel to the ground the whole time.

Here’s a simple example of a pullback that covered about 1000ft over land/water while steadily climbing 140ft in altitude.

Fly smooth

Using a pre-built, computer-controlled mode, like the ones mentioned below, help ensure smooth flight and operation. If you are controlling your drone manually while shooting a time lapse, ensure that your movements are slow and steady, allowing for your camera to shoot enough photos for a smooth video.

Here’s an example of what happens when I panned down then up too fast while shooting.

Result: Ruined video. Also, to my liking, the pan left and right are too fast.

DJI’s different methods – What do they mean?

DJI fits all of their time lapse modes into a section it calls Hyperlapse. Hyperlapse is just a cool sounding phrase meaning a moving time lapse. The Hyperlapse modes will all shoot and compile the video for you, typically in 1080p and 25 frames per second. You can also choose to save the individual RAW files if you wish to use your own time lapse software.

Safety Note: While the drone uses its side, front, rear, top and bottom sensors to detect objects, it still requires your attention at all times. If it finds an object in its path, it will stop shooting. It is very important to remain in control of the drone and ready to intervene. In Course Lock and Waypoints modes, if you make any adjustment to the controls of the drone, it will exit those modes and stop shooting.

Course lock

Course lock is the mode I use most often and it’s the one I’m going to start with. It allows you to aim the drone in one direction for flight and then either point the camera any way you like, or choose a subject to be tracked.

You start by setting course and then the interval, video length and speed. Each item is set by first tapping it and then moving the slider accordingly.

Setting the course is as simple as pointing the drone in the direction you wish to go and tapping the lock icon next to interval, video length and speed. In this case, I pointed the drone directly at the sun. The little image of a lock means my course is locked.

Next, you’ll want to point the drone’s camera in the direction you want to film. Then adjust the shooting settings.

In this example, I left the interval at 2 seconds but then set the video length to 15 seconds.

With that change to video length and interval, the app shows me how many photos it will take and the length of shooting.

After that I set the speed to 3.4MPH.

All that is left is to hit GO and watch the scene unfold! (Notice the course lock section still shows the drone’s intended direction toward the sun.)

Free/Manual

Free Mode is straight forward and gives you the most control. After setting the shooting interval and video length as you would in Course Lock Mode, you are free to fly any which way you please. Up, down, backward, forward, left and right.

But be warned: fast course changes or high speeds will cause your video to be anything less than smooth.

At any time you can press the C1 button (on the underside of the controller) to lock course and speed.

As Free Mode can be used while the drone is on the ground, you can actually use it as a still camera for time lapse.

Circle

As you saw in the videos up top, choosing your speed and interval is important for Circle Mode.

Start by setting the distance from your subject for your drone. Ensure the circle your drone will subscribe in the sky does not encounter any obstacles. If need be, adjust your drone’s height or distance from your subject to achieve the framing you desire.

Next, select Circle Mode from the Hyperlapse options.

Now set your interval, video length and speed as described in the Course Lock Mode. Then select the direction your drone will fly; either clockwise or counterclockwise.

Above these settings, the program will tell you how long the shoot will take and how many frames will be shot. In the example, that will be 5 minutes and 48 seconds to take 175 frames.

Most importantly, choose your subject! You do this by drawing a box on the screen by pressing and dragging until it highlights your subject.

Press GO and your drone will start snapping and moving. When it is finished, you will see a screen as the drone creates (synthesizes in DJI speak) the video.

In the example above, you will notice the path the drone took, which is a very pretty circle (with my initial flight path to get the drone in place mixed in). All Hyperlapse modes require this video synthesizing and the length of time depends on the number of shots. Until video creation is complete, you cannot take any photos or video, but you can fly the drone as normal.

Waypoints

Waypoints Mode is a bit trickier to work than the others, but offers a lot of control and unique results.

After selecting Waypoints Mode you will set your interval and video length as the other modes. You will then set the waypoints your drone will fly. You can set up to five waypoints and a minimum of two.

To do this, fly to the first waypoint, orient your view as you like and press the + symbol in the Hyperlapse tray at the bottom of the screen to lock that waypoint. Continue this method, flying to each waypoint and pressing +.

In this example, I have set two of my five waypoints and will continue adding until all five are set. The map on the left side shows each waypoint with a number and the direction the camera will face.

When you are finished plotting each waypoint, you have the choice to fly the waypoints in order marked or in reverse. If you choose “In Order”, the drone will fly itself to the first waypoint and begin. Otherwise, the drone will begin at the last waypoint selected and fly backwards (but will pay attention to your selected camera orientation for each waypoint).

While the drone flies, you will see the waypoints on the map along with a timer showing how long the drone has been flying and the total time it will fly the route. Next to that is the number of images taken followed by the total images to be shot.

More Examples

Course Lock while facing perpendicular to flight path

Course Lock while flying backward

Course Lock while flying backward with an upward pan for clouds

?

Conclusion

Time Lapse videos from a drone offer a unique and sometimes challenging option. They take planning not only to consider the subject matter and lighting, but also for the safe operation of your drone while it is taking photos.

Each mode offers different options and it’s best to play with them in a safe environment to get the hang of what you can accomplish.

Have fun and post some examples as you try out this technique. I’d love to see them!

The post Aerial Time Lapse Basics with DJI Mavic Pro 2 Drone Specific Examples appeared first on Digital Photography School. It was authored by Peter West Carey.


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5 Secrets for Stunning Creative Bird Photography

16 Apr

The post 5 Secrets for Stunning Creative Bird Photography appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

Do you want to capture stunning bird photography…

…that goes beyond the usual, standard bird photos?

You can!

In this article, I’ll give you 5 bird photography secrets that will ensure you consistently create incredible bird images.

Images that are creative, unique, and original.

Sound good?

Let’s dive right in!

1. Get Low for Gorgeous Bird Photography Backgrounds

Here’s the bread-and-butter of creative bird photography:

Get down low.

Really low.

It may seem tough. You might prefer to stay up high, away from the dirt and water and mud.

But if you want incredible bird photos, you’ve got to get out of your comfort zone. You’ve got to get down low.

Specifically, you need to get on a level with the bird. Your lens should be about even with the bird’s eye.

Why is this so important?

When you shoot from down low, the distance between the bird and the background is greatly increased. And that causes the background to be far more blurred.

Therefore, you’ll capture some beautiful bokeh.

And beautiful bokeh?

Makes for a stunning bird photo.

This is how professionals capture such dreamy backdrops in their bird photography.

They get down as low as they can go. That’s all.

It really does make a huge difference!

Try it. I can guarantee that you won’t regret the resulting shots.

2. Shoot in water for stunning reflections

Do you want to capture especially gorgeous bird photography?

One of my favorite ways to do this…

…is to shoot reflections.

Let me explain:

A photo of a bird is nice. It’s standard. It can be beautiful.

But if you add a reflection, the image immediately becomes far more captivating. Viewers are instantly sucked into the scene.

The reflection adds a sense of subtle beauty and delicateness – one that you can’t get any other way.

Now, here’s how you capture gorgeous bird reflections:

First, shoot by still water.

Mudflats (with puddles) work well. Same with sheltered lakes.

If you’re struggling to find water still enough to generate full reflections, try shooting during the early morning. That’s when the wind tends to be a lot less noticeable.

Second, make sure the sun is low in the sky. (The lower, the better.) This will ensure that the reflection includes some nice colors.

You also have to be careful not to get too low over the water.

Why?

If you’re too low, the full reflection won’t come through. And a broken reflection has far less power than a full reflection.

Bottom line?

Find some birds near the water, and start taking photos!

3. Capture action for compelling bird photos

One of the biggest problems with beginning bird photography…

…is that it’s static.

The bird just stands in the frame.

And while there are methods of making this type of photo work, it’s often just a boring photo.

That’s why you should spice up your bird photos using action.

Once you’ve found a subject, watch it through your camera. Keep your finger on the shutter button.

Then, as soon as it starts to move, take a burst of photos. The more photos, the better!

Of course, you’re going to have a lot of failed shots. But you’ll also capture some keepers. And these will (with a little luck) blow you away!

Some of my favorite shots involve birds flapping their wings, preening, or feeding. If you wait for this behavior, you’ll get some stellar action shots.

One thing I’d recommend:

When you’re watching a bird through the camera viewfinder, keep some space between the bird and the edge of the frame.

Because birds can rapidly change their size – just by opening their wings. And clipped body parts are one of the easiest ways to ruin a bird photo.

Just remember these tips, and you’ll be capturing some great action photos in no time!

4. Shoot through vegetation for unique images

Another way to capture original images…

…is to find a subject.

Get down low.

And shoot through some vegetation.

This creates a gorgeous foreground wash – one that frames the subject without dominating the photo.

To pull this off, you generally have to lie flat on the ground. I advise experimenting with a few different angles – move around your subject, testing different possible foregrounds.

Note: It’s important that the vegetation is very close to your lens (and very far from your subject). Because the farther the vegetation is from your lens, the more in focus (and distracting) it becomes.

It’s also important to limit the amount of vegetation in the photo. You don’t want to cover up the bird entirely. Instead, you want to frame the bird with the vegetation.

Make sense?

Then start taking some shots with a foreground wash. You’ll love the shots you get.

5. Capture silhouettes for dramatic bird shots

Here’s one more way to capture creative bird photos:

Shoot silhouettes!

Silhouettes are really easy to pull off – and they look incredible.

Here’s how you do it:

Go out as the sun is just about to set. Find a subject (birds with a clear outline are best).

Then change your position so that the bird is between you and the setting sun. Ideally, the bird blocks the sun from your camera. This will prevent the sky from being completely blown out.

Make sure that the bird is in front of as much of the sky as possible.

That is, you want to frame the bird with sky – and you don’t want any dark patches behind the bird (from trees or other objects).

If you’re struggling with this, try getting down as low as you can. Because the lower you get, the more sky you’ll include in the frame.

Finally, ensure that you drastically underexpose your subject. One trick is to set the exposure based on the sky next to the bird.

That way, you’ll get a beautiful sky – with a nicely silhouetted subject.

Creative bird photography: next steps

Now you know how to capture stunning, original bird photos.

You know how to produce amazing backgrounds.

You know how to generate interest.

And you know how to capture incredible foregrounds.

The next step…

…is to get out and shoot!

Have any tips for creative bird photography? Share them in the comments!

The post 5 Secrets for Stunning Creative Bird Photography appeared first on Digital Photography School. It was authored by Jaymes Dempsey.


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The Real Consequences of Taking a Break from Photography

16 Apr

The post The Real Consequences of Taking a Break from Photography appeared first on Digital Photography School. It was authored by John McIntire.

Have you ever felt fed up with your photography? Disillusioned? Frustrated? Uninspired? Burnt out? If that’s the case for you, you are not alone in those feelings. Most of us feel that way at some point or another, often on multiple occasions. Fortunately, there is and always has been a lot of sound advice available for when you feel that way.

Advice that prompts you to try new techniques for a different perspective and a fresh outlook is one great example of common advice that may help you to overcome the frustration.

Sometimes doing something different, like getting out of the studio, can be enough to give you a fresh perspective on things.

This article discusses one particular piece of common advice that’s given to photographers a lot. You will have probably heard (or read it) given to someone else at some point, even if it hasn’t been given to you. That advice is when you feel this way, take a break from photography. On the surface, this can seem like a great idea and a great piece of advice. However, once you dig a bit deeper and dissect the possible outcomes (as this article does), you should see that the repercussions of following through with a break from photography can be significant.

Where is this coming from

This topic is quite personal. I followed this advice several years ago after struggling with severe burn out. Because of this, the topics discussed in this article are based on some of the things I experienced after taking a break. That said, even though this is quite personal, I try to keep that aspect out of this article as much as possible and keep things analytical and leave the anecdotes to a minimum.

Even so, you’re situation and experiences won’t be the same as mine. I may have experienced these consequences, but that doesn’t mean you will. If you are considering taking a break from your photography, do have a good, hard think about if any of this applies to you.

There are benefits

Taking a break did allow me the chance to spend time creating images that matter to no one other than me.

As mentioned, the advice photographers often get is to take a break from photography. This does have some benefits (and I did experience those).

By taking a step back, you can gain both space and time to give things an honest appraisal and discover exactly what is causing the feelings of frustration that led you to the point of wanting to take a break in the first place. This a huge advantage and if used well, you can take that insight and fix, or cut out, whatever was causing your frustrations.

Some of the things that are easier to evaluate from a safe distance include: what you like and don’t like, the direction your photography is heading in, your working habits, and your personal values and how they apply to your photography.

I used to use a white background a lot because I loved it. At some point, I stopped loving it and became bored, but didn’t realize until I took a long step back.

That time can also give you the opportunity to let some information sink in. If there’s a concept or a technique that you just can’t wrap your head around, stepping away from actively pursuing it gives your brain the opportunity to work on the problem in the background.

The downsides

While the positive consequences of taking a break can be obvious, some of the potential negative consequences are less so.

Habits and systems

As you develop as a photographer, so does your list of processes and systems that help you achieve what you do. A post-processing workflow is just one example of something that may be disrupted by taking an extended break from photography.

If you’ve been involved with photography for any amount of time, you have gradually built a series of habits and systems that you go through every time you take photos. This could be your post-processing workflow, it could be the way you research locations, or it could be the way you conduct yourself on social media.

The thing is, these habits and processes were built step by step. You didn’t just wake up one day and have a complete post-processing workflow in place.

When you decide to take a break, you’re taking a break from your habits and routines. If these were developed over years of practice and daily ritual, what happens when your break is over? Chances are, when you come back, you may very well struggle to jump back into those complex habits. Instead of building things up gradually, you are trying to get back into a routine all at once. This can extremely difficult at the best of times.

While on my break, I spent a fair amount of time shooting landscapes for fun and as an excuse to be outside. While fun, landscape photography requires a very different approach and set of processes to portraits.

If you think about this just in the context of social media, posting content everyday (or at least regularly) can be a significant job with plenty of work going into each post. Stopping that routine and then trying to come back to it months later could be overwhelming and it might take significant effort to overcome a challenge like that.

Once you add that to the possibility that once you step away from social media, you may very well recognize just how toxic it can be, which makes it all the harder to willingly step back into that arena.

Things change

Depending on how long your break is for, things that you take for granted can change dramatically. My break lasted a couple of years. In that time, Photoshop transformed into something only slightly recognizable. Lightroom transformed into the go-to for photographers, and Instagram went from iOS users only to taking over the world.

You can probably see the disadvantages here. In this technological world, everything changes at a ridiculous pace. By taking time out, you are removing yourself from a position where you can adjust to these changes as they happen. When you decide to come back, you now have an enormous workload of stuff that you have to learn or relearn just to put yourself at the same level you were before.

People change

If you’re a portrait photographer, or any sort of social photographer, this is probably the most applicable point to you.

Much as the tools of the trade change over time, so will your network. Once you’re on a break, any previous contacts or clients will move on and find another photographer. Models, make-up artist and other collaborators may move on or change focus themselves.

Over time, your network of clients, collaborators and co-conspirators changes organically. However, if you’re on a break, you don’t have as many opportunities to add new people to your network.

This applies equally to social media and real life networking.

If you weren’t on a break, this would still happen, but your network would still be growing naturally. However, if you’re not there to grow that network, the holes that these people leave will be empty once your break is over. If your break is an extended one over a couple years, you may come back to find that the network that you put a significant amount of time and effort into building is decimated.

Piecing it back together

All of these things on their own may not seem insurmountable, but once you add them all together, they can accumulate to an enormous challenge that will set you back in both time and effort.

Having to refocus on these things also means that once you’ve decided that you’re ready to come back to photography, you have to put a great deal of time into the things that aren’t photography.

For a lot of people who are frustrated and disillusioned with their photography, it is often these ancillary administrative tasks that cause the feelings of frustration and disillusionment in the first place.

Weigh your choices

If you are in a position where you are considering taking a break, I understand and I empathize. A lot of photographers have been there before.

Before you make a decision, please, please take the time to consider all of the possible consequences of taking a break.

Again, my circumstances will be different from yours and your consequences may not look remotely like mine, but there will be consequences that you may not be able to see yet. Please try to take them into account.

Have you taken a break from photography or considering it? Feel free to share your experiences in the comments below.

The post The Real Consequences of Taking a Break from Photography appeared first on Digital Photography School. It was authored by John McIntire.


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Snapshot from a Life of Paddling Photographer

15 Apr

8 hours in front of a computer. Processing pictures and video clips, describing, keywording and submitting to stock agencies. 4pm: My computer is busy uploading videos and I am driving into the Poudre Canyon. Here I am in my field […]
paddling with a camera

 
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Mastering Color Series – The Psychology and Evolution of the Color BLUE and its use in Photography

15 Apr

The post Mastering Color Series – The Psychology and Evolution of the Color BLUE and its use in Photography appeared first on Digital Photography School. It was authored by Megan Kennedy.

As one of the three primary colors in traditional colour theory and the RGB colour model, blue’s greatest impact is in its capacity to convey strong emotion. Painter Vincent van Gogh once said “I never get tired of the blue sky”, his fascination proving integral to many of his most famous paintings. In this article, we’ll have a detailed look at the history of blue in visual arts and what it means for your photography.

The psychology of blue

Color has a profound effect on our psychology. Rayleigh scattering, an optical phenomenon that causes the sea and sky to appear blue, forges a psychological association between the color blue and the perceived qualities of blue in nature. For example, the ancient duality of the sea and the sky generates a visual relationship between blue and impressions of consistency and trust. Blue’s associations with water tie it to cleanliness and refreshment but also tears. Consequently, a person experiencing sadness is said to be feeling blue.

The cool light of winter and the blue tint of ice draws connections between blue and the cold. Clear blue skies have become synonymous with happiness, relaxation and tranquility. The blue tint of daylight helps regulate our circadian rhythms. Blue also lowers stress levels, stimulating calm. This has practical applications; hospitals are often painted in shades of blue to help ease patient anxiety. Additionally, many medications are dispensed in blue pill form.

Blue is believed to symbolize the male gender in the Western cultures – though this hasn’t always been the case. In China, blue manifests itself as a color of healing, relaxation and immortality. In countries like Turkey, Greece and Albania, blue is said to repel evil. Hindu tradition associates blue with Krishna, a deity that embodies love, virtue and divinity. Furthermore, in German, Swedish and Norwegian languages, a naive person is said to look upon the world with a blue eye.

Jodhpur – the blue city of India.

The evolution of the color blue

Egyptian blue

Egyptian blue is considered to be the first synthetic pigment. Produced by the ancient Egyptians from around 2,200 BC, Egyptian blue was made from a mixture of ground limestone, sand and a copper-containing mineral (like azurite or malachite). The mixture was heated up to 1650°F, producing an opaque blue glass. The glass was then crushed and combined with thickening agents for application.

Associated with the River Nile and the sky, ancient Egyptians used Egyptian blue to paint murals, statues and ceramics. Eventually, Egyptian blue spread to the Near East, the Eastern Mediterranean and the Roman Empire. Egyptian blue’s usage continued throughout the Late and Greco-Roman periods. However, the pigment died out in the 4th century AD, when the recipe for its manufacture was lost.

Ultramarine

Lapis lazuli first appeared as a pigment in 6th to 7th century AD paintings in Afghanistani Zoroastrian and Buddhist temples. During the 14th and 15th centuries, Italian traders shipped the pigment to Europe. There, it was called ultramarine or ultramarinus (meaning beyond the sea in Latin).

For centuries, the cost of ultramarine pigment rivaled the price of gold. Subsequently, artists used ultramarine in only the most imperative aspects of a painting. This judicious application culminated in associations between the color blue and status.

Ultramarine remained almost prohibitively expensive until an artificial process was discovered in 1828 by Jean Baptiste Guimet. Commercial production of the synthetic ultramarine had commenced by 1830, and became known as French ultramarine.

Cobalt blue

In the 8th and 9th centuries, cobalt blue was used to color porcelain and jewelry in China. An alumina-based version of cobalt blue was later discovered by the French chemist, Louis Jacques Thénard in 1802. Commercial production of the pigment began in France in 1807.

Lightfast, stable and compatible with other pigments, Impressionists such as Pierre-Auguste Renoir and Claude Monet readily adopted cobalt blue as an alternative to pricey ultramarine. Post-Impressionists such as Vincent van Gogh and Paul Cezanne also made use of cobalt blue. According to the Musee d’Orsay, van Gogh used a combination of Prussian blue, cobalt and ultramarine to create the nighttime hues of Starry Night Over the Rhone. Van Gogh himself stated that “cobalt is a divine color and there is nothing so beautiful for creating atmosphere…”

Cerulean

Cerulean is a Latin word which translates as sky blue. Originally composed of cobalt magnesium stannate, cerulean was refined by a process developed in 1805 by Andreas Höpfner in Germany. Cerulean wasn’t sold as an artist’s pigment until 1860 by Rowney and Company. When it did become available, however, the color, ranging between azure and dark sky blue, proved popular among artists.

In 1999, Pantone released a statement declaring Cerulean Blue as the color for the millennium. Leatrice Eiseman, executive director of the Pantone Color Institute, stated that “…cerulean blue could bring on a certain peace because it reminds you of time spent outdoors, on a beach, near the water…in addition, it makes the unknown a little less frightening because the sky…is a constant…that’s the dependability factor of blue.”

Lisa Herbert, vice president, corporate communications worldwide, Pantone Inc., went on to say “our studies show that blue is the leading favorite color…regardless of culture, gender or geographic origin….[in the] U.S. [and] Europe and Asia as well. We’ve chosen cerulean blue as the official color for the millennium because of its mass appeal.”

Cerulean is the Latin word for sky blue

Prussian blue

Prussian blue was apparently discovered by accident. Around 1706, pigment and dye producer Johann Jacob Diesbach was mixing crushed cochineal insects, iron sulfate and potash to create cochineal red lake. Unbeknownst to him, the potash he used was contaminated with animal blood. The resulting concoction turned out to be the first modern synthetic pigment, a rich, dark blue that was quickly recognized for its artistic applications.

Inexpensive, easily produced, non-toxic, and intensely colored, Prussian blue spread throughout the art world. Pieter van der Werff’s The Entombment of Christ is the oldest known example of Prussian blue in an artwork. Other early examples include Antoine Watteau’s Pilgrimage to Cythera and paintings produced in Berlin in 1710 by Antoine Pesne.

Japanese woodblock artist Katsushika Hokusai used Prussian blue (as well as indigo dye) to create the Great Wave off Kanagawa. In 1842, English scientist and astronomer Sir John Herschel’s experimentations with Prussian blue led to the invention of the cyanotype.

International Klein blue

International Klein Blue (IKB) is a deep blue hue developed by French artist Yves Klein and Edouard Adam, a Parisian art paint supplier. Klein suspended his favorite ultramarine pigment in a matte, synthetic resin binder made of petroleum extracts. This allowed the rich blue hue to be applied without the loss of vibrancy. Single-colored canvases as well as elaborate performative undertakings were underpinned by Klein’s extensive use of the brilliant IKB.

YInMn blue

Much like Prussian blue, YlnMn (pronounced Yin Min) blue was discovered by accident. In 2009 at Oregon State University, Professor Mas Subramanian and his then-graduate student Andrew E. Smith were investigating new materials for making electronics. The pair were experimenting with the properties of manganese oxide by heating it to approximately 2000 °F. What emerged from the furnace however, was a striking blue compound.  Named after its chemical makeup of yttrium, indium, and manganese, YlnMn blue pigment was released for commercial use in June 2016. According to paint company Derivan YlnMn blue is “non-toxic with excellent archival attributes”.

Blue in visual arts

Ancient art to the Renaissance

Blue is an enduring presence throughout art history. Ancient Egyptians decorated murals and tombs with shades of blue. The walls of Roman villas in Pompeii had frescoes of blue skies. Greek artists used blue as a background colour behind the friezes on Greek temples and to colour the beards of statues.

Dark blue was widely used in the decoration of churches in the Byzantine Empire. Byzantine art depicted Christ and the Virgin Mary dressed in dark blue or purple. Elaborate dark blue and turquoise tiles were used to decorate mosques and palaces from Spain to Central Asia.

At the beginning of the Middle Ages in Europe, blue played a less significant role to that of other colors. However, in the 12th century, painters in Italy and greater Europe were instructed by the Roman Catholic Church to paint the robes of the Virgin Mary with ultramarine, the newest and most expensive pigment at the time. The Virgin Mother’s updated wardrobe resulted in blue being associated with holiness, humility and virtue.

During the Renaissance, artists began to paint the world as it was seen in real life, mixing blue hues with lead white paint to articulate shadows and highlights. In Titian’s Noli me Tangere and Bacchus and Ariadne, different shades of blue are layered to cultivate depth and tension. In another example, Raphael’s Madonna of the Meadow depicts Mary wearing a deep blue mantle set against a red dress, a striking contrast against a background populated with brown and light blue hues.

Rococo to contemporary art

The Rococo art movement depicted mythology and light-hearted portrayals of upper-class domestic life with pastel blue skies and rich blue furnishings. Romanticism used blue predominantly to convey drama in the heavens, and Impressionists like Claude Monet used blue to investigate light and movement in both natural and artificial landscapes.

Emphasizing strong colour over the representational, Fauvist Henri Matisse’s figures in Dance circle naked under an open blue sky. Expressionist van Gogh’s seminal Starry Night, conveys the night sky in active blues and yellows. Cubist Pablo Picasso’s extensive use of Prussian blue defined his Blue Period while Surrealists adopted blue to simultaneously orientate and disorientate the viewer.

From the 20th century artists began to free themselves from the confines of the literal. As a result, artists looked to color as a tool to channel emotion. Exemplified in abstract expressionism, Jackson Pollock‘s Blue Poles, is made up of chaotic strands of blacks, greens, oranges, whites, yellows and grays tempered by nine vertical blue lines. Mark Rothko experimented extensively with blue, as did Barnett Newman, both artists using color as a device to transcend the confines of the canvas. And Helen Frankenthaler‘s stained blues emphasize both the flattening and dimensionality of space.

With the arrival of modern technologies and materials, contemporary examples of blue in art are rich and varied. Roger Hiorns’ crystalline Seizure, transformed space with color, light and chemistry. Katharina Fritsch’s Hahn/Cock plays with our sense of scale and relationship to animals. And Anish Kapoor’s Sky Mirror, Blue challenges our perceptions of an urban environment, re-imagining the landscape through the lens of a large, blue concave mirror.

Blue in photography

Birthed from nature and art, blue’s associations play a critical role in conveying the nature of the photographic image. Luigi Ghirri explored the relationship between shape and space by incorporating large fields of blue sky into his imagery. Color pioneer Martin Parr makes use of rich blues to create a surreal juxtaposition between subject, object and nature. Bill Henson uses blue hues to cultivate experiential photographic dramas. David Burdeny photographs precision landscapes, using blue to illustrate the materiality of his abstract vistas. While Gregory Crewdson and Didier Massard both use blue to signal time, place and atmosphere throughout their imagery.

The color blue has other applications in photography too. Occurring just after sunset and just before sunrise, the blue hour is a period when the sun drops below the horizon and residual sunlight takes on a blue hue. Valued for its soft quality of light, blue hour is popular with portrait and landscape photographers. In addition, blue filters (applied on-camera or in post production) are used in black and white photography to increase the appearance of mist and haze.

Conclusion

Yves Klein once said “blue has no dimensions, it is beyond dimensions”. Over history, blue has communicated the ineffable, transcending colour and touching on our spirituality and sense of self. Associated with nature, calm, reverence, purity, trust and sorrow, blue embodies the visual weight of emotion and human experience.

Have you used blue in your photography? Feel free to share them with us in the comments below.

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mastering color series - Blue

The post Mastering Color Series – The Psychology and Evolution of the Color BLUE and its use in Photography appeared first on Digital Photography School. It was authored by Megan Kennedy.


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Review: DJI Mavic 2 Zoom

14 Apr

The post Review: DJI Mavic 2 Zoom appeared first on Digital Photography School. It was authored by Adam Welch.

Photography is an ever evolving medium. New gear, new technology and new ways of seeing the world make it an extremely exciting time to be a photographer right now.

Over the last year or so I’ve become more and more interested in aerial photography and getting new perspectives for my work. And wouldn’t you know it, DJI just released another brand new tool for aerial photography in August of 2018. So when I had the opportunity to test it out, I didn’t hesitate. I give you…

…wait for it…

…the DJI Mavic 2 Zoom.

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Out of the box

Sleek, compact and understated; that’s how I would describe the appearance of the Mavic 2 Zoom. DJI has chosen a color scheme that should be familiar to those who have experienced the previous model upon which they have based the Mavic 2 Zoom upon – the Mavic Pro. The drone itself is dark gray with a silver belly and matching silver accents. You’ll notice that while the overall lines have been maintained, the Mavic 2 Zoom is a completely different animal when compared to its predecessor.

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The gimbal cover of the Mavic 2 has also been updated to protect the camera during transport. While easy to remove, I have to admit reattaching the gimbal cover was slightly confusing the first time I attempted it. Luckily, DJI has included a quick diagram to help with this.

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Who knows, maybe it was just me being clumsy? In any case, once you get the hang of the new gimbal cover, reattaching it becomes essentially like riding a bike.

The Mavic 2 Zoom has incorporated a set of legitimate landing and take-off lights to aid in low-light situations when the bottom-facing obstacle sensors may have difficulty discerning where the ground may be. Speaking of sensors, DJI has enhanced the Mavic 2 Zoom with Omnidirectional Obstacle Sensing technology (more on that later) for side, front and rear obstacle avoidance. These sensors are readily visible throughout the breadth of the aircraft yet somehow the body of the drone doesn’t appear overly cluttered.

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The controller for the Mavic 2 Zoom has received a light makeover as well. I was happy to see the addition of the fantastic “stow and go” joysticks present on the Mavic AIR controller to this new iteration of Mavic controllers. When not in use, the joysticks can be packed away beneath the folding wings of the controller.

This makes stashing your controller in your bag much easier and less likely to snag or less ideally, break.

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Shown with joysticks attached

Most of the contact surfaces are rubberized, and the controller feels great even when using a larger smartphone like my Samsung S8 Active.

Speaking of phones, an incredibly cool feature of the Mavic 2 Zoom controller is that it charges your phone should your phone’s battery level drop to below 40% during flight. How cool is that?

Thanks for having our backs, DJI.

With that said, you will almost certainly need to remove your phone case (should you have one) to make everything fit within the controller. Of course, you might not have to, but keep that in mind before you fly.

Another feature, albeit possibly not as overtly impressive for some as it was to me, is the addition of an integrated charging cable built right into the included battery charger.

This controller is also identical and interchangeable with the controller for the Mavic 2 Zoom

This enables the user to always have a way to charge their controllers should they misplace or not have another cable to charge the controller.

With the introductions complete, let’s get down to business and see how well the Mavic 2 Zoom performs in the air.

Flight performance

In comparison to the Mavic Pro, it’s safe to say that DJI has improved virtually every area of flight performance in the Mavic 2 Zoom. They have increased the maximum speed and the overall flight time and distance capability. Even though descent/ascent speeds have remained the same as the Mavic Pro (impressive in its own right), it’s easy to see that the Mavic 2 Zoom is very much an upgrade in terms of its ability to fly further faster and with more confidence.

  • Dimensions Folded: 214×91×84 mm (length×width×height)
  • Dimensions Unfolded: 322×242×84 mm (length×width×height) with 354mm at diagonal
  • Weight: 1.99 lbs(905g) with battery and propellers attached
  • Maximum flight time: 31 minutes at constant 15.5 mph(25 kph)
  • Maximum hover time: 29 minutes(no wind)
  • Operating temperatures: 14° F to 104° F(-10°C to 40°C)
  • Maximum speed: 44.7 mph(72 kph) (S-mode)
  • Maximum ascent speed: 5 m/s (S-mode), 4 m/s (P-mode)
  • Maximum descent speed: 3 m/s (S-mode), 3 m/s (P-mode)
  • Maximum altitude: 19,685ft above sea level (6000m)

The Mavic 2 Zoom is about 2g lighter in total weight but all other performance statistics regarding speed, dimensions and flight are precisely the same as the new DJI Mavic 2 Pro drone. In fact, it’s safe to say that the Mavic 2 Zoom and Mavic 2 Pro use the same drone body. The only difference being their respective camera systems.

Don’t believe me?

Here is the Mavic 2 and Mavic 2 Zoom side by side. If you can’t tell, why should I?

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In flight, the Mavic 2 Zoom is nimble with great response time. The propellers have been redesigned to make them quieter when compared to the Mavic Pro. Unfortunately, this also means that the propellers are not interchangeable between the two aircraft. So, you won’t be able to buy a set of Mavic 2 props to quiet down your older Mavic. Sorry folks.

Acceleration is quite impressive, with stops being not overly abrupt. Of course, many of these observations depend on how you have the responsiveness of your controller configured. Speaking of that, DJI has placed the three main flight modes for the Mavic 2 Zoom on the right side of the controller. These modes are Tripod (T), Positioning (P) and Sport (S).

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When in T-mode, the speed of the drone becomes greatly reduced as well as the acceleration and deceleration making it great for slow and controlled pans. Also, all of the Mavic 2 Zoom’s Omnidirectional Obstacle sensors are enabled.

P-mode could be called the “standard” flight mode. In P-mode, all of the Intelligent Flight modes are available.

Lastly, we have blazing-fast S-mode. In sport mode, all obstacle avoidance is disabled which means you’re entirely on your own. The fun part? The Mavic 2 Zoom can then hit a top speed of nearly 45mph (72.4kph). The Mavic 2 Zoom can also allow the pilot to select from pre-programmed intelligent flight modes which are great for obtaining footage that would otherwise be difficult for the average user.

Intelligent Flight Modes

  • ActiveTrack 2.0(with improved 3D subject tracking) Capable of identifying up to 16 subjects and track 1
  • Cinematic Mode (dampens the drone’s movements for increased stability) Softens the breaking period for increased video smoothness
  • Hyperlapse Moves the drone through out the acquisition of time lapses
  • QuickShots (outlined below)
  • Points Of Interest (POI 2.0) Allows the user to choose a subject and instruct the drone to keep it in frame based on a predetermined altitude and speed while circling
  • Waypoint Navigation The Mavic 2 Zoom will fly to a series of locations chosen on the map
  • Tap-to-Fly Select a map area and the drone will automatically fly to that spot

QuickShot Intelligent Flight Modes

  • Dolly Zoom An interesting cinematic zoom effect…Hitchcock style
  • Asteroid Essentially contorts your scene into spherical illusion
  • Boomerang The drone will fly in an ellipse around the subject and automatically start and stop filming in the same place
  • Rocket The Mavic 2 Zoom will take off vertically with the camera flowing your subject
  • Circle Enables the drone to fly in a circle around the subject at a predetermined altitude and distance
  • Dronie Pre-programmed upward flight with the drone moving backward all the while tracking the subject
  • Helix The drone will upward and away while maintaining view of your subject

Zoom Zoom

If you’re like me, then I figure you’re extremely interested in the camera of the Mavic 2 Zoom. After all, unless you just like flying a drone around the sky (which is fun too), the real reason you’re doing it all is to get awesome aerial photos and videos.

The elephant in the room is, of course, the zoom feature which is the Mavic 2 Zoom’s namesake. It has a 2x optical zoom plus an additional digital zoom capability (which DJI reports being lossless) when shooting video in FHD 1080p. DJI also reports the Mavic 2 Zoom to be capable of producing images with 13-stops of dynamic range. That’s impressive.

Here’s a rundown of the major camera features from the DJI website:

  • Sensor: 12MP 1/2.3″ CMOS
  • Focal Length: 35 mm equivalent of 24-48 mm
  • Maximum Aperture: f/2.8 (24 mm) – f/3.8 (48 mm)
  • Shutter Speed Range: 8–1/8000s
  • ISO Range: 100-3200 for video, 100-1600 (auto) 100-3200 (manual) for photo
  • Internal Memory Storage: 8GB
  • Image Formats: JPEG / DNG (RAW)
  • Video Formats: MP4 / MOV (MPEG-4 AVC/H.264, HEVC/H.265)
  • Video Resolution: 4K: 3840×2160 24/25/30p
    2.7K: 2688×1512 24/25/30/48/50/60p
    FHD: 1920×1080 24/25/30/48/50/60/120p

The camera of the Mavic 2 Zoom also incorporates some flashy new in-camera functionalities. It’s “Super Resolution” feature is incredibly interesting. It is essentially an onboard image stitching tool which can create images with a total resolution of approximately 48MP.

Not only that, but the Mavic 2 Zoom also sports DJI’s new “Hyperlight” mode for increasing image quality during extremely lowlight flights.

Here are a few test images made with the Mavic 2 Zoom.

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To give a better understanding of what that 24-48mm focal length actually brings you in terms of zoom capability, here are two frames for comparison. The first shot at 24mm….

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24mm at f/2.8

…and the second at 48mm

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48mm at f/3.8

Why not two more? Each one is a 1-second exposure which speaks to the stabilization of that 3-axis gimbal.

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24mm at f/2.8

Then zooming in to 48mm on that tower the distance.

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48mm at f/3.8

I feel it’s worth mentioning that those last two nighttime images were made in a well-known and open area with the drone constantly in site. Be extremely cautious should you operate any aircraft in dark conditions.

Lastly, here is a quick bit of video footage shot using the Mavic 2 Zoom and a few of its features.

Final thoughts on the DJI Mavic 2 Zoom

The ability to zoom with the camera of the Mavic 2 Zoom adds in a new flavor of excitement to an already exciting drone. The aerobatics of the DJI’s latest entry to the Mavic lineup is impressive for any drone. Especially one marketed as a “consumer grade” aircraft.

With a camera capable of all sorts of high-end feats of imagery, it’s hard to draw the line between consumer and professional performance. From the Intelligent Flight features to the increased flight time and speed, refined obstacle avoidance system and compact form factor, the Mavic 2 Zoom is very much a welcome breath of fresh air to the aerial photography and videography community. Not only does it produce excellent still images and video, but the overall experience of operating this little aircraft is an absolutely enjoyable experience.

Have you used the Mavic 2 Zoom yet? Let us know in the comments how you like it and how it compares to any other drones you might have piloted.

 

review of the DJI Mavic 2 Zoom Drone

The post Review: DJI Mavic 2 Zoom appeared first on Digital Photography School. It was authored by Adam Welch.


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