Category: Photography

Essential Family Photo Session Preflight Checklist

When preparing for a family photo session, there are plenty of things to keep in mind. Such as: making sure you know what time to meet, where you are going to do the shoot, and having all your gear handy. However, even the most seasoned family photographer can overlook some items from time to time though.

For people who are new to this type of work, it can be a headache trying to keep track of all the little things that can make or break a portrait session. A simple solution is to borrow a technique from the aviation industry known as a Preflight Checklist. Creating a checklist makes all the difference between happy clients and photographic disaster.

A Preflight Checklist is a list with various items on it that you can physically check off. Pilots use them to make sure everything is in order before taxiing down the runway, and photographers can use them before they start snapping photos.

You could create one on your phone with any note-taking app, but I recommend a physical Preflight Checklist. Since you can keep it in your pocket, you don’t have to worry about accessing apps or unlocking your phone. You can also hand it to someone else if you need another pair of eyes to check it over.

Some of the items on a photographer’s Preflight Checklist might sound relatively obvious, but it’s a good idea to keep one handy to make sure you have everything in order. Simple mistakes can make or break a photo shoot, and it doesn’t hurt to double-check that you have every little thing set – especially when dealing with families and children.

Following are the items I advise you to put on your checklist. You may want to customize it to suit your needs and possibly even create your own from scratch using a word processing program. I have included explanations for each item on this list. You could remove them to save space and focus just on the items and not the rationale for including them.

Checklist items

1. Format Your Memory Cards

Each photo session should use fresh memory cards. The best way to do that is to format them using your camera. Doing a complete reformat, using the instructions provided in your camera’s manual, is preferred over merely deleting the pictures one-by-one. Doing a complete reformat resets your memory card to a fresh state. Deleting pictures can leave certain bits of data intact that, over time, could cause problems and make it more difficult to recover images in the case of a card failure.

2. Charge All Batteries

Charging your batteries may seem painfully obvious, but most photographers have been in at least one situation where they forgot to bring fully-charged batteries to a session. Having this on a checklist ensures that this doesn’t happen to you.

This engagement session lasted quite a while, but luckily I remembered to have plenty of fully-charged batteries. I almost forgot though, which would have spelled disaster for the entire shoot.

3. List the Camera Gear You Need

You probably don’t need to bring all your camera gear to every photo shoot. Having a checklist for family photo sessions (or other types of sessions, such as sports or weddings) is an excellent way to ensure nothing gets overlooked. This list should include camera bodies, specific lenses, flashes, filters, even specific equipment like camera straps and lens cleaners. Don’t just assume you will remember to bring these! Having them on a checklist can save you from a big disaster during the photo session.

4. List the Accessories You Need

Accessories can include something to write with, something to write on (such as a clipboard), blankets for people to sit on, benches, footstools, and even stepladders (depending on the location and situation). Be as detailed as you like with this. It may help to have different accessories listed for different types of sessions such as pictures involving young children, or elderly grandparents.

I was so focused on getting the gear I needed for this shot that I nearly forgot to bring a blanket for this baby to lay on.

5. Edible Items

It never hurts to have food or snacks on hand. As well as pacifying fussy kids or calming nervous parents, it sends a message to your clients that you know what you are doing and have their needs in mind. Chewy granola bars, single-serve packs of fruit snacks, and bottles of water all come in handy at photo sessions. The clients appreciated it too. Just be sure to avoid food that leaves crumbs or stain clothes!

6. Specific Types of Shots

Wedding photographers know this well, but some family photographers can easily make the mistake of forgetting specific shots in the hustle and bustle of a session. Write out the shots you want (i.e., Mom and Dad, Mom and kids, Dad and kids). Consult with the family beforehand to see if they want anything unique to their shoot. Even if they don’t have something in mind, they may appreciate that you asked for their input.

The family specifically requested this type of shot, so I made sure to include it on my checklist.

7. Specific Poses

It’s easy to get lost in the shuffle and chaos of a family photo shoot only to realize afterward that there were certain poses you wanted to get. Or worse, certain poses your clients requested that slipped your mind. Once, I looked through my photos in Lightroom after a session. I banged my head against my keyboard because I forgot to get a shot of the parents holding their daughter or all the brothers in one group.

If you take more of a freeform approach to your sessions, you might not be too concerned about certain poses. However, if you want to cover your bases, putting your poses in your checklist is a great way to get the ones you want.

8. Clear the Pockets

If I had a dollar for every time I looked through pictures from a photo session only to realize that someone had keys, a giant cell phone, a glasses case, or other sundry items sticking out of their pockets, I’d be a rich man. These types of imperfections can land an otherwise frame-worthy photo in the rejection bin. Alternatively, it requires hours of postprocessing to fix.

The easiest solution is to have clients empty their pockets before you start taking pictures. Family sessions can be so hectic that it’s easy to overlook. Put this item on your checklist, and you’ll be all set.

I forgot to use a checklist on this photo shoot. As a result, I didn’t think to have everyone empty their pockets. Even though the family was very pleased with their pictures, the phone and handkerchief are glaring mistakes that could have been easily avoided.

9. Clothing Check

Similarly to pocket-clearing, this one is an easy fix but can cause you to pull your hair out in post-processing if you forget. Make a note on your checklist to see that shirts are tucked in, collars are down, and ties aren’t sticking into belts.

10. Names

Names are last, but it’s one of the most important things to remember. It can make the difference between a one-time client and years of repeat business. Leave space on your checklist to write all the names of your clients and take a bit to rehearse them before your clients show up. This helps to avoid an awkward scene when directing a person to stand somewhere or put a hand on another’s shoulder, but you can’t remember their name. Nothing says unprofessional like barking out, “Hey you over there, move your hand!” Write your clients names down and use them during the photo session as much as possible. It helps the entire event to run smoother.

There were a lot of names to keep track of during this session, but writing them down on a checklist was an easy way to help me remember.

Every photographer is going to need different items on his or her checklist. Hopefully, these give you a good idea of where to start. Creating the list is as simple as opening up a word processor and starting a bulleted list. Once you have a basic one created, you can fine-tune it to meet your needs on each shoot. It might seem like much work to create a checklist, but in the end, it saves you far more time than you might realize. You create better results for your clients too.

If you’d like to use my checklist as a template, you can download it here. I strongly recommend using this as a starting point and adding, removing, or changing the items to suit your needs.

Do you already use a Preflight Checklist or other such devices to help you with your photo sessions? If so, what do you put on it? I would love to hear your thoughts in the comments below, and I’m sure other photographers would as well.

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Digital Photography School

November 26, 2018
How to Use Complementary Colors for Color Correction of Your Images

Two days before my wedding, I got sunburnt on a fishing trip. It was also my bachelor party.

Al Shallal Ice Rink in Jeddah, Saudi Arabia – before color correction

Al Shallal Ice Rink in Jeddah, Saudi Arabia – after color correction

My wife’s cousin, the makeup artist for the big day, took one look at my bright red nose and dragged me into a changing room. She sat me down and pulled out a jar of green powder.

“Is that green powder?”

“Yep – green is the opposite of red on the color wheel, so this cancels out some of that shine.”

Those probably weren’t her exact words – but it was something like that. However, it stuck with me. She added a dash of green powder and my nose was slightly less red.

Using Complementary Colors for Color Correction

We are always striving to use color theory in new and captivating ways. Using complementary colors in your images, and creative adjustments to color balance and split toning can take your images to the next level. You most likely adjust white balance, including temperature and tint, somewhere at the start of the editing process. The ‘Temperature’ slider gives your images a cool or warm tone. The ‘Tint’ slider gives a green or magenta tint.

You use these sliders to add to the overall mood and tone of the image. Those values are fine-tuned throughout the editing process while making other adjustments. Recently, I made use of my knowledge of color theory (and that critical lesson on my wedding day), for an entirely different purpose.

Lightroom White Balance Slider at Default Settings

I currently live and work in Saudi Arabia. To the surprise of many people, I also play ice hockey out here for The Red Sea Sabres. We practice in Jeddah and play in international tournaments every year. On Saudi National Day, our team was invited to play in a friendly scrimmage against the re-emerging Saudi National Team. It was part of an effort to showcase ice hockey in The Kingdom (the details of the entire story are in the blog post linked in my bio).

When we arrived at Al Shallal Ice Rink, the ceiling lights had been tinted green in honor of the Saudi Flag. There was also a large mist looming over the entire ice surface. It was kind of like playing ice hockey on Venus. We were also part of a larger ice skating and Saudi National Day showcase, and there were heaps of photographic opportunities everywhere I looked.

Shooting backstage was fine, as you can see from the before and after images below that have only a few adjustments to the RAW cuts. However, backstage was under ‘normal’ fluorescent lighting and not the green tinted light hanging over the ice.

Original RAW file

And after minor corrections in LR

Tint Slider

My import screen filled with heavily tinted green photos.

You may already add small amounts of tint to your images for artistic purposes or to balance color after shooting under lighting conditions that cast an unwanted tint to your images. However, I had never seen anything like the RAW files I captured that night. As I watched my import screen fill with a tapestry of heavily tinted green photos, one word popped into my head…’magenta.’ I moved the tint slider toward the magenta side of the spectrum and the green cast faded.

Before the ice hockey scrimmage, an ice skating exhibition took to the ice – before color correction.

And after color correction.

Usually, I don’t go above +20 on the magenta slider, but the photo above required +130!

Split Toning

To help adjust skin tones and overall colors of jerseys and ice, I adjusted the split toning to add even more magenta to the image. However, I struggled to fully-correct the skin tones, but they looked better than the pale green faces staring back at me on import!

‘Split Toning’ helped remove more unwanted green from skin tones and even out the color of the ice.

Some of the images required a tradeoff. As with the image below; the foreground is backstage under fluorescent lights, and the background is on the ice under green colored lights. You can see that the player’s skin tone is off from the heavy magenta tint on his neck. However, it’s such a compelling image I allowed the tinted skin tone in exchange for the overall shot to be balanced.

This image could be further corrected in Photoshop using a localized correction on the player’s neck to correct his skin tone further.

Conclusion

Color, mood, and tone have a dynamic relationship in every image. If you are a self-taught photographer like me, you probably missed out on formal training in color theory. I have a picture of the color wheel on the wall in my editing office. That way, I am always reminded of the subtle but powerful difference using complementary or anchoring colors can add to an image. Alternatively, in this case, how adding a significant imbalance to one side of the spectrum can rescue images.

If you have been challenged by colored lighting conditions or have some images you’d like to share with us, please do so in the comments below.

The post How to Use Complementary Colors for Color Correction of Your Images appeared first on Digital Photography School.

Digital Photography School

November 25, 2018
Using Photoshop Filters During Post-Processing to Correct and Enhance Images
When you think of filters in photography, your first thought might be those specialized glass pieces you affix to the end of your lens. Most of these filters serve a specific purpose (e.g. a polarizing filter to reduce glare), although some are for artistic effects (e.g. colored filters).

But if you want to apply artistic/special effects in post-processing, Photoshop has a number of filters you can apply during this stage of your workflow. They can also be used to clean up or retouch images.

Recommendation

When working with an image, it’s good practice to work non-destructively (i.e. you don’t change the pixels). Using Photoshop filters directly on a pixel layer will change the pixels, so wherever possible you should use Smart Filters.

A Smart Filter is a filter that’s applied to a Smart Object – a layer that saves the image’s source information with its original characteristics and allows you to edit non-destructively. So before you start applying filters, convert the layer you’re working on to a Smart Object.

Note: Depending on your version of Photoshop, you may not be able to apply some filters as Smart Filters.

Filter Gallery

The filter gallery in Photoshop gives you quick access to a number of filters. From the menu choose Filter, and then Filter Gallery to view them on the screen. It’s an easy way to see the effect a filter would have without changing the original image. Here you can apply one or a combination of filters to your image.

The easiest way to understand what they all do is to select each one and look at the preview. It’s a simple artistic edit that can come in handy when used selectively.

The Filter Gallery showing the options that can be applied.

Adaptive Wide Angle Filter

This is also available in the Filter menu and can be useful for correcting distortion issues resulting from wide-angle or fisheye lenses. These lenses sometimes introduce curves that weren’t actually there. You can also use the adaptive wide angle filter to straighten lines that appear curved in panoramic shots.

To straighten a curved horizon, click and drag from the left side of the horizon to the right. This adds a blue line (called a constraint) around the area of distortion. The constraint marks the area and straightens it.

An image taken with a fish-eye lens

This filter has a number of correction types:
- Fisheye corrects those extreme curves made with a fisheye lens
- Perspective corrects converging lines resulting from your angle of view or camera tilt
- Full Spherical corrects 360-degree panoramas with a 1:2 aspect ratio
- Auto applies what Photoshop deems an appropriate correction
Image adjusted using Adaptive Wide Angle filter

Note: The Panorama correction type is also available if you apply this filter to a photomerged panorama.

Lens Correction

The Lens Correction filter fixes different kinds of distortions. Similar to the Adaptive Wide Angle filter, it remedies distortion created by wide-angle and fisheye lenses. It can also straighten images taken at an angle and make them appear as if shot straight on. One of the great things with this filter is you can choose to either manually correct the image or have Photoshop correct it automatically.

Angled image.
- Geometric Distortion is another easy way to remove a fish-eye effect.
- Chromatic Aberration can remove any colored fringes around your subjects on high contrast edges.
- Vignette does a good job of adding a vignette.
- Transform gives you sliders to help you correct perspectives, with options for vertical and horizontal perspectives, as well as rotating to compensate for camera tilt.
Edited with the Lens Correction filter.

Liquify

The Liquify filter can be used to push and pull pixels around and is one of the most powerful filters under the Filter menu. You may associate liquify with body transformations, but it can do much more than that.

Within the liquify filter menu, the forward warp tool (at the top left) is the most popular. The key to using this tool successfully is to use a brush size slightly larger than you think you need. You should also use a lower pressure brush (for more subtlety) and increase your density (to affect a bigger area within your brush circle).

The Liquify Tool used to reshape a piece of fruit.

Vanishing Point

The Vanishing Point filter brings an image in line with the perspective of another. For example, if you want to composite a picture frame into a room, this filter will help you match the perspective of the frame to any wall in the right perspective.

Third-Party Filters

Photoshop lets you easily add hundreds of third-party filters (available via plugins) to your arsenal.

These can help you make the most of your images or get super creative. Many simplify the steps Photoshop is capable of achieving so you can perform them in a shorter time. Some of these include the Nik Collection, Topaz and ON1.

Above Image with two Nik filters applied: Paper Toner and Vignette

Conclusion

Using Photoshop Filters is an easy option if you want to get creative. Photoshop has a few standard ones you can experiment with, and stacking them can create a unique image.

Which filters do you use? Share some of your results with us.

The post Using Photoshop Filters During Post-Processing to Correct and Enhance Images appeared first on Digital Photography School.

Digital Photography School
November 24, 2018
Weekly Photography Challenge – Abandoned

This week’s photography topic for our weekly challenge is ABANDONED!

Abandoned truck NZ by Caz Nowaczyk

I have a fascination with things that are abandoned and left to decay. There is a sense of history that comes with things that are left behind.

Think urban decay, abandoned buildings (interiors and exteriors), abandoned cars, or anything that has been discarded.

Burnt out abandoned vehicle by Caz Nowaczyk

Check out some of the articles below that give you tips on finding and shooting Abandoned pictures.

How to Photograph Abandoned Places

25 Dilapidated Images of Urban Decay and Grunge

Urban Exploration Photography – Urbex

Photography Weekly Challenge – Abandoned

Simply upload your shot into the comment field (look for the little camera icon in the Disqus comments section) and they’ll be embedded for us all to see. Or if you’d prefer, upload them to your favorite photo-sharing site and leave the link to them. Show me your best images in this week’s challenge!

Share in the dPS Facebook Group

You can also share your images in the dPS Facebook group as the challenge is posted there each week as well.

If you tag your photos on Flickr, Instagram, Twitter or other sites – tag them as #DPSABANDONED to help others find them. Linking back to this page might also help others know what you’re doing so that they can share in the fun.

Dumped mattress in floodwaters by Caz Nowaczyk

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Digital Photography School

November 24, 2018
$400 Camera VS $4,000 Camera – Can a Professional Photographer Spot the Difference?

In this video, Peter McKinnon asks the question “Can a professional photographer tell the difference between a $ 400 camera and a $ 4,000 one just by looking at the pictures?”

?

Watch the video, and take a look at the images shot with the Canon Rebel and the Canon EOS R. Can you tell which is which?

Can you really take professional photos with an entry level camera? Can you be a professional photographer on a budget or do you need to spend thousands of dollars on professional gear?

You may also find these articles helpful:

Shooting Portraits Like a Pro on a Tight Budget

A Look Inside the Bag of a Hobby Photographer on a Budget

10 Tips for Creating a Photography Kit on a Budget

Small Budget Photography: Lenses

Beginners Guide to Different Types of Digital Cameras

What cameras do you use for your photography work? Are you achieving great photos with less expensive gear? Share with us in the comments below.

The post $ 400 Camera VS $ 4,000 Camera – Can a Professional Photographer Spot the Difference? appeared first on Digital Photography School.

Digital Photography School

November 23, 2018
Black Friday and Cyber Monday Photography Deals

It’s that time of the year – if you’re looking for a good deal, then you’re sure to be on alert for the next few days! We’re taking the opportunity to re-launch two of our popular courses for the year with some big savings and great bonuses.

31 Days to Becoming a Better Photographer Course – Save $ 200

This course only opens a few times a year and is currently our only instructor-supported course with a dedicated Facebook group. Students have direct access to photographer Jim Hamel for 3 months, and they love it!

I have taken other on-line courses and found them not to as comprehensive as 31 Days to Becoming a Better Photographer. Since I took this course may photography has reach a whole new level. I am more confident in my camera settings; I have learned how to look and analyze the scene before I take the shot and not to be afraid to experiment. The concept of doing a daily photo after each lesson helps to put into practice what you have just learned. Jim Hamel is a wonderful instructor and I like that he is available for questions and answers back quickly. I have recommended this course to others that are just beginning. I also love the Facebook Group. It is such a supportive place for not just beginners but for photographers of all levels as we can always learn from each other.

Bett Cox

Canada

Usually $ 199, we are repeating the original launch special of just $ 49. And, if you buy in the next few days you’ll also get a $ 50 credit to spend on our Landscape & Nature Photography course below. But you don’t have to spend it now, because we know you’ll want to do the 31 Days course first – so we’re letting you claim it up until the 31st of March 2019.

Act quickly if you want to get into the next intake of 31 Days to Becoming a Better Photographer because the will doors close for registration in less than two weeks. It’s one of the best ways to get your photography kickstarted for 2019.

Learn More?

Ready for something a little more challenging now?

Landcape & Nature Photography Course – $ 237 in Bonuses

This was another popular video course we launched earlier this year with some great bonuses offered by instructor Johny Spencer.

Exactly what I was looking for. Johny has a unique Aussie way about him and his enthusiasm comes through. Easy to follow and I can take all the information in during my own time. Good length individual segments. My equipment and photographic knowledge is vastly improved now I’m ready to get out there and try with confidence. A very worthwhile investment.

Bill Vincent

Now the bonuses are even better with the addition of 15 landscape and nature video masterclasses worth $ 150 (previously only available via his community membership). But you’ll need to be quick to grab this and two other bonuses during the Black Friday and Cyber Monday sale. And if the bonuses were not enough, we’ve also taken $ 50 off the course fee too.

Learn More?

Looking for Photography Gear Deals?

We took a quick look at what Amazon is offering. We get a commission if you buy anything through our links below, at no extra cost to you.

There is a big sale happening in their Camera, Photo and Video section. Their specials are changing all the time so do check back later to see what else they’ve added. Or take a look at our most popular digital cameras and gear page for some hints as to what others are buying. Many of the cameras listed there are currently on sale at Amazon too.

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Digital Photography School

November 23, 2018
5 Tips for Capturing Nature Across Different Seasons

Taking photographs of nature can be an incredibly rewarding experience. During the year the change in seasons provides you with wonderful photo opportunities to capture the variety of nature subjects on offer. Here are some tips for capturing nature across the different seasons.

Lavendar, Provence, France

1) Shoot The Same Location in Different Seasons

You may have a favorite location that you like to visit. For example, it could be a local woodland, a landscape or a place of interest you enjoy visiting during a holiday. When visiting there, you may find the scenery looks unique at different times of the year. The changing seasons mean the conditions may vary dramatically from one period to the next. Snowfall in winter makes way for spring flowers and lush green vegetation in the summer, which can have a significant effect on the look and feel of your image.

Frosty sunrise, Kings Sutton, Oxfordshire, England

Frosty sunrise, Kings Sutton, Oxfordshire, England

A blanket of snow or frost transforms the landscape, giving the most mundane subjects, such as your favorite tree, some magical appeal. While winter provides a striking and crisp scene, spring’s greens and blues can give a more vibrant and colorful image. I recommend you return to your favorite place, observe the scene during a few different seasons and capture the seasonal changes.

2) Shoot More Sunrises and Sunsets in Winter

One significant advantage of photographing nature during winter is that sunrise and sunset times are more favorable than in summer. Many people prefer to spend the colder months of the winter season indoors. However, this is a great time to head outdoors while the days are shorter and timings are better than the rest of the year. Later sunrises allow you more sleeping time, and earlier sunsets mean you do not have to wait around for hours to capture it.

3) Capture the Season of Changing Colours

Autumn is a magical season to be out with the camera and is the favored time of year for many landscape photographers. The season brings a fantastic variety of warm and vivid colors. You can capture a variety of subjects during the fall from woodlands to foliage and wildlife.

Consider the light and decide what you want to capture. You could zoom in on the leaves, or find a striking scene that is well lit. You can also shoot into the sun and work with backlight to create a dynamic image.

4) Capture the Changing Light

The Black Mountains, Brecon Beacons

Dramatic lighting and changes in weather occur at any time of the year. Striking storm clouds replace sunny spells in an instant providing fantastic subjects for your nature photography. I find that during the summer months, storms can be very dramatic and give great moments of fleeting light. Passing rains can give way to radiant glows and if you are lucky – beautiful rainbows. I captured this scene in June while out walking. The change in light that occurred as the sun re-emerged after a considerable downpour was wonderfully atmospheric.

I recommend capturing the change in light during autumn and winter seasons too, as the sun stays lower in the sky compared to the summer. Thus, providing longer shadows with which to play. The height of the sun can make an image look very different in the winter compared to the summer. In winter the sun strikes the scene from a lower angle making the overall composition and lighting unique.

5) Capture the Seasons in All Weather

Come rain or shine you should go out with your camera to capture the various seasons during all weather conditions. Don’t be discouraged from venturing out with your camera if it’s raining outside or the skies are grey and leaden. There may be breaks in the weather, and the rain eventually stops. Mist can often form after periods of rain making an attractive scene to photograph.

Misty landscape, Northern Ireland

If the rain is persistent, think of other ways to photograph the adverse weather. Photographing abstract scenes, water droplets, and close-ups of flowers or fresh water on lush landscapes can work. Waterfalls look good with overcast skies, and additional rainfall adds beauty with more water.

Conclusion

In summary, capturing nature in different seasons can be very enjoyable at any time of the year. Photograph your favorite place in changing seasons, take advantage of early winter sunsets and capture the changing light in all weathers.

Whatever Mother Nature serves you next, get out there and capture the fantastic changes in our beautiful world in all its seasons. Once you do, please share your images with us below.

The post 5 Tips for Capturing Nature Across Different Seasons appeared first on Digital Photography School.

Digital Photography School

November 23, 2018
Advantages DSLRs Have Over Smartphones, and Why They’ll Always Have Them

I love watching the annual press events of Apple, Google, Samsung and others where they show off their latest high-tech gadgets, including mobile phones. With each new iPhone, Pixel, and Galaxy they seem to repeat a common refrain: “And the camera is the best one ever in a smartphone”.

Are DSLRs fading away with modern advances in smartphone camera technology? Or are they primed and ready for an entirely new life?

Mobile phone cameras are mind-blowing marvels of modern technology. With some of the tech showcased in the recent Pixel 3 announcement, you might be wondering if traditional DSLRs and mirrorless cameras are even relevant anymore.

The answer is more complicated than you might think.

Before you get too deep into this post, I want to make one thing abundantly clear. No-one can tell you which camera is best for you. If you have a 3-megapixel point-and-shoot that does what you want, then, by all means, keep using it and don’t let anyone stop you. Also, if your smartphone takes selfies and Instagram-worthy photos of your morning coffee, then keep snapping away.

In this article, I’ll be looking at some advantages traditional cameras have over smartphones. However, I won’t be telling you which one to buy, and I certainly won’t be telling you to stop using the camera you already have. Too often, the point is missed entirely when people get caught up in silly arguments on internet forums and message boards about whether such-and-such camera is better.

It’s important to know the advantages and disadvantages of different cameras, so you have enough information to choose one that best suits you and your needs. However, please don’t think I’m trying to tell you what you should or shouldn’t buy.

In almost every way I can think of, modern smartphones can take incredible images compared to those from just a few years ago. These days they have real-time HDR, depth mapping, background separation, multiple lenses, machine learning, portrait mode, selective bokeh adjustment, and even computer-assisted sub-pixel digital zooming. It’s enough to make even the most staunch DSLR owner feel a tad envious.

Still, don’t toss out your Canon or Pentax just yet. DSLRs and other traditional cameras have a treasure trove of advantages no current smartphone can match, and some features they may never be able to achieve.

Lens Selection

What’s the essential advantage of DSLRs over smartphones? I couldn’t tell you, but lens selection would undoubtedly be near the top of the list. Despite all the advances in smartphone photography in recent years, some laws of physics and photons are only overcome when switching lenses like a traditional camera. Most mobile phones have lenses roughly equivalent to a 28mm lens on a full-frame DSLR, although some dual-camera models roughly mimic a 50mm field of view to try and recreate professional-style portraits. Even though you can get adapters (such as the Olloclip) that let you do some creative experimentation, they rarely hold up to dedicated lenses mounted on interchangeable-lens cameras.

By comparison, DLSRs can use hundreds of different lenses, each designed for specific photography needs and situations. No matter what you need from a DSLR, there’s a lens that does it – from wide-angle primes and telephoto zooms to basic kit lenses, tilt-shift, and specialized macro lenses.

A photo like this, which requires a telephoto lens with a wide aperture, isn’t currently possible on any smartphone (and may never be).

The AI-powered tricks and computational somersaults modern cell phones are capable of can work wonders for different photographic situations. But when it comes to choosing the perfect lens for the job, smartphones simply can’t compete. If you want to shoot close-up images, far-away wildlife, fast-moving sports or pleasing group portraits, your mobile phone will probably come up short. Sure, you can’t install apps on most DSLRs. But you can change out lenses which, when it comes to photography, is infinitely more useful.

The portrait mode on mobile phones is amazing. But it doesn’t come close to what you can achieve with a portrait lens on a DSLR or mirrorless camera.

Customizable Settings

While phones can produce amazing photographs in lots of different conditions, you’re fairly limited in terms of settings. You usually can’t change the aperture or focal length (and no, digital cropping is not the same as changing focal lengths). All you can really control are the ISO and shutter speed, and the native camera apps rarely even let you do that much.

When you press the button to take a picture on your phone, you’re letting the computer do most of the thinking it terms of white balance, shutter speed, ISO, and even which part of the image should be properly exposed.

One of the biggest selling points of DSLRs and other dedicated cameras is that (while they have auto modes that do much of the heavy lifting) they have manual modes that let you choose everything – aperture, shutter speed, ISO, and even the focal length if you’re using a zoom lens. Admittedly, not everyone wants that much control, and you can choose to shoot in auto or semi-auto if you want. But having such fine-grain control is a huge advantage over smartphones.

I could choose a slow shutter speed to get this shot on my Fuji X100F, whereas most mobile phones would have used a much faster shutter speed resulting in a vastly different image.

Smartphones and the software that powers them are so advanced and sophisticated that people are perfectly happy letting them make the decisions and do most of the heavy lifting. But if you want more control you won’t get it on a mobile phone. Even the dedicated camera apps run up against physical limitations such as focal lengths that can’t be changed.

There are times when the photo you want to take isn’t the photo your camera wants to take. In those situations, a dedicated camera will let you change aperture, shutter speed, and ISO to get the exact photo you want.

I shot this image at 200mm, f/2.8, ISO 100, and 1/4000 second, which is impossible for any mobile phone.

Low-Light Shooting

DSLRs will always have the advantage over mobile phones in low light due to the way camera sensors collect light. Larger sensors mean larger photosensitive sites, which means they can capture more information about incoming light when there isn’t a lot of it.

At Google’s recent Pixel 3 announcement they demonstrated a feature that vastly improves its low-light shooting. But it only works with still subjects. It also runs into the same limitations all mobile phones have such as fixed focal length and limited options for changing settings.

I took this deep under the earth in Mammoth Cave National Park, 23mm, f/2.0, 1/20 second, ISO 6400. While some phones could have taken a shot similar to this they would have needed much longer shutter speeds, which would make the people a blurry mess.

Try it for yourself to see what I mean. Even with the best night-mode options on the newest mobile phone, you’ll still struggle to get clear shots of moving subjects. It’s great if you only require pictures of static compositions such as buildings or parked cars. But if you want to capture shots of kids, animals or anything that moves around, your mobile phone will probably leave you wanting more.

As the technology advances, low-light photography on mobile phones will improve. But there will always be physical limitations inherent in the platform that DSLRs and mirrorless cameras simply don’t have to deal with. Much of it stems from their larger image sensors, which collect much more light data per pixel. But the fact cameras let you specify the ISO value you need to get the image you want is also a big advantage.

Model train in a dim basement, shot at 50mm, f/2.8, 1/60 second, ISO 3200.

Not Quite There… Yet

I’m a big believer in the promise of computational photography in mobile phones. If the best camera is the one you have with you, then for hundreds of millions of people around the world their mobile phone is the ideal choice. But even with all the rapid advances in technology, there are still plenty of reasons to own a traditional camera.

If you have one that’s been relegated to a dark closet or dusty shelf and replaced by a high-tech mobile phone, get it out and see what it can do. The results may surprise you and have you wanting to use it more and explore the possibilities it offers.

What about you? What are the advantages of using traditional cameras that keep you coming back to them time after time? I’d also like to hear your thoughts about mobile phones and the technology they offer photographers.

One thing is clear. No matter where you stand on this issue, we certainly live in exciting times for photography.

The post Advantages DSLRs Have Over Smartphones, and Why They’ll Always Have Them appeared first on Digital Photography School.

Digital Photography School

November 22, 2018
Center Field – 9 Acceptable Ways For Breaking Rule of Thirds in Photography

When starting, most photographers tend to shoot all subjects center-frame. As they learn more about photography and composition, they learn that centering a subject is not appealing and that they must follow the ‘Rule of Thirds’ to have a good composition. What if I suggest breaking Rule of Thirds?

The Rule of Thirds

The Rule of Thirds is taking a frame and dividing it into three equal sections both horizontally and vertically, creating a rectangular ‘tic-tac-toe’ box. Framing a subject so that it falls on one of the four intersecting points of that box can sometimes make an image more appealing to a viewer engaging with it.

Implementing the Rule of Thirds.

While you may not perfectly frame your subject to fall within one of those four points, if your subject falls on one of the four internal lines within the box, in most cases, it still gives a better appeal than a centered image.

When It’s a Good Idea to Center Your Subject

1. Centering as a Compositional Tool

Placing your subject dead-center can work to your benefit if the subject still tends to comply with the Rule of Thirds guideline. Such as, when more than one point of focus falls on more than one line within that ‘Rule of Thirds’ box as shown in the image below.

The sets of pillars fall on one of the two vertical lines in the frame according to the Rule of Thirds even though the entire image is centered.

2. Place Focus on Your Main Subject

Sometimes when there is a busy foreground or background, placing your subject dead-center helps to draw the viewer’s attention to it. While the image below shows much texture, centering the stool brings focus to it.

Bring better focus to a subject by centering.

3. Emphasize Symmetry

You may sometimes run into a subject that has a symmetrical value to it. The item could include columns at a building’s entrance, a person’s face or something with repetitional characteristics. Centering the subject, in this case, allows the viewer to relax because the order in the image makes sense.

This nonsymmetrical image is not as appealing as the image below.

In the next image, there is a sense of order due to the equal number of pillars to the right and left of the fountain, producing symmetry.

This image represents symmetry.

4. Draw the Viewer’s Eye Inward

One of the most common goals for a photographer is to draw a viewer’s attention into the image instead of out of it. Straight roadways, paths, or sidewalks are great examples that keep your viewer’s attention within the frame – by drawing the eye inward.

The hall and chandeliers are centered taking the eye inward into the photo.

5. Create a Sense of Size and Space

Centering a subject can often showcase its size, especially when surrounded by people, buildings or other objects that serve as a comparison. Such as in the image below.

Centering a subject can sometimes emphasize the size of a subject.

Centering a subject can also give a sense of space. A good example is when there is water or cityscape in the foreground of an image and a clear sky in an upper part of the image. See an example below.

Centering the Eiffel Tower in this image works to show a sense of space.

6. Square Image Format

A great way to justify centering an image is when you use the square image format. A square has all equal sides in length, so placing a subject dead-center works well. I also like it because, in most cases, it’s an equal distance from the subject to all edges of the sides.

Centering the Eiffel Tower in this image works to show a sense of space.

7. Shooting With Shallow Depth of Field

When you open up your aperture and shoot with shallow depth of field around your subject, it creates a more three-dimensional feel, adding depth to your image. In this case, centering your subject works because it washes out distraction around your subject, as in the image below.

Shooting with a shallow depth of field.

8. Overcoming Location Difficulties

Sometimes the location of a fixed subject makes it difficult to capture a stunning shot. During these times try to get creative, as I did in the image of the clock at Grand Central Terminal in New York City below. I could’ve taken that shot from any number of directions or angles. However, for a better shot, I centered it at an angle that included the American flag in the background.

Center a subject to overcome location difficulties.

9. Simplicity

You know the saying, ‘less is more?’ While placing a subject off-center adds tension to an image, placing a subject dead center can give a calm and orderly feeling. In addition, placing your subject in a central position is like opening a book to its story. You are making it the most important element in the image. A natural environment, a natural face – it’s an open book. What is your subject’s story that you are introducing to your viewers?

Simplicity

Tying It Altogether…

Some ‘rules’ are meant to be broken. The Rule of Thirds is not the only way to guarantee a good composition. As long as you understand why you’re breaking the rules and foregoing guidelines with a specific intention, your images can be as compelling subject-centered as with your subject off-center.

The post Center Field – 9 Acceptable Ways For Breaking Rule of Thirds in Photography appeared first on Digital Photography School.

Digital Photography School

November 22, 2018
How to Apply Compositional Theory to Still Life Photography

The so-called ‘rules of composition’ aren’t so much rules as guiding principles.

Why? Because not every compositional tool works for every image. Art is subjective, and what works well for one image may not work so well for another.

That being said, good photography involves not only technical skill but also choosing the right composition.

It’s especially true in still life photography, where composition can really make or break an image. So here are some tips on how you can apply these compositional ‘rules’ to your still life photography.

The Golden Ratio

If you’re new to photography, you may have not heard of the ‘Golden Ratio’ (also known as the ‘Divine Proportion,’ the ‘Golden Mean,’ and the ‘Greek Letter ?’).

Don’t worry if you haven’t heard of them. While artists and architects have been using this principle for hundreds (if not thousands) of years, I was well into my stint at photography school before I’d even heard about it.

It’s a mathematical expression that can describe a wide variety of phenomena found in nature. But when it’s used in art, the results are harmonious and aesthetically pleasant compositions.

You can find the Golden Ratio everywhere – from the works of Michelangelo to the great Egyptian pyramids to a nautilus shell. It’s also found in the human face and body, and even in our DNA.

Rule of Thirds Grid

Most photographers are familiar with the ‘Rule of Thirds.’ This compositional guideline divides an image into nine equal sections using two horizontal and two vertical lines, just like a tic-tac-toe board. The important elements in the scene should fall along these lines or at the points where they intersect.

Rule of Thirds

The rule of thirds works well for images such as landscapes but can be limiting for still life photography. The resulting images often feel awkward or unbalanced.

The Phi Grid

The ‘Phi Grid’ uses a similar concept but is much more powerful than the Rule of Thirds. Its center lines are closer together and express the Golden Ratio of 1:1:618.

Phi Grid

The Phi Grid is one expression of the Golden Ratio.

This image uses the Phi Grid. Notice how the chestnut in the focal point is placed differently to the others, drawing the eye.

Fibonacci Spiral

Another expression of the Golden Ratio is the Fibonacci Spiral, which exhibits the same numerical pattern that makes up the Golden Ratio.

You can use this numerical pattern to draw a series of squares. If you draw an arc from one corner to the opposite corner in each square starting from the smallest square, you’ll end up with the Fibonacci Spiral.

This is a guiding principle you can use in your still life photography. By setting your subjects along a curve rather than a straight line you create flow and movement, and help guide the viewer’s eye through the image. It works particularly well in overhead shots that have several elements in the frame.

You can flip or turn the spiral so long as your focal point falls in the smallest part of the spiral. Other important elements should be placed along the curve.

Fibonnaci Spiral

Golden Triangle

Using triangles is a powerful way to create tension in a still life image, and retain the attention of the eye within the frame.

Here’s an image that expresses this principle.

Notice the diagonal line going from one corner to the opposite, and the lines meeting that diagonal from the other corners? Where the lines meet are your points of interest, which you should use to place your focal point and divide your frame.

While horizontal and vertical lines suggest stability, triangles add a sense of flow and movement.

You can compose your image to imply triangles, rather than being strict about composing them exactly this way.

Other Helpful Principles

Rule of Odds

In still life photography, having an odd number of elements in a frame is more visually interesting than having an even number of elements.

Odd numbers create harmony, balance and a resting point for the eyes, whereas even numbers compete with each other and can divide our attention.

Aim to have three or five elements in your image. You can have more, but the mind has trouble registering higher numbers meaning your photograph will not have the same effect. If you do have more, put them into groups of odd numbers wherever possible.

Odd numbers create tension

Negative Space

Positive space is the area your subjects take up.

Negative space is the empty area where the eye can rest.

Negative space can provide the feeling of movement, and emphasize your subject. Without any space for the eye to rest, a picture can feel chaotic or claustrophobic.

You see negatives space a lot in magazines or product packaging, where it’s used for text placement.

Color

You may not think of color as a compositional tool. But it’s actually a very important one. It evokes emotion and creates the mood of the photograph.

Cool and dark colors such as navy blue and black recede, while light and warm colors such as yellow bring objects forward.

Color combinations can be monochromatic, or any of those found on the color wheel.

One of the most powerful combinations is complementary colors (i.e. colors that are directly opposite each other on the color wheel). Blue and yellow is one such combination, which you see a lot in food photography.

Take into account the color of the background or surface you’re shooting on. Colors that are too bright can detract from your subject. Make sure your background matches the mood you’re trying to create and works harmoniously with your chosen elements.

Complementary colors make your images pop

In Conclusion

It can take years for a photographer to learn to shoot intuitively using compositional principles. Visualizing your focal point on a Phi Grid is one thing, but visualizing the Fibonacci Spiral while you’re shooting may be more difficult.

Thankfully, with still life photography, you can tether your camera to your computer or use its Live View function to estimate where your subject and focal point should fall.

Editing software such as Lightroom and Photoshop can help you place the various elements in your frame with overlays of compositional guides. You can shoot wider than you need for the final result and crop in post-processing.

The more you implement these compositional guidelines and work with them in post the more you’ll internalize them, which can only improve your still life photography.

The post How to Apply Compositional Theory to Still Life Photography appeared first on Digital Photography School.

Digital Photography School

November 21, 2018