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8 Pieces of Architecture Photography Equipment You Need

22 Mar

The post 8 Pieces of Architecture Photography Equipment You Need appeared first on Digital Photography School. It was authored by Simon Bond.

A great subject for photography is Architecture. Whether you’re a commercial photographer, or you enjoy photographing interesting buildings for fun, this is a great area of photography to explore. In this article, you’ll learn about some of the essential equipment you’ll need. Through using this equipment, you’ll be able to get great results each time you photograph. So read on and find out what architecture photography equipment should be in your camera bag.

A tripod combined with a decent wide-angle lens. This is a great architecture photography equipment combination.

1. Tripod

The tripod is a great piece of gear to have, and that’s certainly true for architecture photography. If you’re photographing indoors, or as it’s getting dark, it’s essential you have this. Even when the light is good, using a tripod will improve your results. The following are the main reason you’ll want to bring a tripod with you.

  • Interior photography – The lower light levels for interior photography mean using a tripod is necessary. You’ll need to use slower shutter speeds while keeping the aperture at around f/8.
  • Manual focus – The best way to gain the sharpest focus is to use live view, and then manual focus. This is easiest to achieve with the camera on a tripod.
  • Bracketing – There are many occasions you’ll need to take bracketed photos to balance the light across the scene. When photographing towards the light, or if there is a bright light source such as a window, you’ll need a range of exposure to use in post-processing to balance the scene. In this case, you will need a tripod.
  • Blue hour – A great time for exterior architecture photography is Blue Hour. During this time you’ll need to take long exposure photos from a tripod.

Bracket and clamp

An alternative piece of architecture photography equipment is the bracket and clamp. This can be used as an alternative to the tripod, and you can use it to secure the camera to a structure such as a metal railing. There are locations where a tripod won’t be allowed, and in some cases having a bracket and clamp instead, will allow you to secure the tripod for your needs.

2. Wide-angle lens

The next most widely used piece of architecture photography equipment is the wide-angle lens. This will almost certainly be needed for interior work and is often needed for exterior work as well. Those photos taken in a room, where you need to capture the entire room, will need a wide-angle lens of at least 17mm on a full-frame camera. A lot of architecture is often large in scale, so a wide-angle lens is needed to capture the full size of the architecture you’re photographing. The exception comes when you are some distance from the subject you’re photographing, in this case, a longer focal length would then be required.

The interior of the grand mosque in Abu Dhabi. This requires a wide-angle lens to capture how impressive it is.

Which wide angle lens?

Here is a selection of some of the best wide-angle lenses you can use. Depending on the system you have, you may go for a different lens from this list.

  • Canon 17-40mm f/4L – A great lens at a budget-friendly price. This lens is wide enough for most situations.
  • Sigma 14-24mm f/2.8 DG HSM Art – Great quality lens, made to fit numerous camera manufacturers. Great focal length – and if you need it – a large aperture.
  • Nikkor 14-24mm f/2.8G ED – An excellent lens for those using Nikon cameras. Once again, very wide at 14mm.

3. Bubble level

Getting a bubble level is a good idea to ensure your camera is completely lined up. You’ll find that with a wide-angle lens the distortions they produce can make it difficult to see if the camera is truly level. Using a bubble level, which can easily attach to the hot shoe, you’ll have a quick and easy visual reference. In some cases, you may have a bubble level built into your tripod head. This is a great alternative to a separate bubble level.

4. Strobes

The use of strobes is not just for portraits, you can use them in architecture photography as well.

Strobes are excellent at close quarters, but perhaps not for outdoor use with a larger structure.

You’ll get the best use out of these when you’re doing interior photography.

They’ll come in handy when you have a bright window, and a dark room. You can now use the strobes to light up the room, by bouncing light off the ceilings or walls. This will balance the light across the photo, and can either supplement or replace the need to bracket your photos.

Take care when bouncing the light off a surface that isn’t white, as the light from the flash could potentially color cast the room, in the color the strobe has bounced off.

5. Tilt-shift lens

You’ll be photographing your architecture at a wide angle, and it’s likely you’ll be aiming up from street level. This causes problems for architecture photography due to lens barrel distortion. The result is you’ll have buildings that bow inwards towards the center of your image. This is a problem that can be solved using a tilt-shift lens. It’s also possible to correct this distortion in post-processing, so the tilt-shift lens is not strictly needed. It’s best to get your photo as correct as possible in camera though, so using a tilt-shift lens is best.

This photo has not been adjusted for barrel distortion since the minarets lead the eye into the center of the image. It is an example of where a tilt-shift lens could be applied, as this would fix this distortion.

6. Cable release

You’ll want to get the sharpest results possible for architecture photography. You will take the majority of your photos from a tripod to achieve increased sharpness.

However, when you press the shutter, you’ll move the camera a little. To avoid this, you’ll need a cable release cord or a remote control shutter release. Using these tools ensures your camera will be completely steady when you expose.

Those using DSLR cameras should remember to lock up their mirrors ahead of exposure. If you were using live view to compose and focus your photo, then the mirror will already be locked up.

A cable release is a great piece of architecture photography equipment to have.

7. Post-processing

Post-processing is an important part of architecture photography. Post-processing software might not be physical gear, but it’s easily as important. To get successful architecture photos you’ll need to learn how to sharpen your image in the right area, and how to apply noise reduction software. One of the most useful post-processing techniques you can learn is digital blending, this is essentially manual HDR photography. A correctly blended image will have a lot more impact with certain areas of the photo made brighter and distracting highlights such as window light reduced in brightness. So which software is worth having?

  • Photoshop – The Goliath of the post-processing world, a package widely used by the best photographers and with good reason. You’ll need this for digital blending, and through Adobe Camera Raw you’ll be able to do some sharpening and noise reduction work.
  • Nik collection – A really great set of programs that can be used to polish your photo in post-processing. A combination of Nik color EFEX, Dfine, and Pro sharpener can lead to great results.
  • Raya pro – You’ll need Photoshop to use this, but this excellent tool will make digital blending much easier, and there are guides that go with this program to help improve your work.

Learn to use Photoshop effectively. Your photographs will improve.

8. Filters

A good set of filters are great pieces of architecture photography equipment. It could be argued the need for filters is diminished due to the advance of post-processing. Those that are best at post-processing will tell you to use filters though because it makes life a lot easier once you get the photos onto your computer. The two main filters worth having in your bag are a circular polarizing filter, and a graduated neutral density filter.

  • Circular polarizing filter – This is great for adding vibrancy to your scene, especially useful for outdoor architecture photography. This can be used to enhance or reduce the amount of reflection in your photo.
  • Graduated neutral density filter – Used to balance the light across the scene, these are primarily used by landscape photographers. In architecture photography, you can use the dark portion of this filter to balance the light across the scene. A window will often be too bright in your photo, so you can position this filter on your lens, to reduce the brightness in a portion of your photo.

There are many types of filters, these can all help your photography.

Which architecture photography equipment do you use?

There is a wealth of good camera equipment available for you to use. Which pieces of architecture photography equipment do you find best? Do you have experience of using some of the items in this list? What other items are in your photography bag, and why would you recommend them?

At digital photography school we’d love to see your images of architecture photography, so please share them in the comments section.

The post 8 Pieces of Architecture Photography Equipment You Need appeared first on Digital Photography School. It was authored by Simon Bond.


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Seven Steps for Post-Processing a Pure White Background

21 Mar

The post Seven Steps for Post-Processing a Pure White Background appeared first on Digital Photography School. It was authored by Kevin Landwer-Johan.

Photographs with clean, white backgrounds are extremely popular with

  • Stock agencies
  • Amazon
  • Graphic Designers
  • Magazines and websites
Seven Steps for Post Processing a Pure White Background Three Mangoes in a Bowl

The original background with a white border around it to clearly illustrate the contrast between pure white and off white

Producing pure white backgrounds is imperative. A background that’s not quite white looks terrible on a white page.

In this article, I will walk you through one method of post-processing I use to isolate subjects and give them a white background.

Choosing your photos carefully

Some photos are far more difficult to work with than others when you want a white background.

Any subject that’s fuzzy or hairy will be problematic. As will any blurred subject. Whether it’s focus or motion blur, you will have difficulty in obtaining a good clean transition with the background.

Smooth, clean edges are the easiest to work with. So if you want to sell wigs on Amazon, you are in for a tough time. It’s better to make sure you have a pure white background that requires no post processing with such subjects.

Seven Steps for Post Processing a Pure White Background Chicken Nerd

 

Step # 1

Choose your subject and photograph it against a clean, contrasting background. If the background is too busy, it will make isolating on white more difficult.

Keep your subject a good distance from the background. Use an aperture setting that keeps all your subject in focus, but the background is out of focus.

If your subject happens to be moving, make sure to choose a fast enough shutter speed to stop the motion. Making sure your subject is sharp will make post-processing much more straightforward.

Step # 2

Open your file in Photoshop. Make sure it’s the highest resolution jpeg file it can be. Working with low-resolution images is more challenging, but larger ones will slow your computer down.

You need to find a balance here. If you start working through these post-processing steps and find your computer is not handling it, downsize your photo and start again.

Choose the Select and Mask tool. You’ll find this in the Select Menu at the top of your window. Change the View Mode to an option that allows you to see your changes easily. I prefer the Overlay Mode.

Seven Steps for Post Processing a Pure White Background Select and Mask Menu

Choose the Select and Mask option from the drop-down menu.

Step # 3

With the Quick Selection tool, draw around the inside of your subject. Do this slowly, so Photoshop has time to render your action.

Pay careful attention to the areas you are selecting. You do not want to have any part of the background selected. If parts of the background are selected, paint over them with the Refine Edge brush.

Zoom in so you can see what you’re working on more clearly.

Seven Steps for Post Processing a Pure White Background Overlay Mode

Step # 4

When you’re all done and are satisfied your subject is masked, it’s time to output again to the main window in Photoshop.

Select New Layer with Layer Mask from the Output options and click OK.

Step # 5

Add a white background by clicking on the New Fill or Adjustment Layer icon at the bottom of the Layers Panel. Choose Solid Color and set it to pure white.

Step # 6

Check around the edges of your subject. Can you see any of the old background?

If you can, select the mask on your main layer in the Layers Panel. Choose the Brush tool and make the color Black.

Seven Steps for Post Processing a Pure White Background Mask Icon

Make sure the mask is selected.

Paint carefully over the areas where you can still see the old background. You may need to lower the opacity of the brush and adjust the feathering to achieve the best results.

If you have not done this before it can be challenging. However, don’t worry, if you erase parts of your subject, switch the brush color to white and paint back over them. They will re-appear.

There are various other methods and tools for erasing unwanted backgrounds. This is the best way I have found for images which are not too complicated.

Seven Steps for Post Processing a Pure White Background Clean Edges

Step # 7

Crop out any extra white space and save your new photo with your subject isolated on white.

Seven Steps for Post Processing a Pure White Background Clean White Background

 

Conclusion

This is one way to achieve a white background. As with most post-processing procedures, there is more than one sequence of steps which will provide an acceptable result.

Practice and experiment to find the workflow which works best for you.

Are you experienced in creating clean white backgrounds using other methods? Do you have any tips to share? Please share them in the comments section below.

The post Seven Steps for Post-Processing a Pure White Background appeared first on Digital Photography School. It was authored by Kevin Landwer-Johan.


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Mastering Color Series – The Pschology and Evolution of the Color RED and it’s use in Photography

21 Mar

The post Mastering Color Series – The Pschology and Evolution of the Color RED and it’s use in Photography appeared first on Digital Photography School. It was authored by Megan Kennedy.

Photography was invented in 1839 as a black and white medium. Finicky and cumbersome, most proponents of photography were more concerned with perfecting the photographic process without the added complexity of color. Some pioneers endured, creating new methods to convey the colored photographic image. But it was only in the 1930’s, when companies like Kodak and Agfa began introducing consumer-based color film that color photography started to become widely available and relatively affordable.

With color photography, photographers could create imagery with the emotional charge of colour

The invention and widespread use of color film had a significant impact on photography. Modern photographers could now depict a more realistic rendition of a scene, conveying the world in colors similar to that seen through the average human eye. But color photography had another purpose too. Photographers could now couple imagery with the emotional charge of color a lot more readily.

Over the course of history, humans have forged strong associations with colors. And while some associations are experiential, others speak to our evolution and the history of visual arts. In this series of articles, we’ll take a look at the history of different colors, how they have shaped our way of seeing and what it means for your photography.

The psychology of red

Color has a significant impact on our perceptions, emotions and physicality. Our earliest ancestors drew associations between red and the color of our blood, cultivating a strong visual link between red and danger, violence, and life. Humans evolved to prioritize red as a color of immediacy, warning and opportunity. For example, the appearance of fire links red to warmth and light, but also to destruction.

Associated with warmth and fire, red appeals to our emotions and our physicality

Because it commands our attention, red brings text and subjects to the foreground of an image. Red is also the international standard for stop signs and traffic lights. In nature, red Autumn leaves and vibrant sunsets appeal to our sense of time and season. Perhaps tied to the color of red roses – a flower traditionally associated with romance – red symbolizes passion, love and sex. Red appeals to our taste buds too, with foods like strawberries, apples, cherries, tomatoes and peppers all colored by forms of carotenoids – vibrant red pigments that assist photosynthesis.

Red has different associations in different cultures and beliefs. In some parts of Africa, red is a color of mourning, representing death. Traditionally worn at funerals, weddings and New Year festivities, red symbolizes good luck, happiness and prosperity in China. In Thai tradition, red is the color for Sunday, associated with Surya, a solar god. In the Indian subcontinent, red signifies purity, fertility, wealth, beauty and the goddess Lakshmi. And in Japan, red is the traditional color of heroism.

Informed by the enduring presence of red in visual arts, these inherent associations (and more) sculpt the way a viewer reads an image.

Evolution of the color red

Despite its numerous forms, red has held a constant place of significance throughout history. From Ocher to Cadmium Red, the evolution of red stems from our ancient reverence for the commanding hue.

Ocher

Ocher is a naturally occurring pigment that ranges in color from yellow to deep orange or brown. When combined with hematite, ochre takes on a red tone. Dated around 36,000 years old, the red bison on the cave walls of Altamira in Spain are among some of the oldest examples of red being used in visual arts.

Red bison on the cave walls of Altamira in Spain. Image credit: By Museo de Altamira y D. Rodríguez, CC BY-SA 3.0, Link

Cinnabar

Cinnabar, a natural mercuric sulfide, ranges in hue from deep brick to scarlet. Though highly toxic, Romans lorded over the brilliance of the red pigment, using it extensively in decoration. Cinnabar features prominently in the murals of upper-class villas in Pompeii. Starting with the Song dynasty, the Chinese employed cinnabar in elaborately carved lacquerware.

Vermilion

Ancient writers used the term vermilion to describe the pigment made from grinding up cinnabar. But vermilion also refers to a synthetic version of the color, invented in China. Renaissance paintings feature the latter regularly. Renowned renaissance artist Titian is known for his luxuriant vermilion accents.

Titian’s Assumption of the Virgin with vermilion accents. Credit: Titian [Public domain], via Wikimedia Commons

Minium

Romans made minium, also known as red lead, by heating white lead to extremely high temperatures. Contrasting well against gold and marble, the Romans used minium mainly for inscriptions. Medieval illustrators made use of the pigment in their illuminated manuscripts but it was particularly popular with the Mugal artists from India and Persia in the 17th and 18th centuries.

Vincent van Gogh was an ardent user of minium. However, it has since been discovered that minium whitens under light, and some of van Gogh’s works have had their red accents fade as a consequence.

Carmine

During their conquest of Mexico in the early 16th century, Spanish conquistadors were taken aback by the vibrant fabrics and face paint of the Aztecs. Derived from cochineal bugs, the Spanish soon started shipping large quantities of ‘Spanish Red’ to Europe. Artists quickly adopted carmine to adorn their elaborate dramas. However, like minium, carmine also had a tendency to fade, especially in sunlight. Cosmetics and red food coloring continue to employ carmine today.

Cadmium red

In 1817, a German chemist discovered a new element, cadmium, which became the basis for shades of yellow and orange paint. However, it took another 93 years before cadmium red became available commercially in 1910. Intense and lightfast, Henri Matisse was one of the first prominent users of the pigment. Other artists who adopted cadmium red include Edvard Munch, Francis Bacon and Clyfford Still.

Since the invention of cadmium red, technological advances have created a broad range of synthetic pigments and chemical processes for producing red pigment. Easier preparation and application, better archival qualities and a wide variety in shades have all become standard for red in paint, dyes and inks today.

henri matisse the red room

The Red Room by Henri Matisse. Credit: JD Lasica via Flickr

Red in visual arts

Because of its continuous presence in art history, the concept of red has evolved over time, encompassing new significance and meaning. We can’t be entirely sure what significance red held for our ancient ancestors. However, we can assume that at the very least that the use of red elevated the drawing from the rock, making the image appear more dimensional.

Medieval artists associated red with Pentecost, the holy spirit and the blood of Christian martyrs. In renaissance painting, red exploited the gaze of the viewer, cloaking Christ, the Virgin Mary or other substantial figures.

Baroque art saw deep and luminous reds conveyed in spectacular drama. Later, pre-raphaelite artists used shades of red and orange to paint the flowing locks of women and to draw attention to the symbolism nested within their artworks.

Lady Lilith by pre-raphaelite Dante Gabriel Rossetti. Image credit: By Dante Gabriel Rossetti – Delaware Art Museum, Public Domain, Link

Impressionist and post-impressionist artists used reds to convey light or accent detail. Fauvists however, crammed abundantly vibrant reds into scenes and portraits with almost violent tenacity. Only a few years later, abstract art abandoned objective subject matter. Used to punctuate, irritate and philosophate, abstract artists energized the viewer or engulfed them altogether in fields of ravenous red.

Mark Rothko (1903–1970). Four Darks in Red, 1958
Abstract expressionist Mark Rothko painted in deep reds. Credit: G. Starke via Flickr

Red in photography

With the advent of color photography, the creative possibilities for photographers flourished. The radical medium allowed photographers to depict color close to as it was in the field. Furthermore, inherent color associations carried over to color photography. Red’s enduring qualities allowed photographers to communicate visual cues based in evolution and in art.

As an early pioneer in color photography, Marie Cosindas‘ dispersal of reds throughout her still lifes and portraits resembles the technique of baroque still lifes. William Eggleston‘s famous photograph, The Red Ceiling, uses red as a stark undercurrent to a seemingly ordinary setting. In Saul Leiter’s dynamic renderings, red adds drama to the theater of the urban landscape.  Images like Dust Storm and Red Boy and Holi Festival by Steve McCurry document the history and materiality of red in art and culture. McCurry’s most well-known photograph, Afghan Girl depicts a young girl whose piercing eyes are further accentuated by the striking red scarf framing her face.

Nan Goldin’s use of red conveys atmospheric tension, as if the air itself were dense with color. Richard Mosse’s series Infra depicts the Congo in infra-red, rendering the green landscape in shades of pink and red, re-framing the nature of photojournalism.

The use of red isn’t limited to color photography either. Red filters (applied on/in-camera or in post production) absorb blue and green light, enhancing contrast. Famous landscape photographer Ansel Adams used red filters to dramatic effect, darkening the blue skies featured in his abundant vistas.

Ansel Adams used red filters to enhance the contrast of the sky in his photographs. Photo credit: Wikimedia Commons

Conclusion

Faber Birren, an American author and consultant on color theory once said “red is the passionate and ardent hue of the spectrum, marking the saint and the sinner, patriotism and anarchy, love and hatred, compassion and war.” Red has been regularly utilized throughout history to denote concepts and experiences. Status, physicality, anger, warmth, love and danger are all aspects that have been characterized as having associations with red.

With the invention of color photography, red carried over to film and then digital media. And while it has different meanings in different cultures, red’s prominence throughout art history is a testament to its emotional and visual impact today.

 

 

The post Mastering Color Series – The Pschology and Evolution of the Color RED and it’s use in Photography appeared first on Digital Photography School. It was authored by Megan Kennedy.


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What to Write on Your Photography Website (So That People Will Hire You)

20 Mar

The post What to Write on Your Photography Website (So That People Will Hire You) appeared first on Digital Photography School. It was authored by Mat Coker.

If you want to sell your prints or get hired as a photographer, you can’t just put your photos on display. You’re going to have to use words too.

Many photographers struggle to come up with words about their photography. At one point, that was my biggest challenge to grow as a photographer.

I’ll show you how to come up with words for your photography website. We’ll start with a blank screen and finish with a finished web page.

If I post a photo of a baby or toddler on social media, I will get a lot of “likes.” All this means is that people like cuteness. But if I tell a story about a photo, it gets people thinking and talking. Nobody will know why we’re showing our photos if we don’t say something about them.

Why words?

If you’re showing your portfolio on your website or social media, you need to understand a hard truth: Your photos probably don’t stand out to people.

Your photos may be beautiful, but there are many photographers with beautiful photos. People are overwhelmed with thousands of images all day long and you’re just throwing more images into the mix.

Don’t assume that people will see and understand what is unique about you as a photographer, or appreciate the beauty in your photos unless you tell them. Your words help people understand what to think when they see your photos. Your words can draw them in to hire you or buy your prints.

I heard a rumor that my old public school was going to be torn down. That meant that my son would never have a chance to attend the school I did as a kid. So I took him for a photo shoot. We ran through the fall leaves, climbed on the monkey bars and retraced the steps of my childhood. Maybe the reason it was so meaningful is that the chance would soon be gone forever.

How to write about your photos so that people will hire you as a photographer

Let’s start from scratch and write words for a photography business website. You don’t have to follow my entire approach. Just take the parts that will help you where you’re struggling.

Let’s pretend we’re going to launch a toddler photography business. However, keep in mind that you can use this approach for any sort of photography business including fine art prints. Keep these ideas in mind as you write for your blog too.

1. Create a list of words and ideas

At this point, there is no pressure. The first step is to simply come up with a list of keywords and ideas. Then we’ll turn those ideas into the actual words on our website.

Give yourself at least 30 minutes for this. My suggestion is to turn off your phone, go somewhere you enjoy, and take a pen and some paper with you.

Consider who or what your subject is and then come up with a list of words and ideas that can inspire your writing. Your subject is whatever the main focus of your photography work is. Your subject could be CEO’s, landscape prints, weddings or seafood.

Our portrait business is about toddlers, so here is a list of words and ideas that I’ve come up with:

  • Strong willed
  • Explorer (little explorers)
  • Chaotic (agents of chaos)
  • Emotional (emotional roller coasters)
  • Unique
  • Growing
  • Impressive
  • Achievement
  • Funny
  • Silly
  • Showmanship
  • Performance
  • Giggles
  • Messy
  • Curls
  • Grins
  • Stinky feet
  • Tickling
  • Mud puddles
  • No shoes
  • Snacks
  • Lovable
  • Adorable

We could keep going, but that is a good list to start with. From this point on, whenever we have to write something, we have a list of words and ideas to pull from.

We’ll never have to sit down to a blank screen demanding us to fill it with the perfect words.

So far, we’ve only considered what our subject matter is, but we’ll also have to consider who we’re showing our picture to and who we are writing for. That means you need to consider who will be hiring you and write especially for them.

2. Who are you writing for?

Though our subject matter is toddlers, we’re writing for moms. They’re the most likely ones to be booking a photographer. Yes, dads and grandparents will look at your website too. However, don’t try to write for everyone. Choose one main person to write for.

3. What do they need?

Every good business solves a problem. What problem does your photography business solve?

Let’s consider two levels of the problem.

First, there is the immediate problem. Mom is on our website or social media page because she needs to find a photographer. Here are some things she has in mind:

  • Mom needs pictures
  • Has to find a photographer that specializes in toddlers
  • Wants the right style
  • Can handle her toddler
  • Can capture their unique personality

There is a deeper element to her problem too. Her little one is about to grow up. As much as she wants to, mom won’t be able to remember everything about this stage of life. These photos will preserve the toddler moments that are about to disappear forever.

Here are some ways the photos will help her:

  • Freeze time
  • Stop her toddler from growing up
  • Keep them small
  • Have something she can hold when they’re too big to hold
  • Have something to help with that desperate feeling that she is going to lose them when they grow up
  • Create photographs that provoke all the overwhelming feelings of motherhood, that will come rushing back to her even when she’s 80

How do you know that these are her problems? You listen. You listen to everything that moms say about their toddlers. Then you tell those moms (through the words on your website) that you understand, that you care, and that this is what you’re all about.

4. Explain how you will help them

You need to show the person looking at your website that you can help them solve their problem.

Let them know that you understand their problem and are the perfect person to help. This is where words may be more important than the photos you show.

Let’s get writing!

We have a lot of ideas about our photos and the people we’re writing for, so let’s start writing our web page.

Keep these 4 things in mind as you write:

  1. Draw from your list of words and ideas
  2. Remember who you are writing for
  3. Show that you understand what they need
  4. Explain how you can help them

People need to know very quickly that your website is just what they’re looking for. If somebody is searching for a toddler photography session, they need to know they’ve found the right place.

The first thing you should do is make some sort of statement regarding what your website is about. It should come right before or after your first image.

I photograph the toddler years because they’re some of the most wonderful times of development in your little one’s life. They’re also the years that go by the quickest.

This makes it clear what I offer and why I’m offering it.

That opening image and statement is followed by a more extensive gallery. After the gallery, I like to add some sort of story that digs into the deeper reasons that a mom would want a toddler photo session.

“We tend to love the things that are most scarce. The less there is of something, the more we value it. But far too often, we didn’t realize it’s value until it was gone. One day our babies outgrew the constraints of infancy. They learned to crawl and then pulled themselves up by whatever they could. They mastered our language – or their version of it! And now they think they’re going to keep growing right up! But not before we document them as toddlers. So that you’ll have photographs that make all those overwhelming feelings of motherhood and fatherhood come rushing back.”

While people are looking at your website, there are going to be many distractions. They get constant social media notifications, their minds wander, and their toddlers interrupt them! So write words that will keep them engaged. Being brief but powerful is good.

The “About Me” section reinforces why I offer this sort of photography session and why I’m the right photographer for the job.

“My favorite thing to photograph? Toddlers, without a doubt. Because they hold nothing back. Just watch how they explore the world. Their imaginations soar. And they don’t fake their emotions. My littlest guy is a toddler. I’m always racing to grab my camera because he’s almost not a toddler anymore. I can’t wait to see him grow up, but I’m going to miss the toddler him.”

My concern in the about section is to connect with my reader. I want them to know how much I love the toddler years too.

Toddler photography writing

The final words are about packages, pricing, and contact information. It’s important to reinforce exactly what you’re offering. Remember, you’re not just offering photos.

You might be selling fine art prints, but they’re not just prints. They’re a source of beauty and inspiration in an otherwise dull living room.

You might be selling a photo session, but it’s not merely a session. It’s a way of remembering those precious moments that are about to slip away forever. It’s easy to forget this in the midst of a chaotic life. Let your words remind them.

When their toddler years have long passed, you’ll have frozen time. And when you replay their video or hold their photos in your hands, all those feelings of motherhood and fatherhood will come rushing back.

 

Writing about photography

Some people write quite quickly, others take a long time to get the words out. I worked on the toddler page for about six hours spread out over three days. That’s a lot of time invested in a small amount of writing, however, I’m happy with what I’ve come up with. Along the way, I sifted through photos, reminisced about my own childhood and thought about many of the conversations I’ve had with other parents.

In the end, this was all for practice since I don’t actually run a toddler photography business. Practice is the key to getting comfortable with writing about your photos.

To fill out the rest of the website I would add a blog with several articles. Topics would include:

  • Photos and stories from sessions
  • Articles that explore the nature of toddlers
  • Reminiscing about my toddler memories
  • Funny quotes by or about toddlers
  • How I work well with difficult toddlers

These articles are there to engage interested parents, show them that I truly do understand toddlers, and settle their curiosity about whether a session like this is worth it.

When I sit down to write these articles, I’ll follow a similar approach:

  • Build a list of words and ideas based on the topic and point of the article
  • Keep in mind who I’m writing for
  • Show them that I understand and care
  • Solve the problem they have

Be yourself

What I’ve given you is a simple formula for getting to the heart of what you want to say about your photos, especially if you would like people to hire you.

These basic principals hold true in all sorts of photography writing contexts. What sort of problem are you solving with your photography blog?

Perhaps your readers are new to photography and your writing offers a window into the photographer’s life.

Maybe your readers are bewildered by all the technology choices and your writing simplifies things for them.

Over time you’ll discover many interesting ways to write about your photos.

It won’t be long until people respond more to what you said about your photos than the photos themselves.

This doesn’t make your photos any less important. If anything, it will make them all the more memorable in a sea of endless images.

The post What to Write on Your Photography Website (So That People Will Hire You) appeared first on Digital Photography School. It was authored by Mat Coker.


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The Best Fujifilm X-Series Kits for Travel Photography

20 Mar

The post The Best Fujifilm X-Series Kits for Travel Photography appeared first on Digital Photography School. It was authored by Matt Murray.

Travel has always been my first love. In 1994 I bought my first camera – a Pentax Zoom 90 WR point and shoot – because I was going to Europe for a two-year working holiday. The only way to share photos with family back then was to have the film developed and post the prints home!

While photography (and technology) has changed remarkably in the last 25 years, what you should look for in a camera for travel photography is much the same: small, light, capable of great results and preferably weather resistant.

I’ve used all sorts of camera brands over the years. However, for me, Fujifilm X-Series cameras and lenses are the perfect travel companions. Whether it’s a trip to the Australian outback, visiting remote Buddhist temples in the Javanese jungle, photographing puffins in the Faroe Islands or capturing traffic trails in Taiwan, my X-Series cameras have always produced stunning results. Here are my recommended Fujifilm X-Series kits for your next big adventure.

Best minimalist kit

Camera: Fujifilm X100F
Lens: Fixed F2 Fujinon lens
Weight: 469 grams

The best minimalist kit choice was easily the stunning Fujifilm X100F. This is the best compact digital camera ever made. Yes, it really is that good!

Many photographers – including diehard users of other brands – use this as their “take everywhere” shooter. The X100F is small and quiet, and the fast f/2 Fujinon lens creates beautiful images. It may be small, but it boasts an impressive array of features including a leaf shutter and built-in neutral density filter.

Like all the cameras I feature in this article, the X100F can shoot RAW alongside Fujifilm’s array of stunning JPG film simulations, that replicate the look of classic films such as Provia and Velvia. Fujifilm cameras produce the best JPGs I’ve seen straight out of the camera.

This choice is a little unusual as it has a fixed lens. That’s right. You can’t take it off and swap it for another lens. If the 23mm focal length (35mm in full-frame terms) isn’t your preferred choice, the system also has wide-angle conversion and telephoto converter lenses. However, these do add extra weight to your kit. One of the few downsides to the X100F is that it’s not weather resistant. But, at least it’s small enough to fit in your pocket during a downpour.

One body plus one lens kit

Camera body: X-T30
Lens: XF 18-55mm F2.8-4 R LM OIS lens
Approximate weight: 693 grams

If you only have space to take one body and one lens on a trip, I would recommend the brand new Fujifilm X-T30 with the XF 18-55mm F/2.8-4 R LM OIS lens. I’ve been using this line of cameras since buying the X-T10 as a second body back up to my X-T1, and I’ve also used the X-T20. The X-T cameras with a “0” after them are lighter, cheaper, non-weather resistant versions of the flagship models, but usually feature much of the same technology. For example, the X-T30 has the same 26.1MP X-Trans 4 CMOS sensor as the X-T3.

Alternatives for the camera body would be the X-T20 and the X-E3. The X-T20 gives you a screen that tilts up and down for overhead and low to the ground shots. Whereas, the X-E3 is the more minimalist choice, and features a joystick that controls where the focus point is in the frame. The X-T30 and the X-T3 have both of these features.

My choice of lens for this kit is the XF 18-55mm F/2.8-4 R LM OIS. Not only is it one of my favorite Fujifilm lenses, but it’s also the lens that I’ve used the most over the last three years.

Often sold with camera bodies, many newcomers to the X-Series remark that the XF 18-55mm F2.8-4 R LM OIS lens is “surprisingly good for a kit lens.” In no way is this lens like the subpar beginner kit lenses produced by other manufacturers. The XF 18-55mm F/2.8-4 R LM OIS is a stunningly sharp lens in its own right and has produced some of my favorite images ever.

It may not be weather resistant, but it does feature OIS (optical image stabilization) to ensure your shots are as sharp as possible at lower shutter speeds. It’s a variable aperture zoom lens, meaning that the maximum aperture changes as you zoom through the range. However, you can still shoot at f/2.8 at the 18mm focal length, and f/4 at the 55mm end. It’s a top lens for landscape, cityscape, and portraits.

Best kit under 1kg

Camera body: X-T30
Lenses: XF 18-55mm F/2.8-4 R LM OIS + XF 35mm f/1.4 R
Approximate weight: 880 grams

My picks for the best kit weighing under 1kg include the same choices as the ‘One body plus one lens’ kit above, with the addition of the XF 35mm f/1.4 R. The first time I used this lens, I was blown away by its sharpness and stunning bokeh. It’s a top lens for portraits, still life subjects and even street shooting.

It did have a reputation of being slow to focus, but with Fujifilm’s ongoing firmware updates to both lenses and camera bodies, this has greatly improved. I wouldn’t hesitate to use it in any situation. This lens has a fast maximum aperture of f/1.4 that enables you to shoot images handheld at night without raising the ISO too high or lowering the shutter speed too low.

One zoom, two fast primes kit

Camera bodies: X-T30
Lenses: XF 18-55mm F2.8-4 R LM OIS + XF 35 1.4 R + XF 60mm f2.4 R Macro
Approximate weight: 1.095kg

For a lightweight travel kit weighing just over 1kg and featuring two fast prime lenses, add the XF 60mm f/2.4 R Macro to the kit above. This is another option often overlooked by newer lenses on the block, but it offers superb image quality for portraits and macro shots.

Although it’s not a true macro lens (it offers 1:2 magnification rather than the standard 1:1 magnification for a true macro lens), it is an incredibly light option for close up shots. It weighs less than a third of the weight of Fujifilm’s XF 80mm F/2.8 R LM OIS WR Macro lens.

Best weather resistant kit

Camera bodies: X-T3
Lenses: XF 16mm F1.4 R WR, 23f2, XF 50-140mmF2.8 R LM OIS WR.
Approximate weight: 2.6 kg check

The best weather resistant kit features Fujifilm’s newest X-Series flagship camera. The X-T3 has won high praise from users and critics alike since its release in mid-2018. It is an impressive performer, having the fastest autofocus in the X-Series lineup and a continuous shooting rate of up to 20 frames per second. I’ve really enjoyed using this camera alongside my X-T2, which is still an excellent camera.

The newcomer to this kit is the XF 16 f/1.4 WR lens – often praised as the best lens in the X-Series lineup. Weather resistant, the lens is optically stunning, and a solid performer for landscape, cityscape, and low light shots. With a close focusing distance of 15cm, the XF 16 f1.4 WR lens is highly versatile. I’ve loved using it for food photography.

Best travel kit with zoom lenses

Camera bodies: X-T3 and X-T30
Lenses: XF 18-55mm F/2.8-4 R LM OIS and XF 50-140mm F/2.8 R LM OIS WR.
Weight: 1.8kg

This kit gives you the best of both worlds: the light X-T30 with the XF 18-55mm F/2.8-4 R LM OIS lens, and a weather resistant combo of the X-T3 with the stunning XF 50-140mm F/2.8 R LM OIS WR lens.

Weighing in at 995 grams, you might actually question why I would choose this lens as part of a travel kit? I’ve even been laughed at when I’ve suggested this lens for travel. Although it’s heavy, this lens is a must-have in my travel photography kit.

Like an equivalent focal range 70-200mm, the lens has a constant maximum aperture of f/2.8, meaning that you can shoot with a shallow depth of field throughout the zoom range. This is particularly helpful during low light situations, or to achieve shallow depth of field at any time.

This XF 50-140mm F/2.8 R LM OIS WR lens also features OIS (optical image stabilization) and has a pleasing bokeh. I’ve used this lens for landscape, cityscape, and portraits. If I could only pick one lens for travel, I’d have to flip a coin to choose between the two amazing zooms in this kit.

If you have different weight or budget considerations, you could substitute the excellent XF 55-200mm F/3.5-4.8 R LM OIS lens in this kit. I’ve never regretted taking this lens along with me on trips, but if you plan on shooting in low light at the far range of the zoom, you will be shooting at a maximum aperture of f/4.8, which may slow down shutter speeds. Thankfully, this is another lens with OIS (optical image stabilization).

My favorite kit

Camera bodies: X-T3 and X-T2
Lenses: XF 16mm F/1.4 R WR + XF 18-55mm F/2.8-4 R LM OIS + XF 35mm f/1.4 R + XF 50-140mm F/2.8 R LM OIS WR
Approximate weight: 2.9 kg

This is my favorite kit. It may be the heaviest listed in this list, but this is what I would typically take on my travel adventures. It pairs two weather resistant camera bodies with my two favorite zooms and two favorite primes. This kit has a reach from 16-140mm (24-210 in full-frame terms) and covers many shooting situations. The XF 50-140mm F/2.8 R LM OIS WR lens may not be the longest in the X-Series lineup, but it’s still capable of capturing stunning wildlife images.

X-Series options I don’t recommend for travel kits

X-T100

In 2018, Fujifilm released the entry-level X-T100. Although this attractive looking camera looks very much like the rest of the X-Series line-up, its autofocus can’t match the cameras I’ve featured above.

18-135mm lens

The XF18-135mm lens is often on the list of recommended lenses for Fujifilm travel photography. Having owned and used one, it doesn’t make my list. For a slower, all-in-one travel zoom, I don’t think it has enough reach.

27mm lens

The 27mm F/2.8 pancake lens is sharp, and you can often buy them at a bargain price. It’s a firm favorite amongst many Fujifilm photographers, but it doesn’t make my list as it’s the only lens in the lineup not to have a ring on the lens to change aperture.

 

Conclusion

The Fujifilm X-Series range is perfect for travel photographers for so many reasons.

With an impressive lineup of prime and zoom lenses for all budgets, the X-Series has you covered for a wide range of situations including low light photography and adverse weather conditions. The camera bodies feature retro charm and excellent ergonomics, and no other system can match the beauty of Fujifilm’s straight out of camera JPGs.

Whether it’s a day trip near home or the trip of a lifetime, Fujifilm X-Series is my number one recommendation for travel photography.

Do you use Fujifilm Cameras for your travel photography? Let us know what you use in the comments below.

The post The Best Fujifilm X-Series Kits for Travel Photography appeared first on Digital Photography School. It was authored by Matt Murray.


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How to Use Textures to Create Compelling Photographs

19 Mar

The post How to Use Textures to Create Compelling Photographs appeared first on Digital Photography School. It was authored by Glenn Harper.

Adding textures to photos is a fun way of creating new pictures. In some respects, it’s not very different to printing your photos onto textured paper or choosing frames for them (or both), except the images needn’t leave your computer. You can do this with photos you’ve already taken, though often it’s best to create them with this treatment in mind.

Adding textured backgrounds to photos

Cracked earth photo in the background.

Choosing your photos

You can add textures to almost any type of picture, but this method works well with simple photos where there isn’t a lot of fussy detail. Ideally, you need a sizeable single-tone area that allows the background to come through. Otherwise, you can use a simple texture with a complex photo – the important thing is that the two photos do not fight.

Adding textured backgrounds to photos

A harmless subject, despite appearances.

You can apply this treatment to portraits, landscapes, still lifes, or just about any genre. With still life, you’re at a particular advantage because you can take very simple pictures of subjects against plain backgrounds and then attempt to create something interesting later with a textured background.

Adding textured backgrounds to photos

Melding photos together is not a purist’s approach to photography, but you need only ask yourself one question: do you like the result? Adding a texture to a background is like putting two pieces of a jigsaw puzzle together. Do the two parts suit each other? A beneficial side effect of creating these pictures is that you’ll start noticing and shooting all kinds of textures to use with your photos.

Adding textured backgrounds to photos

Splodges of paint in the background.

Finding and photographing textures

You can create your own backgrounds quite easily by photographing textures around the home. For instance, try capturing textured paper, sandpaper, fences, walls, wood grain, baking trays, tiles, canvas, painted surfaces, rusting surfaces or concrete. Mid-tone textures with contrasting colors or details tend to work better than monotonous dark or bright surfaces.

Adding textured backgrounds to photos

Silhouetted trees against a blue painted background.

Try screwing up pieces of paper and then flattening them out for backgrounds. You can even use a scanner for paper backgrounds, which has the advantage of holding them flat while still recording the folds and creases.

Adding textured backgrounds to photos

The same silhouetted trees against brown paper. I wanted to avoid distracting contrast in the paper, so the processing holds off on highlights.

If you want to try this technique and don’t have any texture photographs in your library, you can always grab some to practice with from free photo websites (e.g. https://www.freeimages.com).

Adding textured backgrounds to photos

A French WW1 Croix de Guerre medal, originally shot against a white card background.

Another possibility is to use the in-built textures offered within image editing programs. Photoshop CC has this to a limited extent. There’s also a good textures section in ON1 Effects (standalone or filter plugin) that offers a lot of choice.

Adding textured backgrounds to photos

In Photoshop CC you can reveal the “Texture” filter under preferences. It only works on 8-bit images. This is the Canvas texture.

Photoshop Technique (or similar)

To blend textures into backgrounds, you need an editing program that has layers and blending modes. The second usually comes with the first. In brief, you just need to drag one photo on top of the other and adjust the blending mode between the layers to suit. Sometimes you might need to tweak opacity.

Here’s a more precise workflow:

  1. Open the two images you intend to merge (i.e. subject and textured background).
  2. Ensure that the texture image is the same size as the main photo or slightly larger. If it is much larger (e.g. a full-sized file layered onto a web image), it will appear less sharp.
  3. Using the move tool in Photoshop, drag the texture image onto the main photo. This automatically creates a second layer (“Layer 1”).
  4. Try the various layer blending modes in your layers palette until you find one that suits the image. “Overlay” is one that often works well.
  5. Adjust opacity to taste. If you want to strengthen the effect rather than fade it, you can duplicate Layer 1.
  6. Merge the layers (Ctrl + E) or Flatten Image.

You can do this the other way round and drag the main image onto the texture, but then the opacity slider becomes less useful. You ideally want to be able to fade the texture effect rather than the main photo. Also, if the texture file is larger, having that one on top avoids the need to crop the image afterwards.

Adding textured backgrounds to photos

Using the Brush Tool

Another thing you can do with your textures is to selectively paint parts of the effect out of or into the picture. You might do this if, for instance, you want to create the illusion that an object within the photo is resting on a textured background without being part of it.

Adding textured backgrounds to photos

Using a ON1 Effects texture I’ve created henna-type markings on the hand and used the brush tool to remove the same pattern from the watch.

To do this, you need to create a layer mask on “Layer 1” (your texture photo). Then, making sure the brush foreground color is black – visible in the tools palette – you use the brush tool at 100% opacity to selectively paint the texture out. Hitting “X” lets you paint detail back in again if you get clumsy.

Alternatively, you can do the opposite and create a black layer mask, painting texture into the picture with a white brush.

Harmony

I mentioned earlier choosing textures and photos that suit each other. So, what might that mean? Ultimately, you get to decide what goes well with what, but some textures intrinsically suit some subjects. For instance, old books generally go better with leather, paper or card textures than they do with a brick wall. Metallic objects might go well with rust or oxidation.

Adding textured backgrounds to photos

Another ON1 Effects texture (rice paper).

With human subjects, you might want to infer something else altogether, like cracks for old age or the passing of time. Be careful who you use that on! The bolder the texture is, generally the more limited it is in its potential. You can use paper and canvas textures on almost anything because of their photographic and artistic connection and their unobtrusiveness.

Express yourself

Any picture you produce on a computer rather than in camera will likely attract a degree of cynicism. That’s just the way photography is. But it’s not always healthy to be confined by your chosen craft and feel like you’re not doing anything new. Blending photos in Photoshop is creative, fun and even a little beneficial, since an eye for juxtaposition is a valid photographic skill.

Adding textured backgrounds to photos

Antique Vaseline pots against an old baking tray surface.

Get ready for the strange looks you’ll receive when you begin photographing plain walls and fences. Use a tripod for extra eccentricity ….

Feel free to share your creations in the comments section below.

The post How to Use Textures to Create Compelling Photographs appeared first on Digital Photography School. It was authored by Glenn Harper.


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9 Creative Architecture Photography Techniques for Amazing Photos!

19 Mar

The post 9 Creative Architecture Photography Techniques for Amazing Photos! appeared first on Digital Photography School. It was authored by Simon Bond.

It’s great to get a technically sound photo, and architecture photos demand this. Getting the technical side of your photo correct should be your first priority, but beyond that, it’s worth experimenting. In this article, you’ll learn about some creative photography techniques, and how you can apply these to your architecture photography. Whether you adopt any of these for your work will be at your discretion, but having extra options for your photography is never a bad idea. So read on to find out which creative architecture photography techniques you could apply.

This photo of the Tokyo metropolitan government building has used a worm’s eye view, and a wide-angle lens.

1. A different perspective

Many architecture photos are taken at eye level. In other words, a standing composition from street level or an elevation that brings you level with the building if that’s available. This is far from the only way to photograph architecture though. Using extreme perspectives like worms eye or birds eye views can give dramatic results.

  • Worms eye view – This is likely to be the easiest perspective to achieve and works best when photographing taller structures. You can use this to emphasize interesting ceiling features or to take photos of skyscrapers from the base of the building. If you happen to be surrounded by tall buildings that are close to each other, you can use this perspective to fill the sky.
  • Birds eye view – To get this type of angle, you’ll first need to find a way of getting above the structure you’re photographing. With the advent of drone photography, this has now become a lot easier to achieve. No drone? No problem. You can always find a tall building to photograph from or, if you’re lucky, a hot air balloon ride!

2. Infrared photography

You can change the nature of your creative architecture photography, without needing to use extreme perspectives. One of the best ways to do this is by using infrared photography. This will change your image into more of a dreamscape. This style of photography works much better outdoors, and in places where there is some vegetation. Through some post-processing, you’ll create an image where photosynthesizing plants are white, and the sky is dark. Architecture then forms a powerful focal point within your infrared photo. There are some excellent guides on this style of photography. You have three main choices when it comes to carrying out this style. You can convert your camera for infrared, use an infrared filter, or you can produce this effect through post-processing.

Infrared photography is a great technique to experiment with.

3. Light painting

One of the most creative photography techniques out there is light painting. Through the use of light painting techniques and styles, you can customize the way you photograph architecture. The trick is knowing where and how to apply this to your photograph because not all architecture lends itself to every technique. Perhaps it’s impossible to gain access to the area of the structure in which you’d like to light paint? Perhaps light painting will be too big a distraction and detract from the architecture itself. When you can use light painting to form a leading line to the architecture, or perhaps to frame the architecture, you’ll be on the right lines. There are various tools you can use. Below is a selection.

  • A torch – The simplest of light painting tools. This can be used to create patterns in front of the camera, or perhaps to light up a section of the architecture you wish to photograph.
  • A light source on a string – Repeating patterns work well in photography, and spinning a light source on a string will provide this repetition. You could also use this to create a light orb, and strategically place the orb in front of your architecture.
  • LED light sticks – In recent years products like the pixelstick and the magilight have really revolutionized light painting. These excellent tools can be used to create bespoke light paintings in front of the architecture you’re photographing.

In this photo a pixelstick has been used to light paint around the pagoda.

4. Kinetic light painting

Light paintings’ cousin is kinetic light painting. The technique also requires a tripod, but this time you move the camera rather than the light source. Once again, this can be quite experimental, and not all locations are well served by this photography style. The two main types of kinetic light painting are the zoom burst and camera rotation.

  • Zoom burst – This technique works well with tall buildings, from a distance, and where they’re lit up with lots of interior building lights. You’ll need to set the camera on a tripod, with a lens that can zoom. A kit lens works very well for this, or perhaps a 24-70mm lens. You begin the photograph at the longer focal length, and then zoom out. You can read more about this technique here.
  • Camera rotation – This time you rotate your camera around a tripod head. It works well with tall buildings, where you have a worms eye view. Once again, you can read more about how to do this by reading this guide.

This is a single photo of the Tokyo Skytree. It’s straight out of the camera, and has used kinetic light painting.

5. Refraction photography

You can also use refraction photography with a crystal ball for creative architecture photography. That’s because the fisheye-like properties of the glass ball will capture the entire piece of architecture you intend to photograph. There are tricky aspects you need to handle including the upside-down image within the ball, and centering the architecture within the ball. Providing you can find a good place to position the ball, you’ll be able to use this technique to produce a unique photo of a building or sculpture.

This location is a popular place to photograph St Paul’s cathedral in London. The addition of a crystal ball gives this image another perspective.

6. Detail photos

The main focus of architectural photography is to capture the whole scene. That’s not always needed though, and you can find great detail photos by using lenses of longer focal length. These photos might not work on their own but would certainly add to a selection of photos of one particular piece of architecture. You’ll need to look out for details in the roofing, lines of repeating architecture like arches in a church, or ornate decorations on a wall. Then look to focus in on this particular area. Look to light the detail photo well by either choosing the correct time of day for the sun or using an external flash.

Detail photos of architecture are always worth taking.

7. Digital blending

A process known as digital blending allows you to get perfect pictures. The technique is great for getting technically perfect photos, but you can push beyond that and get more creative. One of the main advantages of this is the ability to photograph towards a sunset sky, and then to balance light across the scene so your architecture doesn’t become too silhouetted. The technique requires you to use a tripod for best results and to take a set of bracketed images. You’ll then need to use luminosity masks to blend the bracketed images in post-processing.

In this photo digital blending is used to ensure the roof windows aren’t blown out.

8. Contrast

Contrast is a broad term, and can be interpreted in several ways. You can use any of these interpretations for more creative architecture photography. Let’s look at some of the ways contrast can be applied.

  • Light and shadows – The most obvious when it comes to photography is to use the light in your photo. You can use this to accentuate areas of interest on the architecture, by using shadows to show detail points.
  • Colors – In some cases, you can play colors off against each other. Obviously, you can’t move architecture, so you’ll need to be creative about how you add opposite colors that contrast with it.
  • Old and new – Old architecture surrounded by new can make an effective photo. Think of a church or temple surrounded by modern skyscrapers.

Framing is a potent photographic technique, which draws the eye to the main subject.

9. Framing

Look to frame the architecture you’re photographing. An arched doorway is a great way to frame your main subject. You could introduce the framing yourself, by holding something in front of the camera. You can use gaps in a fence as a way of framing your photo.

Which creative architecture photography technique will you use?

There are many ways to add creativity to your photography. You’ve now learned about some of the best creative architecture photography techniques. Are any of these techniques you’ve tried before? Which of these ideas will you try? We’d love to see the results of your photography from the past, and anything you might take in the future. As always please share your thoughts and photos in the comments section of this article.

The post 9 Creative Architecture Photography Techniques for Amazing Photos! appeared first on Digital Photography School. It was authored by Simon Bond.


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How Mark Rothko’s Paintings Can Inspire Your Photography

18 Mar

The post How Mark Rothko’s Paintings Can Inspire Your Photography appeared first on Digital Photography School. It was authored by Megan Kennedy.

I first encountered a painting by Mark Rothko when I was a uni student, perusing the National Gallery of Australia. Seeking the wisdom of abstract expressionists like Lee Krasner, Clyfford Still and Hans Hofmann, I was somehow completely unaware of Rothko’s renowned canvases. So when I came across #20,1957 I was instantly mesmerized. In the reverent light of the gallery, the cells of the painting seemed to shift under my gaze, bleeding and retracting at once. And when I looked away, the after-image formed a striking hollow into the gallery surrounds.

I felt meditation and calm, but I also felt something I couldn’t quite put my finger on. The ineffable. #20,1957 was like nothing I’d ever come across before.

My reaction to the Rothko painting wasn’t unique. Audiences around the world have reported a deep emotional experience when viewing Rothko’s work. Rothko hoped that in viewing his paintings, others would be drawn into a deep meditative state, a state of vulnerability and receptivity that he himself entered into while creating his artworks.

Today, Rothko’s motivations and techniques continue to inform not only painting but visual arts as a whole.

Mark Rothko

Born in Dvinsk, Russia (now Daugavpils, Latvia) on September 25, 1903, Mark Rothko (born Marcus Rothkowitz) immigrated to the USA with his family in his youth. Inspired to take up art in the autumn of 1923, he began his artistic career painting urban life, portraits, nudes and landscapes. His portrayal of architectural space leaned on abstract compositional techniques, exploring the relationship between the painting and the viewer, an aspect that would play a critical role in his future works.

In the early 1940’s, Rothko shifted from painting the figurative to the symbolic, exploring themes such as prophecy, ancient myths, archaic ritual and the unconscious. Inspired by the surrealist method of automatic drawing, Rothko began to delve into more abstracted imagery, graduating almost entirely to abstraction by the late 1940’s. Unimpeded by the figurative or symbolic, Rothko stained the canvas with diluted oil paint, rendering shapes and forms with soft, indistinct edges, some outlined by luminous white halos.

Mark Rothko, No. 3 No. 13 1949, MOMA
No. 3 No.13, 1949 photo credit: Sharon Mollerus on Flickr

Rothko’s arrived at his signature style in the 1950’s. His expanses of graduated tones and ethereal light seemed to suspend vibratious squares and rectangles upon active planes of color. Toward the end of the 1950’s, Rothko began to paint in an increasingly darker, more restricted pallet.

Mark Rothko (1903-1970)
No. 9 (Dark over Light Earth/Violet and Yellow in Rose), 1954 photo credit: G. Starke on Flickr

In 1964, Rothko received a commission for a series of paintings for a non-denominational chapel in Huston, Texas – a space that was ideal for immersion in his stark, contemplative canvases. Unveiled in 1971, the paintings took 6 years to complete. However, sadly, Rothko never saw the culmination of the space. He committed suicide in his studio on February 25, 1970. He was 66.

Mark Rothko (1903-1970)
Black on Dark Sienna on Purple, 1960 photo credit: G. Starke  on Flickr

Making photos inspired by the art of Mark Rothko

Painting and photography are two different mediums, I know. There is a significant separation between the paintbrush and the camera (although there are some commonalities too). Creating photographic work inspired by Rothko’s paintings isn’t about mimicry, it’s about trying out different styles and techniques. While this article discusses ways to approach photography that reflects Rothko’s paintings, you don’t have to end up with an exact copy of Black on Dark Sienna on Purple, 1960 (I sure didn’t!).

Through the elements and principals of art and design, Rothko created work that communicates beyond seeing. Using the same principals, photographers can create work inspired by Rothko that challenges the viewer and plays with the concept of photography and visual arts.

Using color

When described solely as a colorist Rothko said, “if you are only moved by color relationships, you are missing the point.” Rothko used color as a path to realizing the unseen. Looking beyond the event of color as an optical phenomenon, Rothko constructed oscillating visions driven by our innate conceptions of color.

Like Rothko, photographers use color as a tool to convey an image beyond seeing. Our associations with color stem from experience and instinct. Emphasizing color over literal subject matter doesn’t just convey color relationships; it communicates emotion and ineffability.

Capturing photography imbued with color is simple enough, but may require a little exploration. Look for flat planes of solid or graduated color. Seemingly dull urban surfaces like doors, walls or panels come to life within the camera frame. Try to include as little objective evidence as possible, articulating the emotional charge of color without the disturbance of other visual detritus.

The color in this image breaks up space, conveying meaning through our inherent associations

Unfocused photography

Another way to exemplify color is through unfocused photography. Rothko created a visual vibration within his paintings by blurring the edges of his colors and forms. This effect can be re-imagined by unfocusing your camera lens (turn off Auto Focus first) before taking a photograph. Unfocused photography creates a painterly quality that emphasizes color over subject matter. Rather than taking pin-sharp photos, unfocused photography frees the edges of the components that make up a scene, creating a unique movement throughout the image.

Unfocused photography emphasizes color, creating a unique movement throughout the image

Rothko’s abstract expressionism

Although Rothko himself shrugged off classifications, his work is generally categorized as abstract expressionist. Developed in New York in the 1940’s, abstract expressionism refers to a movement of predominantly non-representative painters. Neither completely abstract nor completely expressionist, abstract expressionism encompassed a wide variety of styles and techniques. Overall however, the practitioners of abstract expressionism stood united in their desire to reinvent the nature of painting.

Abstract expressionism is understood today to be divided into two camps – the action painters and the color field painters. Considered a member of the latter, Rothko prioritized austere beds of color over the wild, diacritic mark. Rothko’s serene blocks generate an emotional aura predominately through shape, form, color and line. It’s these basic precepts that have translated into abstract photography.

Like abstract painting, abstract photography operates independently from depicting the objective. As a result, abstract photographers emphasize the non-objective, peeling back the literal to expose the bare bones of an image. Beyond language, abstraction investigates the visual, discards the literal and charges an image with potentiality.

Aerial photography cultivates abstraction through distance. Abstract macro photography closes in on a subject to reveal often unseen planes. Like Rothko’s paintings, what you exclude from a photograph is just as important as what you include. Turning your lens to strong shapes, forms, colors, textures and lines cultivates imagery that cuts through to the essence of visual language.

Abstract photography operates independently from depicting the objective

Movement

Through extensive layering, blending and blurring, Rothko manipulated hard-edged structures of color into stark, yet softly transcendent forms.

Intentional camera movement (ICM) uses the same principals of movement within a photograph. Through motion, ICM reduces a subject to shape, form, color, and line, creating an abstracted study of movement and light. Similar to painting, ICM involves the physical movement of the camera during an exposure. Also, like Rothko’s actions documented in the strokes of a brush, ICM creates an artwork that is visibly, inextricably linked to the experience of the photographer.

To take an ICM photograph, first, turn off autofocus and, if you have it, image stabilization. Set your camera to Shutter Priority, adjust your exposure time to around 1/2 of a second and turn your ISO down to the lowest setting on your camera. The longer your shutter speed, the more a subject will blur.

Point your camera at a subject, depress the shutter and physically move the camera. Once the shutter closes, review the result on your LCD screen. Your movement will register as blurred lines within the image.

The nature of ICM is that it is both simple and experimental – it takes some adjustment to perfect. Explore different combinations of subject matter, time of day, focus, shutter speed, aperture, and movement to create an image you’re happy with. Moreover, don’t forget to wear your camera strap!

Conclusion

Saying once that “the most interesting painting is one that expresses more of what one thinks than of what one sees,” Rothko shifted the way art is made and observed. Now, with the advent of digital photography, we have new ways to communicate visually.

However, Rothko’s reflections on the human spirit continue to resonate as a vital pause amongst visual loudness. Through his use of color, abstract expressionism and movement, Rothko’s work transcend artistic mediums, informing and inspiring contemporary practice today.

The post How Mark Rothko’s Paintings Can Inspire Your Photography appeared first on Digital Photography School. It was authored by Megan Kennedy.


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Review: Yongnuo 50mm f/1.8 lens for Canon – At just US$50 could this be the most affordable “nifty fifty”?

18 Mar

The post Review: Yongnuo 50mm f/1.8 lens for Canon – At just US$ 50 could this be the most affordable “nifty fifty”? appeared first on Digital Photography School. It was authored by Kunal Malhotra.

The 50mm f/1.8 lens, or as we call it, the ‘Nifty Fifty,’ is one of the most widely used lenses in the market. This is usually the first lens a modern digital camera owner desires to purchase after the kit lenses.

The reasons why this is the most popular lens are fairly simple – the first being affordability, and the second, the ability to produce pleasing bokeh.

In terms of affordability, the Yongnuo 50mm f/1.8 lens is ideally the cheapest Nifty Fifty. Priced at less than US$ 50, this is less than half of the Canon variant and works on APS-C as well as full-frame cameras.

However, the Yongnuo lens for Nikon costs around US$ 70 as it includes the focus motor. I recently bought one for my Canon 5D Mark iii, so I thought of sharing my views about this lens.

Build quality and ergonomics

The Yongnuo 50mm f/1.8 lens looks exactly like the Canon 50mm f/1.8 lens (discontinued version). The plastic used in the Yongnuo lens feels a bit cheaper though. Surprisingly, the rubber grip is smooth, and the ‘AF and MF’ switch is similar to Canon.

The construction of the lens consists of 6 elements in 5 groups and has 7 diaphragm blades – the same as the Canon variant. This Yongnuo lens is light to carry as it weighs only 120g – 40g lighter than its competitor. Overall the lens looks and feels good at this price point.

Focus speed and accuracy

I have been using this for almost a month now, during the day as well as night time. The focus speed is a bit slow as the lens hunts for focus, especially in low light conditions. If you are shooting stationary subjects, then it is fine, but if you want to nail the focus swiftly, then you might be disappointed.

Though the focus speed is not that fast, the accuracy is fairly good. It takes time to focus but when it does the focus is accurate. I would not recommend this lens for video shooters as it messes a lot with the focus. However, if you are a hobbyist and casually shoot portraits or still objects, this lens can do the job.

Sharpness and Image Quality

Before clicking photos using the Yongnuo 50mm f/1.8, I had much less expectation from this lens. To my surprise, this lens produced amazing sharpness and image quality. I did not compare it side by side with its competitor lens, but I am sure it is on par with it.

The few image samples that you see are all shot at an event during the sunset/evening time. The images are tad sharp, and the colors also look natural. I had done a test on vignetting performance, and at f/4 it was almost gone. This lens worked for me when I was shooting stationary subjects as well as when shooting performing artists at an event.

For me, the bokeh shape was a bit unpleasant at f/1.8, and I’m not sure exactly why. I used this lens at f/2.8 and achieved sharp and crisp images with minimum vignetting and shallow depth of field effect.

Conclusion

This lens by Yongnuo is for someone who has just started with photography or has a tight budget but still wants to achieve the f/1.8 look at 50mm. The focus speed is something that might irritate you, but once it focuses the image quality is quite impressive. I would suggest this lens to someone who shoots still subjects or portraits without much movement. If you are a wedding, event or a professional portrait photographer, you might be disappointed.

Have you used this lens? What are your thoughts?

The post Review: Yongnuo 50mm f/1.8 lens for Canon – At just US$ 50 could this be the most affordable “nifty fifty”? appeared first on Digital Photography School. It was authored by Kunal Malhotra.


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How to Improve Your Photography by Changing Perspective

18 Mar

The post How to Improve Your Photography by Changing Perspective appeared first on Digital Photography School. It was authored by Simon Ringsmuth.

Sometimes I find myself stuck in a bit of a photographic rut, and it seems like no matter what I do I just can’t quite find interesting subjects to take pictures of or compelling scenes to capture. Even worse, when I do think I’ve stumbled across something that would make a good picture, I’ll start clicking away only to be disappointed with the results.

One trick I’ve learned over the years to dig myself out of these pits is to change my perspective. By looking at familiar subjects from a different angle, or under a different light, I often find myself seeing it almost for the first time. It’s a fun exercise and doesn’t involve much effort. It can transform even the most boring scene or bland subject into something worth photographing and framing.

There is any number of ways you can change your perspective on things to get a good photo. I’m going to examine four of my favorite techniques and show you an example of each one. Hopefully, this gives you some ideas to try out on your own and start turning the mundane into something magical.

Look at the lighting

Not long ago I was walking around a pond near my work with my Fuji X100F when I stumbled across the following scene. As you can see, it really wasn’t much to look at whatsoever. I noticed two brown leaves among a sea of dull green leaves, but nothing stood out to me as photo-worthy.

A few minutes later the sun poked out from behind the clouds. I decided to take a look at this same scene from a slightly different perspective, and with a bit of a change in lighting as well.

Instead of shooting from above with the sun behind me, I shot from below with the sun behind my subject.

That simple change made a massive difference.

The result is one of my favorite leaf photos I have ever taken.

One morning in May, I used the same technique to get this shot of a butterfly.

I put myself in such a position that the sun would be behind this particular butterfly. It not only gave an incredible glow to its wings but made the dew on the grass glow and sparkle in a way that makes the scene seem almost magical.

Normally, I incline to take pictures like this with the sun behind me, not behind my subject. However, this was a good reminder that sometimes creative lighting choices yield amazing results.

You cannot overstate the effect that lighting has on your photos. Even the word photograph itself means to draw with light. Even so, I often think of lighting in terms of formal portraits or other contrived situations. It doesn’t immediately cross my mind to alter the lighting when I’m trying to capture casual shots in an interesting manner.

The next time you feel a bit of a slump coming on, try looking at everyday items and situations from a different perspective. A perspective where the light is altered, and see how it changes everything right before your eyes.

Another tip is to try creating your own lighting, like in the shot below. It is nothing more than a jar of pasta in my kitchen that I set on top of a flashlight. However, the result was something interesting and unexpected that brought a big smile to my face.

On a similar note, this purple vortex was shot using pretty much the same principle. It might look like something out of a movie or painting, but it’s just a plastic bottle with some purple water that I lit with a flashlight.

The original setup is far less dramatic and quite boring – not the type of scene that seems ideal for an interesting photo. However, with a bit of light manipulation, even scenes like this can result in a magical picture.

Get closer

When I first started taking pictures, I didn’t realize how much I could change the impact of my images by moving myself around a bit. Sometimes I would end up moving to shoot a subject or a scene from a different angle. However, the proverbial light bulb really lit up when I realized how moving closer to my subjects could have resulted in such a dramatically different outcome. This has come in to play when taking pictures for clients – such as this one that I shot at 190mm with an aperture of f/4.

The picture is fine on its own. However, when I moved closer, I found the resulting image more intimate and personal. It was almost like I had caught the two in a bit of a private moment. I shot this image at 150mm with an f/4 aperture. While the focal length was shorter, the image feels more comfortable and natural because I was physically closer to the couple.

I didn’t zoom in to get this shot – I zoomed out. But, I moved a lot closer to them. Not only did this give me a more personal picture, but it also helped the couple feel more comfortable with me. Instead of being remote and distant, I was now able to talk and joke with them. This enabled them to let down their guard and smile a bit more naturally.

Of course, the converse of this is true as well. Sometimes you might find that moving farther away can give you a better shot. The point is that a simple change in perspective can profoundly impact your pictures. Also, if you are working with people, it can change the entire mood and tone of the photo session as well.

Re-frame your subject

When you don’t want to move back and forth but you want to kick your pictures up a notch or two, try moving your subject around. Such that they are in a slightly different spot with slightly different surroundings. Take this photo from a maternity session as an example. The expectant mother is in a garden leaning against a brick outcropping.

Like the couple in the earlier example, this picture is fine on its own, but it feels like it’s missing something. By moving my subject to a nearby flower bed and shooting a similar photo, we were able to add an entirely different dimension to the photo. As a result, I captured an image that feels much more personal and intimate despite a similar pose and expression.

A simple re-framing of the subject, and even adding foreground and background elements, can have a huge impact on the resulting images and the story you want to tell or emotions you are trying to convey. This works with more than just people too, such as this image of the moon. It’s not bad. The subject is sharp and in focus. However, the picture isn’t all that compelling. It’s just a big white circle against a black background. As a result, the image is somewhat lifeless and uninteresting.

Now contrast that image with another one that I captured months later just after sunset. This time I composed my shot so there would be some tree branches in the foreground. This simple compositional decision made the final image far more compelling than just a shot of the moon in the sky with nothing else around it.

Above and below

There is one final tip that can help make your pictures a lot more interesting (or just more fun to look at). Examine your subject or the scene from a vantage point that’s either much higher or lower than you might be accustomed. That may involve climbing up on a ladder or crouching down to the ground. The more creative you can get, the more compelling your results can be.

These two shots are the same sleeping infant. However, I took one from a very low angle and the other from directly above. Neither one is better or worse than the other, and that’s not the point. Instead, both pictures showcase the same subject in different ways. Thus, they convey different meanings to the viewer.

The same scene from a different angle feels more personal and intimate, even though almost nothing about the baby has changed.

On a similar note, I did a family photo session for some clients recently where they wanted a picture of all their hands together. After discussing some ways to accomplish this, we decided to shoot the hands from above. It involved a tall ladder, and all the family members crowded around a tree stump. They were thrilled with the result.

It all came about because I shifted my vantage point to directly above instead of my normal inclination to take photographs from my eye level.

Finally, one more example involves nothing more than a washing machine that my father had rigged to run with the lid open. I held my camera directly above to get this picture of the spin cycle in action.

While it may not be as special as an infant or three generations of hands together, it’s an interesting image of a familiar situation made possible by shifting perspectives.

Hopefully, these images give you a sense of what’s possible by changing a few simple things with your photography. You don’t need expensive gear or fancy studio setups to accomplish some interesting results. Often you just need to adjust your viewpoint or find ways to use the light differently.

I’d love to see some of your examples and read your tips on this same idea. If you have any thoughts or images about this, please share them in the comments below!

The post How to Improve Your Photography by Changing Perspective appeared first on Digital Photography School. It was authored by Simon Ringsmuth.


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