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6 Ways to Photograph People While Traveling

24 Jan

The post 6 Ways to Photograph People While Traveling appeared first on Digital Photography School. It was authored by Jeremy Flint.

People are one of the most popular subjects for photography. Perhaps this is because they mean so much on a personal level. People can provide a positive experience to your travels and make engaging subjects for pictures. There are many different approaches for photographing people from formal portraits to more candid shots. Here are six ways you can photograph people when traveling:

1 - 6 Ways to Photograph People While Traveling

Monks on their morning alms round, Luang Prabang, Laos © Jeremy Flint

1. People in action

Capturing action is an area in which photography excels above all other art forms. The camera’s ability to freeze dynamic movement is second-to-none. Fast shutter speeds bring successful action photography within easy reach of anyone. You can set the shutter speed according to your subject and its speed of motion.

2 - 6 Ways to Photograph People While Traveling

Fisherman, Jaffna peninsula, Sri Lanka © Jeremy Flint

When people are busy doing an activity, they aren’t inhibited about being photographed because they are so involved with what they are doing. Shoot rapidly to capture people in action and be sure to set a faster shutter speed if shooting in low light.

2. Candid snaps

3 - 6 Ways to Photograph People While Traveling

Cyclist, Nallur Kandaswamy Kovil, Jaffna, Sri Lanka © Jeremy Flint

You can define candid photography as ‘taking photos of people who are unaware that a photo has been taken of them.’ The main principle of candid photography is to capture people acting naturally. Whoever is the focus of your photograph while on your travels will be going about their day without interruption. They are not posed for the camera or performing with your notable presence.

4 - 6 Ways to Photograph People While Traveling

The art of candid photography is similar to street photography where you are trying to take photos without being noticed by your subject. It is enjoyable to do while traveling when everything appears new and exciting.

You can capture people spontaneously from all backgrounds and different walks of life during your travels.

3. Using dramatic lighting

5 - 6 Ways to Photograph People While Traveling

Lighting in people photography can be used to create different effects. Being adventurous with lighting when shooting a portrait can be very rewarding. A little work with positioning and framing is all that is required. Try lighting your subject from different angles and see which you prefer. Vary the poses and seek out different positions. Get in closer for more intimate and emphasized lighting.

Don’t be afraid to experiment with lighting. Use available light to help define your images and use a flash to lighten areas in darker conditions.

4. Characters in a scene

Kalmadu fishing village, Passekudah, Sri Lanka, Sri Lanka © Jeremy Flint

Many individuals find photographing people to be a daunting prospect at first. However, once you overcome your initial fears, it can be hugely rewarding. Outdoor spaces provide interesting places to capture informal shots of people. You can photograph people enjoying themselves or going about their business.

A long-lens with a zoom is a great way to hone in on characters in a scene if you are uncomfortable shooting from nearby. Capturing images from afar doesn’t distract the people in the picture or make them feel self-conscious about being in your photo.

5. Capturing the celebration

6 - 6 Ways to Photograph People While Traveling

Naga Pooshani Amman Kovil temple, Nainativu, Jaffna, Sri Lanka © Jeremy Flint

The celebration of an event, the spirit of a festival or the jovial atmosphere of a party are relatively straight forward and captivating subjects to photograph. Most participants are likely to be involved in the company of their respective groups and are relaxed about having their picture taken.

7 - 6 Ways to Photograph People While Traveling

Drummers at the Temple of the Tooth, Kandy, Sri Lanka © Jeremy Flint

Find a vantage point to capture the participants at an event and concentrate on capturing an unposed scene from an observers perspective. If you are photographing a party, enjoy the spectacle and photograph the people getting into the fun of it all.

6. Character-driven portraits

8 - 6 Ways to Photograph People While Traveling

Portrait of Tea picker, St Clairs Falls, Nuwara Eliya District, Sri Lanka © Jeremy Flint

A person’s character is usually all that is needed to make a photograph striking or memorable. Whether this is a person’s face or distinct clothing, both present key elements that make up an individual’s appearance. Character-driven portraits provide an opportunity to capture features that are unique to the person.

9 - 6 Ways to Photograph People While Traveling

Naga Pooshani Amman Kovil temple, Nainativu, Jaffna, Sri Lanka © Jeremy Flint

Often when you are traveling, you come across people you want to photograph. You may find some people are so full of character that you just have to photograph them. To overcome a person feeling awkward about having their picture taken, keep a distance, so they don’t look too tense or nervous.

Conclusion

Photographing people can be a hugely enjoyable experience. Capturing people through action, candid shots, interesting lighting, character-driven portraits, celebrations, and character-filled scenes will help improve your images. Get out there and take pictures of people during your travels using these tips and share your results with us below.

The post 6 Ways to Photograph People While Traveling appeared first on Digital Photography School. It was authored by Jeremy Flint.

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Our Two Tamron Contest Winners Announced

23 Jan

The post Our Two Tamron Contest Winners Announced appeared first on Digital Photography School. It was authored by Caz Nowaczyk.

The Winners of the Tamron 100-400mm (model A035), and a Tamron 45mm (model F013) lenses are…

A HUGE Thank You to everyone who entered our recent contest from our friends at Tamron. Again, this was not actually a photography competition, but so many of you shared your beautiful photographs. We encourage you all to go back and scroll the comments section for some wonderful photos and links to reader pages and sites.

Yet again, the response was AMAZING with thousands of shares and over 100 entries!

But now, onto the winners! Drum roll please…and the winners are:

Grand Prize

Tamron 100-400mm F/4.5-6.3 Di VC USD

The grand prize winner is: Andi S.

Tamron 100-400mm F/4.5-6.3 Di VC USD Ultra Telephoto Zoom Lens – Value $ 799.
Winner’s choice of Canon or Nikon mount.

Second Prize

Tamron SP 45mm F/1.8 Di VC USD

Second Prize Winner is: Shannan F.

Tamron SP 45mm F/1.8 Di VC USD with Hi-Resolution and image stabilization – Value $ 599.
Winner’s choice of Canon, Nikon or Sony-A mount.

We were all thrilled with the entries. You tugged at our heartstrings, made us laugh, made us smile, but most importantly, you made us keep wanting to do more of what we are doing; providing you quality information and guidance to become a better photographer. We were so pleased to see that you came from every part of the world, young adults to grandparents, and everyone in between. Thank you all for your entries!

The winning entries

Here are the posts from the winners of the Tamron 100-400mm F/4.5-6.3 Di VC USD, and Tamron SP 45mm F/1.8 Di VC USD, respectively.

Andi – The zoom is EXACTLY what I need right now. My daughter, who has cerebral palsy, has been a swimmer since she was 7. I have always been able to get decent action shots indoors in dim lighting using either a 50mm or 85mm prime lens, but,,, She has been in development camp with US Paralympics coaches and decided this year to commit to swim because she wants to make the US Paralympic Team (and she has a shot – she became the first paraswimmer in state history to compete in breaststroke two weeks ago in our state’s high school swimming championships and will swim in the Canadian-American Paraswimming Championships and probably the World Para-swimming World Series in 2019). Because she is now swimming in much larger venues, I need a lens with better reach than the primes I’ve used in the past, but these venues also have better lighting so I can get away with an f4.5-6.3 and still get decent action shots.

Shannan – It would be DREAMY to win either of these fantastic lenses! A decade ago I learned about an organization called Now I Lay Me Down To Sleep. My daughter had been given a fatal diagnosis and NILMDTS sent a photographer to the hospital to take photos of our sweet baby as she died. I cherish those photos and am so grateful to have them. I have been working toward volunteering as a photographer for NILMDTS and the 45mm F013 would be a go-to lens to give these families the photos that they will cherish as much as I do. Hospital rooms are tight, between the equipment, staff and families and I don’t have the space for a tripod. Tamron’s fantastic VC will help me offer tack sharp images of these sweet babies and the Ultrasonic Silent Drive will help me melt into the background so I don’t disturb the event.

Both lenses would be a great addition to my backpack as well! I love shooting nature and backpacking off trail on rugged terrain to capture the fog rolling in or a babbling brook. I have been putting off buying a telephoto lens for a while because every once counts when you are backpacking! But Tamron has made it accessible without losing quality. The VC and the moisture resistant construction are also a must. I sometimes leave the tripod at camp if I have to climb to a vista. The VC on the 100-400mm A035 is amazing and would allow me to leave that tripod back with more confidence. And, like I said, the moisture resistant construction will let me focus on the shot instead of bagging up!

Thank you for making quality glass and giving me the opportunity to get my hands on some!

Honorable Mentions

We had so many wonderful entries, we have chosen ten people to receive an “Honorable Mention” prize of the Living Landscapes eBook, by dPS. The ten winners are listed below:

* Marianne R.
* Jimmy D.
* Julianne H.
* Todd M.
* F. Tyler B.
* JoJo R.
* Paul B.
* Matt C.
* Chris
* Bill A.

We simply had to share this haiku comment, written by Pete M. Thank you. It made us smile.

Lovely lens; this Prize…
Tamron ZOOM best once again!
(Great Honor to win.)
– my 1st attempt at Haiku… that was fun.

Special offer for dPS readers

Now, for those of you that didn’t win, Tamron has invited ALL dPS readers to download their eBooks. You can find them here.

The winners will be emailed with details of how to collect their prizes.

Please make sure to look for our email. Thank you again for all the wonderful submissions and to Tamron for sponsoring this competition.

Tamron Rebates

For all of you residing in the USA, when you do purchase your next Tamron Lens, make sure to take advantage of the rebates* up to $ 100 off through March 2, 2019. Find additional information HERE!

*Current rebate offers end March 2, 2018. US RESIDENTS ONLY.

About Tamron

Disclaimer: Tamron is a paid partner of dPS.

The post Our Two Tamron Contest Winners Announced appeared first on Digital Photography School. It was authored by Caz Nowaczyk.

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How To Edit Real Estate Photos in Lightroom (RAW)

23 Jan

Understanding the editing process is necessary for every photographer, especially if you’re in the business of real estate photography. You need to know the methods of post-processing so you are familiar with the necessary steps you have to take in order to achieve the output that you need. From the photo shoot down to the post-processing, a professional photographer should Continue Reading

The post How To Edit Real Estate Photos in Lightroom (RAW) appeared first on Photodoto.

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Review: Sigma 60-600mm f/4.5 – 6.3 DG OS HSM for Wildlife Photography

23 Jan

The post Review: Sigma 60-600mm f/4.5 – 6.3 DG OS HSM for Wildlife Photography appeared first on Digital Photography School. It was authored by Ian Johnson.

Out of the box I was impressed with the build quality and features (particularly the Arca Swiss foot) of this lens.

In 2019, Sigma is bringing a new lens to their line up. The 60-600mm f/4.5 – 6.3 DG OS HSM (available for Nikon and Canon) offers flexibility and quality as a portrait and super telephoto lens. The lens, optimized for DLSR cameras (DG), features optical stabilization (OS) and Sigma’s Hyper Sonic Motor technology (HSM). This review focuses on the applications, strengths, and weaknesses for wildlife photography. In short, I found the image sharpness, build quality, and versatility of the lens to be good. The lens may not be suitable for a full professional looking for amazing bokeh of an f/4 or f/2.8, but many will find its flexibility and image quality to be more than satisfactory. For the nitty-gritty details read the rest of this article and view my final rating below.

First impressions

Out of the box, this lens has a great feel. At a little under 6 pounds (2.7kg), the weight lets you know the majority of its construction is from metal. The only pieces of plastic were the hood and lens cover. The weight is not surprising considering they have to pack in the elements to give you a 60-600mm focal length. I was surprised at how short the total length of the lens was considering its impressive ability to have a 10x optical zoom.

Here, the lens is mounted to a Nikon D810, which I used to test the lens

Build quality

There are some features out of the box that I noticed and appreciated immediately. Aside from the plastic pinch-style lens cap, the lens came with a padded Velcro hood cover. It was a quick way to protect the camera’s front element and provide some padding while in the case. The foot of the lens had Arca Swiss mounts built in removing the need to purchase a 3rd party plate if you use Arca Swiss tripod mounts. The hood mounted to the camera with a sturdy set screw rather than a twisting-lock design like many lenses have. Last, all mounts were metal, and the front element was large with very nice looking glass.

The rear element of the camera has all metal mounts

The front element of the lens has very nice looking glass

Image Quality

In the lab

To examine the sharpness of the lens I took a series of images at 60, 220, and 600 mm and throughout the range of apertures (wide open to closed) at each of the focal lengths. All images were taken from a tripod and in natural lighting. The images below are entirely unedited, and I have provided samples of a 2:1 crop at approximately the center edge of each image to examine sharpness. The captions of each image dive into my observations at each particular setting, but the trend was the same throughout the tests. Edges of images were soft up to about four f-stops over wide open. The lens had a predictable sweet spot between f/10 – f/16 where edge sharpness was excellent. Sharpness tapered off from f/16 to the maximum aperture.

At 60mm and wide open (f/4.5) there was noticeable softness in the edge of the image.

The sweet spot of the lens was at f/14 which provided sharp edges at 60mm.

When set at the smallest aperture there was some softness in the edge, but not nearly as much as shooting wide-open.

Set at wide open (f/5.6) and 220mm there was noticeable softness in the edges.

At 220mm, f/14 the edges were very sharp

While set at 220 mm and the smallest aperture (f/29) the edges were slightly soft, but not as soft as wide open.

At 600mm f/6.3 there was noticeable softness in the edges.

While at 600 mm the lens was sharpest at f/16

There was some softness in the image at 600mm and the smallest aperture (f/32)

I brought the lens into the field to make wildlife images and test out some of its qualities. I shot all of these photos and found them to be sharp and well stabilized. Sharpness would only improve with the use of a tripod. I will use the images to highlight the strengths and weaknesses of the lens.

I began to appreciate the incredible versatility of the broad focal range in this lens while in the field. Zooming out to 60mm allowed me to shoot contextual shots and wildlife portraits without moving my feet. The images of these swans were taken back to back – one at 60mm and the other at 600mm. The group of swans was about 40yards (~40m) away. These images are uncropped and unedited and show how the lens is capable of contextual and portrait scenes.

This image of a Trumpeter Swan was captured at 600mm. I was able to isolate it from the group thanks to the super-telephoto lens.

This image of a group of Trumpeter Swans was taken at 60mm and are about 40 yards away. You can see the sleeping swan on the left side of the ice that I zoomed in on for the image above. This image really shows off how much range you have between 60 and 600mm!

I was surprised by how close I was able to focus on a subject. At 600mm I was able to focus on subjects about 6 feet away. This was a huge, huge benefit for getting near-to full frame shots of small birds. The minimum focusing distance was noticeably shorter than other telephotos I have shot. The image of this small Black-capped Chickadee I shot at 500mm at a distance of about 7 feet. It is uncropped.

This Black-Capped Chickadee was perched about 7 feet away, and I was impressed that I was able to focus on it being that close.

As expected with a larger minimum f-stop (f/6.3 at 600mm) it was more difficult to get amazing bokeh and subject separation. To achieve the lens sweet spot it was necessary to shoot at an aperture between f/8 – f/14. Shooting at the sweet spot resulted in background elements being more noticeable. Even at 600mm and f/6.3, it was challenging to get subject separation. When photographing small birds, this often meant distracting sticks were left relatively in focus in the shot. Although I did not shoot in twilight conditions, it would be difficult to stop moving wildlife because of slow shutter speeds related to the minimum aperture.

This image was taken with the lens at 600mm, f/6.3. The relatively large minimum aperture left sticks in the background of the image.

600mm is a great reach, but what if you want to go even further? I used the internal 2x (DX) crop of my Nikon D810 to double the focal length for some shots. Even though I was effectively shooting at 1,200mm handheld, the optical stabilization (OS) system in the lens allowed me to shoot clean and sharp shots. I did not test this lens with any telephoto converters.

This timid Trumpeter Swan was shot using the DX crop built into my camera at an effective focal length of 1,200 mm. I was happy with the OS of the lens.

Focus, accuracy, speed

You may have noticed by now I was shooting in winter conditions while testing this lens. Even though temperatures were between 15-30F (-9 to -1degrees), the autofocus remained fast and quiet thanks to the HSM technology. I was impressed with the speed of the autofocus system in capturing moving birds.

I relied on the fast autofocus of the lens to lock onto this passing flock of Trumpeter Swans. This image was taken at 280mm and is uncropped.

Shots from the field

Here are a series of shots that I made with the Sigma 60-600 during my trials. Although I’m not using these to illustrate a specific point, I think the portfolio below can help you make your own deductions on what this lens can achieve and whether it is a good fit for you.

A Trumpeter Swan swims in an open lead of water during a bright sunset.

Two White-tailed Deer observe their surroundings before moving through a tallgrass prairie.

A White-tailed Deer walked through tall prairie grass in a native prairie restoration project.

A Trumpeter Swan stands on the ice after preening itself.

A White-breasted Nuthatch shows off its neck geometry.

A wild Turkey struts across a field of snow.

A Downy Woodpecker extracts a sunflower seed from a drooping head.

Pros and Cons

Pros:

Good OS for shooting handheld
Incredible versatility from 60-600mm
Can replace a couple lenses in your kit for traveling efficiency
Excellent build quality and Arca Swiss plate as a default

Cons:

Sacrifice bokeh due to relatively large minimum f-stops
Edge sharpness is pretty soft at open apertures
It is heavy for its size and relative to comparable lenses

The bottom line, final rating and product value

Overall I was impressed with this lens for its versatility. I think there is a lot of appeal in having one lens that can “do it all”. However, fully professional photographers may shy away from the lens because of its minimum aperture and resulting depth of field. This lens sells for US$ 1,999 dollars. This value delivers a very nice lens with good capability. My overall rating: 8.5 out of 10.

The post Review: Sigma 60-600mm f/4.5 – 6.3 DG OS HSM for Wildlife Photography appeared first on Digital Photography School. It was authored by Ian Johnson.

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13 Inspiring Street Photography Images

22 Jan

The post 13 Inspiring Street Photography Images appeared first on Digital Photography School. It was authored by Caz Nowaczyk.

Street Photography is a great way to see what goes on around us day-to-day.

Check out these inspiring street photography images from some fantastic instagram photographers.

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A post shared by Manuel Pena (@manolobrown) on Dec 14, 2018 at 3:55am PST

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A post shared by Julia Coddington (@juliacoddington) on Dec 3, 2018 at 2:15am PST

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A post shared by J?SE (@jaseography) on Dec 22, 2018 at 10:50am PST

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A post shared by Jeremy Perez-Cruz (@sleepingplanes) on Jan 6, 2019 at 8:18am PST

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A post shared by Pedro Cantizani (@pedrocantizani) on Dec 26, 2018 at 6:52am PST

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A post shared by Michelle Viljoen (@mich_viljoen) on Jan 6, 2019 at 10:32am PST

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A post shared by Ken Walton (@kenwalton) on Dec 3, 2018 at 9:42am PST

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A post shared by B??????|Setty McIntosh (@blacren) on Jan 12, 2019 at 11:47am PST

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A post shared by Vicki Windman (@vbarn106) on Dec 31, 2018 at 9:12pm PST

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A post shared by Sigit Zero (@sigitzero) on Sep 19, 2018 at 8:11pm PDT

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A post shared by Eduardo Otuc (@eduardowl_) on Dec 26, 2018 at 6:21pm PST

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A post shared by M. naqsa (@naqsa16) on Jan 11, 2019 at 4:31am PST

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A post shared by Sigit Zero (@sigitzero) on Jul 18, 2018 at 11:25pm PDT

Feature image: Guilherme Romano

The post 13 Inspiring Street Photography Images appeared first on Digital Photography School. It was authored by Caz Nowaczyk.

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Go With The Flow – Using Slow Shutter Speed to Create Motion Blur

22 Jan

The post Go With The Flow – Using Slow Shutter Speed to Create Motion Blur appeared first on Digital Photography School. It was authored by Kevin Landwer-Johan.

Starting out as a photography assistant in a daily newspaper, I had one thing drummed into me. Make sure it’s sharp. This was the cardinal rule. It was appropriate for the situation.

Any kind of unintentional fuzziness, especially when it renders the subject indistinct, looks awful when printed on newsprint.

Adding motion blur, or any other form of blur, in a photograph can work extremely well when circumstances are right.

Merlion Park, Singapore Using a Slow Shutter Speed to a Create Sense of Motion

Two main techniques for creating motion blur in a photo are subject movement and camera movement.

Times when adding motion blur is the right choice

Deciding to add motion blur is best when:

Some parts of the composition remain sharp
The light is favorable
You find the shutter speed sweet spot
You have a means of stabilizing your camera

Poi Sang Long Festival Using a Slow Shutter Speed to a Create Sense of Motion

Adding some flash can at times truly enhance a photo made with a slow shutter speed. I find this works best when you sync your flash with the rear shutter closing.

Keeping some of it sharp

Using a slow shutter speed to create motion blur, I find it’s best to ensure that some parts of your composition remain sharp. Whether you are moving your camera or your subject is in motion, your results will be stronger when not all the composition is blurred.

Using a slow shutter speed and moving your camera in relation to a moving subject, is known as panning. This will keep your subject sharp and the background will blur. Getting a perfectly sharp subject while panning is challenging because it requires the camera to be moving in sync with how fast the subject is.

Tuktuk Panning Using a Slow Shutter Speed to a Create Sense of Motion

Having your camera locked down while your subject or the background move you will have a better chance to render your subject sharp.

Getting the exposure when the light is right

Bright sunny days make it challenging to capture motion blur in a photograph. You need to use a slow shutter speed for the effect to happen. Setting your aperture to the smallest opening and your ISO as low is it can go will not always allow you to use a slow enough shutter speed.

Using a neutral density filter in bright sunshine will make a slower shutter speed possible. At times I have coupled a neutral density filter with a polarizing filter to cut the light entering the lens even more.

Market Scene Using a Slow Shutter Speed to a Create Sense of Motion

In this photo I had my friend stand very still to achieve motion blur in the people walking behind her. Being such a bright sunny day meant that even with my aperture set to the minimum opening of f/11. My ISO was set at one hundred and still did not allow me to use a slow enough shutter speed. I attached a four-stop neutral density filter and a polarizing filter so I could set my shutter speed to 1/4th of a second to capture the motion blur.

At night and in other low light situations achieving a slow enough shutter speed is simple.

Finding the sweet spot for optimal blur

Choosing a shutter speed setting appropriate to the pace of movement in your composition is important. Having too much or not enough motion blur will give you a poor result. This varies greatly depending on your subject and the style of photograph you are creating.

Photographing waterfalls, people walking or traffic at night, all require different shutter speeds for best results. Generally, slower moving elements in your composition need slower shutter speeds. Things moving more quickly need faster shutter speed or there will be too much motion blur. It also depends on how much definition you want to retain in whatever is moving.

Twently Second Waterfall Using a Slow Shutter Speed to a Create Sense of Motion

Flowing water, like in this waterfall, can be completely blurred. In fact, waterfall photos usually look best when a shutter speed of more than two seconds is used. I used a twenty-second exposure for this photo and there’s absolutely no definition in the water. It is still obvious what it is though.

On The Sidewalk Using a Slow Shutter Speed to a Create Sense of Motion

Keeping the motion blur balanced is more important with some subjects. For this photo of people on a sidewalk in Bangkok, I chose a shutter speed of 1/10th of a second. A slower shutter speed would mean more blur and less definition. A fast speed would show less blur and may just look like it was a mistake. I was happy to capture an image where the people walking are blurred yet their feet are reasonably sharp. The young woman modeling for me was very patient as it took quite a while to make a composition with the right number of pedestrians in my frame.

Experimentation is key to finding the sweet spot with your shutter speed. You need to decide how clear or how blurred you want your subject and other elements in your composition.

Camera stability is important

You can use a slow shutter speed even if you do not have a tripod. Learn to hold your camera well and be in control of it. I do not often carry a tripod so am forced to use alternative means of preventing unwanted camera movement. Unintentional camera movement creates ghosting which introduces extra fuzziness to photos.

Flames Using a Slow Shutter Speed to a Create Sense of Motion

Hand holding a camera while panning can be preferable for some more than using a tripod. Keeping a steady movement along with your subject is what’s most important. If you are panning with a passing vehicle you do not want to be jiggling your camera up and down as you track your subject.

Finding a firm surface to place your camera can be a good substitute when you don’t have a tripod. You may need to place something under the lens so your angle of view is level. I find my mobile phone or wallet often come in handy for this.

Using a tripod does make things more straightforward when using a slow shutter speed. With a tripod, you have more stability and often more control of your angle of view.

Coffee Roasting Using a Slow Shutter Speed to a Create Sense of Motion

Introducing rear curtain synchronized flash

Many cameras give you an option to synchronize the flash so it fires just before the shutter closes. Doing this combined with a slow shutter speed and movement produces interesting effects.

As the flash is triggered near the end of the exposure it looks like the movement is partially frozen. Using a very slow shutter speed when there’s fast movement your subject may appear semi-transparent.

Tricycle Taxi Using a Slow Shutter Speed to a Create Sense of Motion

I used a four-second exposure for this photo of a tricycle taxi in Chiang Mai. You can see the ghosted image of two people just above the handlebars of the cycle. They were riding past on a motorbike just at the end of the exposure as my flash fired.

Conclusion

Photographing movement using long exposures it pays to give yourself plenty of time to experiment and take lots of photos. Varying your shutter speed. Choose a faster or slower speed with the same subject. This can create vastly different looking photos.

Iron Bridge Using a Slow Shutter Speed to a Create Sense of Motion

If you’ve never often used a slow shutter speed, begin to explore the possibilities. If you’ve had some experience, try some new angle or subject. Please share your photos and comments below.

The post Go With The Flow – Using Slow Shutter Speed to Create Motion Blur appeared first on Digital Photography School. It was authored by Kevin Landwer-Johan.

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How Failure Can Improve Your Photography

21 Jan

The post How Failure Can Improve Your Photography appeared first on Digital Photography School. It was authored by Mat Coker.

Failure is an indication that you’re not good at something, but it’s not a sign that you should give up.

Many people let failure stop them from moving forward. But you should use it as a guide to growth. If the taste of failure has convinced you to give up in the past, let me show you how to use it for your benefit.

Failure in photography can be defined in a number of ways, so let’s look at how failure can help you improve your photography.

You tried photography but you totally sucked at it

Maybe you wish you were a ‘natural’ and capable of taking amazing photos without lots of practice and disappointment. But I think it’s better that you have to struggle to get good.

Yes, some people seem to have a knack for picking up a camera for the first time and taking gorgeous photos without even knowing what they’re doing. But because people who are naturals don’t really know what they’re doing, they’re going to hit their limits pretty quick. Their photos may all look the same and they won’t know how to improve. But because you had to struggle to get good, learning tough new things will be comfortable and normal for you.

I started out as a kid with a film camera and almost all of my photos were terrible. I made very little progress over the years until I found people to teach me.

If you’re terrible at photography then you need a teacher. You can find teachers online or in person. Usually, a combination of online and in person learning works well.

Failure should lead you to learn more.

This was my first attempt at a formal portrait of my son. I had no idea how to work my camera or how light effects a photo.

With the help of Lightroom, I was able to salvage the photo to some degree. It’s not quite the emotion I was going for, but that’s what he and I were feeling in the moment. At that point, I never wanted to take another formal portrait again. Little did I know, I just needed to learn.

You fail to accomplish something simple

It can be so humiliating to fail at something simple! You might feel dumb or completely incompetent, but don’t give up.

When you fail at something you thought would be simple, you probably just underestimated how difficult it would be. You found out it would be tougher than you thought and you have a little more to learn.

As long as you understand what made you fail at something simple, you can learn how to improve.

Thinking that a quick head and shoulder portrait of my son would be easy to accomplish, this was the best shot I could get! I tried for half an hour but failed to get that simple photo. What I learned was that toddlers have no intention of sitting still for a photo. So I learned to work with toddlers and to embrace unexpected candid moments like the one in this photo.

You fail to achieve your vision

Maybe you have good photography skills, but you always seem to fall short of your vision.

That is perfectly normal. Nobody who aims high achieves their goals or vision easily. Most of your journey will be learning failure, but it will be so sweet when you do achieve it.

Having learned about light and the nature of toddlers, I decided to create a portrait that I envisioned based on a Charlie Brown Christmas movie. Working with a toddler, I knew that I would only have a minute or two to capture the image.

Even though I failed to work well with toddlers at first, learning how to do it helped me to hone my vision under pressure.

Follow failure until it leads you to success.

You lose competitions

Perhaps you pour your heart and soul into your photography only to lose competition after competition.

I actually recommend that at first, don’t enter competitions to win, but enter for the valuable feedback from the judges. Put your photos up against photographers who are better than you and listen to the feedback you receive. Learn to express your unique vision in a way that pleases viewers with high standards. In this way failure will be your guide, telling you exactly how to improve.

I had a “second runner up” photo that might have won first place, but one of the judges brought my score down a lot. He said the light was bad in my photo. At first, I was hurt by his comments. But to be honest, I hadn’t even thought about light when I took the photo. Light was the very next thing I learned about.

Invite failure to be part of your journey and you won’t mind it so much.

There are technical imperfections in your photos

If you find it difficult to live with technical imperfections then there are two things you should do.

The first is to relax your attitude toward standards a bit. At the very least don’t expect every photo to be perfect. Most photographers are thrilled if 10% of their photos turn out. But perhaps only 1% will be worth keeping. If you keep having the same technical problem then you should learn how to fix it.

The second is to occasionally embrace imperfections as part of your photo. Perhaps extreme conditions (light, weather, etc.) will inevitably lead to imperfect photos. Is that so bad?

Change your attitude toward technical failure.

I love walking into a chaotic scene and making a portrait from it. This picture has some technical errors though. It is quite grainy and a little misfocused. To me, that expresses the chaos of the moment all the more.

“Don’t like the high-ISO noise? Make a photograph that’s so good, so captivating, that no one notices it! If noise is what people notice, noise is not your biggest problem.” – David DuChemin

Your photos fail to move you

I’ve gone through long periods of boredom with photography and my photos. At times it has become a mechanical process. In those times I’ve plunged deeper into why I even take photos to begin with. I’ve come to realize that for me photography is an exploration of human nature – explaining man to man and each to himself, as Edward Steichen puts it.

Wrestling with why your photography fails to move you may actually take you deeper into your pursuit of photography. It may help you to understand what excites you about photography and get you back on track.

Inspired by a friend’s struggle with anxiety, I envisioned a candid portrait session on the theme “A Glorious Mess.” I didn’t allow any posing. I could only capture candid moments that happened naturally. This is one of the photos that I felt best expressed the theme.

Your photos fail to move others

My wife paid a lot of money to surprise me with a mentoring session with a famous Canadian photographer. He told me that my photos are technically fine but they don’t move him. He referred to them as saccharine (super sweet fake sugar).

Imagine putting it all there and paying big money to have a person tell you how terrible they think your photos are! He didn’t say it to be mean, he was just being honest.

This is a good example of photos I take that fail to move other photographers. It’s the same old golden light and cute toddler smile that they see everywhere. Though this photo may fail to move fellow photographers, It does move the families that hire me. That’s worth it for me.

If other photographers aren’t interested in your photos or editors reject them for publication, it doesn’t mean you’re a failure as a photographer. Your photos just didn’t interest them or weren’t useful to them. But listening to their critique or advice might help you to take photos that are more universally pleasing.

When others think you have failed, try to learn something from their perspective.

Failure should lead to refinement.

If you never grow – this is true failure

Perhaps you’re stuck because you need a teacher, or you’re stuck because you’re afraid to fail, or haven’t bounced back from failure.

Each type of failure has the potential to make you throw up your hands and quit. You’re more likely to quit when you believe that failure is a sign that you lack natural talent.

But failure also has the potential to help you grow, perhaps in ways you wouldn’t have grown without the failure.

Failure isn’t a reason to give up but a reason to go deeper.

Feature image: pixabay

The post How Failure Can Improve Your Photography appeared first on Digital Photography School. It was authored by Mat Coker.

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So You Want to Build a Website? Part 4: Adding Website Content

21 Jan

The post So You Want to Build a Website? Part 4: Adding Website Content appeared first on Digital Photography School. It was authored by Carl Spring.

Patrick Fore

If you’ve been following along with this series (part one, part two, part three), you should now have a great portfolio to proudly display on your website. Next comes to what many think is the hardest part – writing about yourself and your photography. Whilst it may seem hard, there are some tips and tricks for adding website content.

Write for your audience

I cannot stress this enough. You need to know who you are talking to with your website. Are you talking to newly engaged couples looking for a wedding photographer? Are you talking to art directors who are looking for a photographer to shoot their next advertising campaign? Or, are you talking to family & friends, showing them your photography? You will speak to all of the people in these examples differently, therefore your website text must do the same. When you know who you are talking to, you know how to talk to them. Therefore, make sure you have an audience in mind before you start to write.

The fab five

The main pages on almost all websites are; the Home page, your Portfolio, an About page, a Contact page and a Blog. We’ve already covered the portfolio in a previous post, therefore if you’ve not read that, do it first. The Contact page is super easy, simply let people know how to get in touch with you, that’s all there is to it. However, the Home, About and Blog pages are a little more complicated. Let’s have a look at these in a little more detail.

The home page

A website you all know well. Straight away you see a relevant image and a call to action.

The home page is the introduction to you and your work and it is the first thing people see. For those of you who are art/commercial photographers, it is standard to lead with your portfolio. Therefore, if this is the field you are aiming for, it is best to stick with this format. Also, if your website is currently aimed at showcasing your work to family and friends, a portfolio is also a good option for your home page.

However, if you are setting up a website for selling photography services, things are slightly different. The main aim of your home page is to answer the three basic questions any potential customer will have within five seconds. Who are you? What do you do? Where are you based? If these questions can’t be answered in their first few seconds on a website, people will generally click back and look somewhere else. We live in a world where attention spans are shrinking all the time. You need to make sure that your website is geared toward this.

Your home page still needs to feature images to draw attention, therefore starting with a hero shot is the best idea. This is the main image for the page and can usually take up all/most of the screen when first viewed, therefore it is essential that this image should be your best work and relevant to your audience. This image will make the right people explore your site further and the wrong ones exit. Remember, you are not looking to please everyone. You need to attract your tribe.

Adding a good headline can grab your readers attention and get them to further explore your site. Write it for your audience. Photography is a service industry. People come to you with a problem (they need photos) and you provide the service to help them fix their problem (you take their photos). Explain how can you help them. What can you do to make their life better? Make it short, snappy and always tell them the benefits of using you.

This homepage passes the test. It shows the name, what they do & where they are based quickly. Also note the call to action.

The main text should be light in tone and friendly. It should tell the viewer about you, your site and services. Keep it focussed on your audience and include a Call to Action. A call to action tells visitors what you want them to do (for example, a click to contact button). You should try to have multiple calls to action on your page and preferably one that the user can do without scrolling down the page. Making it easy for the visitor to know what to do next is key.

Lastly, add a couple of testimonials for happy past clients. Not only past clients but awards and competitions you have won. This shows viewers you are able to deliver great photos and can be trusted. Think about it, how many people check a hotel on Trip Advisor before booking? Social proof shows you mean business!

The About Page

This is where you get to show the real you. A list of facts will not interest anyone, neither will a simple list of how wonderful you are. This is the chance to showcase who you really are and what you believe in. This isn’t the place to brag about what cameras you own, this is the place to explain why you love photography.

You can tell the story of your photography journey. How did you get into it? What do you love about your work? Again make it interesting and try to avoid listing facts. Show your passion.

The about page is also a great place to add social proof. List any publications you have featured in, and showcase more reviews from happy customers. Remember, people want to know you can be trusted and social proof is the best way to show this on your site.

You should always write in the same way you speak on your about page. If your website speaks to people in a certain way, but when they meet you there is a disconnect it is never good. Don’t try to be something you’re not. Be you! Now, whether you write in first or third person is down to personal preference, but know your audience (and yourself) and write accordingly.

Lastly, you need a photo of you. A well-shot photo where people can see and connect with you is always worthwhile.

An example of an about page aimed at Art Directors. Short sweet and shows who I have worked with

The blog

I’ve saved the most important (and most daunting) until last. No matter what type of photography you do, your blog will be the reason people come back to your site. Think of your blog as a magazine for your audience. It shows your latest work (and progress) as well as letting you explain your thoughts behind your photography.

I know some of you reading this now will be filled with dread. Not only do I have to write a load of stuff for my website, now you’re asking me to write all the time? However, like taking photos, writing becomes easier over time.

Some examples of good blog posts include “Why I like this image”. Talk about a photo you love and then explain why you love it and possibly the technical stuff behind it. A blog about each photo shoot you do. Again, explain your thought process and how you approached the shoot. Another post idea could be showing your personality. Talk about films or records you love. The choice is endless, but the important thing is to write them. One other thing to remember is to aim for at least 350 words as this works great with SEO (search engine optimization).

There are few better examples of a blog than Digital Photography School. Constant content that keeps us all coming back.

Get feedback

As with creating your portfolio, get others to give their opinion. When you have written your content, it is particularly important to check it thoroughly and get a couple of people to proofread your work before you go live. It is so simple to misread your work (trust me I do it often) and nothing gives off the impression of an amateur like spelling mistakes.

For example, my wonderful wife proofs all my work. Just remember, if you do spot a spelling or grammar mistake in my articles, it is her not me! (dPS editor’s note: or me!)

On that point (and whilst my wife shouts at me for that last comment), it is time for you to take these tips and begin to craft your own website copy. In the final installment of this series, you’ll learn top tips to help your site rank well in Google. Until then, get writing your copy and let’s see the fruits of your labor in the comment section.

The post So You Want to Build a Website? Part 4: Adding Website Content appeared first on Digital Photography School. It was authored by Carl Spring.

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How to Choose the Right Photography Backdrop

21 Jan

The post How to Choose the Right Photography Backdrop appeared first on Digital Photography School. It was authored by Mark C Hughes.

So, you’ve picked up some strobes to help light your subjects and are in the process of setting up your studio. This is a very exciting time: so much to photograph, total control of the lighting, what an opportunity…. but how to choose the right photography backdrop? How you shoot and what you shoot will affect your decision, as will your budget.

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Model with a black seamless paper backdrop

Photography backdrops make your photographs pop

If you haven’t figured it out already – you soon will – most photographers realize that one of the essential features of a good photograph is the thing that nobody notices: the background. When it works, people “oohh” and “aahh”. However, if it doesn’t work, people can’t figure out why they don’t like your image. One of the secrets of any successful photographer is paying attention to what’s behind your subject. This applies to any photograph, not just those taken in the studio. You might want to consider purchasing commercial backdrops that can significantly improve the quality of your shots.

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Model with a white seamless paper backdrop

Beyond lighting

Assuming you already know what’s involved in lighting a studio (if not check this out), the next question is what to use as a backdrop. There are multiple types and sizes with pros and cons for each. Backdrop mounting and portability are also necessary.

It is one thing to have a backdrop for use in your studio, but what if you are asked to set up somewhere else? How do you make your backdrop portable? What goes best with the subject? If you are shooting a white subject, you probably don’t want a white backdrop because the white may disappear into the background (same with black on black). The color doesn’t need to be complementary (although it helps if it is) but should provide contrast. Lighting tricks can alleviate some of this, but sometimes it’s just easier to use a contrasting backdrop.

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Model with a white seamless paper backdrop

Types

There are multiple types of backdrops but they all function similarly. They all tend to be relatively thin and only intended as backgrounds (not designed for subjects to interact with). Then can be constructed of seamless paper, muslin, hand-painted canvas or vinyl. The most expensive, least flexible, and the fanciest backdrop is the cyclorama or cyc studio.

Seamless paper

Seamless paper is a versatile and inexpensive backdrop and is a staple for many studios. They are available in many colors, with the most common being black or white. You can produce gray from white backdrops by altering your lighting setup, so a dedicated gray backdrop isn’t necessary. You can also modify white backgrounds with gelled lighting to created colored backgrounds.

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Product photo on a seamless white paper backdrop

There are pros of using seamless paper: the look is clean, you can modify the background colors with lighting, and the images can be cut out for background replacement. The cons of using seamless paper are: the rolls can be awkward to transport if a wide size (even just from the store to the studio), the paper can be easily damaged, and the backgrounds have no texture. In addition, if you have colored paper, the background colors can seep into the edges of your subject.

Seamless paper provides flooring as well as the backdrop without a visible interface between the floor and the background. This makes it ideal for product photography as well as studio shots. The lack of a seam makes the image appear to float with an infinite background.

Muslin

Muslin backdrops are constructed from a cotton fabric. They come in various weights and sizes and can be dyed in a single color, have color splotches, or be hand painted. Because muslin backdrops have been in use for a long time, some photographers don’t pay much attention to them. They are, however, very portable and generally look good. Another great feature is that you can easily wash them if soiled. However, you may need to clean larger sizes in a commercial machine. Muslin backdrops can look modern or retro, depending upon the style of lighting. They are a great addition to every photographer’s arsenal of backdrops.

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Model in front of dyed muslin backdrop

Similar to paper, you can use longer muslin as flooring for the subject. Solid colors function much like seamless paper, but you need to be cautious about folds in the muslin as they can be distracting from the subject. Muslin backdrops produce many of the same effects as a seamless paper but are much easier to transport.

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Dog in front of muslin backdrop showing flooring

There are a few downsides to muslin backdrops. Depending upon how you light them, you may see folds in the fabric behind your subject. As your subject moves, the backdrop may also move, disrupting your background. People may even trip over the material as they walk across the muslin. If you are not careful, solid colored muslins will wrinkle, detracting from the appearance of the background. Because muslins were popular for so many years, certain styles appear particularly old or dated. Photographers need to take care in choosing the style of the muslin backdrops.

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Dog in front of muslin backdrop

Hand-painted canvas

If you have ever flipped through a copy of Vanity Fair or seen images from Annie Leibovitz, you know the look of a hand-painted canvas backdrop. They look amazing. These studio backdrops are hand painted onto large sheets of canvas. The paint is done in multiple layers to give the perception of depth and texture. The ones used in many of the fashion or movie-star photoshoots tend to be specialty canvases that are custom made. The effort to paint the backdrops, and the large space required to create them, tends to make these expensive.

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Cat in front of hand-painted canvas backdrop

Hand-painted canvas backdrops provide a vibrant appearance. A lighting change does not generate this richness, but purely because of the reflective surfaces on the backdrop. The paint adds texture, and the various layers of the paint add depth and tonality you cannot achieve with seamless paper. Because they are hand-painted, each canvas tends to be unique.

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Hand-painted canvas backdrop

The downsides of hand-painted canvas backdrops are cost and care in handling. You don’t want people stepping on your canvas backdrops because they are easily damaged and difficult to clean. That said, the visual effect of a hand-painted canvas backdrop can be stunning.

Vinyl

Vinyl backdrops consist of large images printed on pliable vinyl. Many images are suitable for a vinyl backdrop, but this form is limited to the vertical surface in the background. Flooring is separate. You can purchase separate vinyl sheets for flooring to simulate flooring (such as hardwood floors).

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Unimpressed dog in front of a vinyl backdrop

Vinyl backdrops can feature unusual or creative backgrounds. They are great for children, parties or events and are washable, so they work for different types of cake smash, food fight or spray images (be careful about the rest of your studio). Also, they are quite pliable so they can be moved about without much difficulty. Finally, they can feature images that appear three dimensional (like a bookcase).

On the other hand, vinyl backdrops are a little reflective, so you need to be cautious about how your lights are set up. You also need to be aware that the backgrounds are two dimensional even though they can appear to be three dimensional.

Cycloramas or Cyc Studios

A cyclorama or cyc studio is a fixed (built in place) backdrop consisting of two intersecting wall sections that have been curved seamlessly into one another and the floor so that there are no visible corners. By curving the corners, the background flows from wall to wall to floor. A cyclorama is a practical and durable backdrop. However, it is also the least flexible (it won’t move) and is only one color (usually white). It makes the subject appear to be floating with an infinite background and is a great way to create cut outs to modify your background.

This type of backdrop takes a lot of space, time and effort, but makes for great photographs.

Sizes and handling

Seamless paper doesn’t usually have any texture. It comes in large rolls of varying widths, with 53 inches and 107 inches being the two most common sizes. Seamless paper also provides the flooring in front of the background without a corner edge. Because it is paper, you need to be aware of dirty or wet footwear because they leave marks and can damage the paper. When the paper is too damaged, you roll out more paper and discard the dirty or damaged section. The rolls generally have lots of paper, somewhere in the range of 9-12 yards (27-36 feet). White seamless paper is often ideal for a studio set up when you want to cut out the background and replace it with something else.

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Santa in front of black muslin backdrop

Muslin backdrops come in different styles: standard, washed, crumpled and hand-painted. Standard sizes are 10 feet wide by 12 or 24 feet long. They can be challenging to manage but cover a wide area. Ideally, they come sewn with a pocket at the top that allows you to run it on a rod. Folds in the backdrop can evoke an older photographic style, so most contemporary photographers try to flatten out the muslin. Wrinkle elimination sometimes requires a steamer.

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Model with a large muslin backdrop

Because canvas is a much heavier material, these backdrops typically come on rolls. If you don’t manage them as rolls, they can be difficult to handle. Standard sizes are about 6 feet wide by 8 feet tall. Most suppliers have a range of sizes. Canvas tends to hang in stretched out to avoid any folds. If you are doing full-length photographs, you will need to consider what you are using for the floor.

Vinyl backdrops vary in size. Similar to canvas, you need to stretch them to eliminate folds. Some vinyl backdrops come with printed flooring (such as hardwood floors) and can be used together, provided you deal with the interface. Stretching the vinyl on the mounting allows for the image to present well. When shooting with vinyl, you need to ensure that the lighting does not reflect into the camera lens. If you’ve used a backdrop with a three-dimensional image, a reflection will make it clear that the background is not real.

Mounting

There are a few options for mounting backdrops. The determining factor tends to be the size and type of backdrop you are using, as well as the frequency with which you plan on changing them. In general, you want some ability to change and mix up the backgrounds.

The basic options for mounting are fixed bars or portable stands. If you have a permanent studio and never plan on taking any of your backgrounds on the road, fixed bars or rollers are ideal. You mount them on the ceiling or wall so that they are suitably high, and allow the paper or fabric to roll off. Mounting on the ceiling means the backdrop will be high enough for your tallest subjects. Framing can be done merely with conduit and small size piping. There are also large electrically controlled rollers available. The costs can range from very cheap to very expensive.

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Stands, allow for flexibility of the configuration. Some stands are intended for backdrops and often come as a set with clamps included. With portable backdrops, clamps play an integral role in making the background smooth and even. It is particularly the case with muslin or canvas backdrops, but seamless paper also benefits from strategic use of clamps to ensure that it does not keep unspooling as you hang the rolls.

There are also pop-up stands that you can use for canvas or vinyl backgrounds. You simply clamp the background to the edges of a springy stand. There are multiple systems for this, and many come with their own backgrounds as a complete set.

Using

Regardless of your backdrop choice, keep the subject at least 3 feet away from it to avoid casting shadows onto the backdrop. This all ties to the strategic use of lighting setups. Your goal is to have the backdrop disappear behind the subject, making it the center of attention.

Some backdrops, particularly white seamless paper, may need to be lit separately. If you don’t light the backdrop you may have uneven colors behind the subject that detract from the image or prevent the easy masking of the backdrop.

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Dog in front of muslin backdrop

In general, keeping backdrops clean can be a challenge. Some are easier to clean than others. However, hand-painted canvas and paper backdrops can’t be cleaned without damaging the surfaces, while muslin and vinyl backdrops are easier to clean. You may need to wash large muslins commercially. It is also important that any washing gets done in such a way that the fabrics don’t become altered or damaged.

Conclusion

Choosing the right studio backdrop can affect the mood and overall feel of your images. My personal favorite is hand-painted canvas, but I have used them all (except a cyclorama) effectively. The use of backdrops work hand in glove with your chosen lighting setup, and you should consider both together. If used well, you can make your images pop by having the backdrops pull focus onto your subjects.

The post How to Choose the Right Photography Backdrop appeared first on Digital Photography School. It was authored by Mark C Hughes.

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7 Easy Ways to be More Creative Every Day

20 Jan

The post 7 Easy Ways to be More Creative Every Day appeared first on Digital Photography School. It was authored by Anthony Epes.

I have been a photographer for as long as I can remember. As a visual person, I get excited when I see beautiful light and love to explore the world with my camera and create interesting images from this vast, magnificent world.

I suspect you are the same.

There is something about taking photos that is so enriching to our lives. Connecting us more closely to our surroundings, showing us how to observe the world in a deep and meaningful way.

And yet, it is so easy to be pulled away from the things that we love to do, and which are most likely listed in our minds as ‘not essential.’

Our explorations with our cameras aren’t our jobs, nor is looking after our children or cleaning our houses.

As a father to two young kids and running a more than full-time photography business, it can feel almost decadent to spend an afternoon on my own just wandering around, exploring and taking photos. After all, there are always more important things to do, right?

But I counter that, actually, taking photos is essential for our lives. It is what we are called to do.

Making something, whatever it is that you are passionate about, is what we are alive for, surely?

So with our busy lives, how do we become more creative?

Here are 7 Easy Ways to be More Creative Every Day

1. At any moment we can refine our ability to see the world around us

Taking photos isn’t just about taking photos – it’s about taking all of the experiences we have on a daily basis and turning them into an expression of how we think and feel about the world.

As photographers, we want to observe the world by looking at the moments of life. Even if it’s just for that one moment. After all, if we are not seeing the moments of our lives, you could say we are not seeing our lives at all.

When we wake early in the morning and see the light eagerly streaming into our room, between all the little gaps between the curtains and the wall, we stop and we watch. We pay attention, we don’t always rush off.

And when are driving home late from work. The night is so dark, so enveloping, as we meander through the city, with bursts of light and activity every now and again, around stop lights, or rows of shops or outside restaurants.

Beyond that, it’s just meditative darkness, with tiny flares of soft light along the road. The darkness is closing us into our car.

We don’t allow our minds to race off into thoughts of the day. We pay attention. Looking at the darkness, we feel it. We notice.

These are all sensations in our daily life that we can pay attention to. This all helps with the art of seeing, or as it could also be called, the art of paying attention to our environment.

It sounds very strange to say this, but unless you are consciously cultivating being present – or are naturally good at it – then it’s likely you spend most of your day totally lost in busyness.

There is nothing wrong with that. However, in order to create something you need to carve out time and space.

Don’t just wait until you have time. Because either it won’t come – there are always more things to do – or when you get time, the pressure to instantly create will be too great.

Spend time every day developing a practice of being present, of looking around you, of seeing what is really there. Then, when you actually pick up your camera, it will be easier to cultivate the mood within you of a creative, relaxed, present flow state.

2. Reject perfectionism

“Perfectionism is the voice of the oppressor, the enemy of the people. It will keep you cramped and insane your whole life.” Anne Lamott

One of the major barriers to being creative is the most insidious, painful and stressful emotion – perfectionism.

I call it an emotion because it envelops and paralyzes us when getting started with a project. It’s very hard to get up, push past perfectionism and get out the door.

For me, perfectionism can take many forms that seem logical, until I consciously pierce a hole in the flimsy argument. It used to be that I would become obsessed with having new gear. I couldn’t start a project until I had a new camera or lens, or the help of an assistant.

Then I realized this was the ultimate in procrastination. Either I did the project with the kit I had, or if that didn’t work, I found another project. I don’t mind buying new kit, in fact, I love it. However, I never buy a new kit because I am in a fit of perfectionism anymore.

Now perfectionism often comes to me in the form of: I have nothing unique to say about this place I want to photograph. It has been photographed so many times before by better photographers. What can I say that is new?

When I get emails from my students they often say: I don’t know enough about my camera/composition/ technique to take any good photos!

Even with very experienced amateurs, I see people who don’t believe in their skills and abilities with photography. They want just that little bit more advice or feedback. When really, they just need to keep taking photos.

As humans, we seem to have an innate ability not to recognize what we are doing well, and instead focus attention on the negative aspects of our skills.

Well, focusing on the negative is not going to get you very far. Like the writer, Anne Lamott says in the quote above, it will keep you oppressed your whole life.

It’s time to throw off the shackles of all that you are not and instead try to live with the ideas of imperfection instead.

If we are not trying to be perfect, we can just get started and not worry about being amazing.

We can go out and have some fun with our photography. We won’t worry if our shots are great – we’ll just practice, shoot, and have a good time.

The new mantra here is accepting imperfection. Celebrate it even. We are all on a journey, are all developing, and will never arrive at total perfection. It doesn’t exist.

So unhook yourself from the idea of perfection and do what every major artist, entrepreneur and anyone who creates anything for a living says: just go create.

3. Lower your expectations

Think about nurturing your photography as it needs to be nurtured. Think about your creativity as a journey, one in which you will keep persevering, weaving it into your life for as long as it engages you.

And if you’re like me, that’s probably your whole life.

We take so many photos now with digital that I think our expectations of the number of fantastic photos we should be getting is way higher than if we were shooting film.

When Ansel Adams said, “Twelve significant photographs in any one year is a good crop” he was talking obviously in the time of film when we were so much more careful with our shots. Making sure that we didn’t waste them unnecessarily.

The idea of expecting a small number of excellent shots is both realistic and freeing.

I spend a lot of time editing down hundreds, and sometimes thousands of photos after a shoot. To make sure that I get the few that are my very, very best.

When you lower your expectations about how many shots you should be getting, it means you can experiment and do things you might not normally do because the end result is unknown.

You can chase that strange light and see what your camera does with it. You can try lots of different subjects and shoot people/things/places that totally fascinate you – without thinking just about results.

It means you can practice perfecting your technique. Remember, when you are improving your technique – starting to shoot on manual for example – it is vitally important to constantly practice.

Practice takes time. Practice is about making mistakes and missing shots. But the more you do it, the better your understanding of your camera will get.

4. Use the power of silence

We all know the spiel that technology is ruining our lives, right? Well, I don’t totally agree. Technology has brought incredible things to my life. It has allowed my wife and me to become digital nomads. It has made photography truly accessible – no longer do you need a $ 3000 camera to get you started in photography.

Like everything fun and absorbing. However, moderation is key. When we check our emails 134 times per day (a statistic I read recently) instead of enjoying a beautiful sunrise, a great concert or a beautiful moment with our child, we rush to capture it instead of being in the moment. In that case, technology has become out of hand in our lives.

The downside to so much tech activity is you start to get lost in the constant stimulation of the world. You are so busy thinking and responding to that world that you leave your brain no space to…create anything new.

You will continue with the same habits, the same thoughts, and routines unless you consciously create space in your life.

Focusing on bringing more silence into your life is a beautiful way to allow new ideas in. It also helps to ‘clear the clutter’ of excessive thoughts in your mind. It cleanses your thinking a little, so you can turn your attention away from doing to creating.

What I like to ask my students sometimes is when they last listened to, and were totally absorbed, by silence.

And when I say absorbed, I mean totally aware and present for the silence. They weren’t thinking about what they were making for dinner, or their annoying work colleague or how much money they spent last night.

So it’s not just being surrounded by silence – it’s being actively absorbed by it. Listen to it and feel how the absence of noise affects your body.

For me, taking photographs is a total sensory experience. It’s not just about what I see, because all of my senses are heightened. Entering into silence is a way to connect more with my senses.

It’s feeling the different way that silence stimulates your senses, such as the feeling of melancholy on an empty high street on a grey winter’s day. Or the comforting nostalgia of a clear, cold autumn evening, with the smell of wood smoke wafting in the air.

Or the heady beauty of a spring morning full of the opulent perfume of flowers and the feeling of scorching, rich sunshine on your skin.

I know that it’s hard to pull your mind away from its busy thinking and doing. I get that being human means that thoughts endlessly appear in our mind, taking our attention and energy.

When this happens and you become conscious of it happening, take your attention gently back to the moment. Wrestle control from the thoughts and bring your mind back to what’s here in front of you. I like to say to myself – I’ll think about that later.

That way you can actually appreciate the life that you have in the moment, and you will develop seeing and awareness in your photography, regardless of where you are. Whether it be on your way to work, at the playground with your kids or even doing your shopping.

This awareness is a powerful catalyst for your creativity and will find you reaching for your camera more and more often because you have learned to listen to the silence and connect to the world around you.

5. Fear

Fear is certainly in the category of things that inhibit creativity in our lives. But if you can learn to work with fear, then you’ll automatically feel more inspired and confident to create and take photos.

There are two major fears I see in photographers at my workshops.

Firstly, fear of photographing their subject. This applies to street photography a lot. You very much want to take a photo of that magnetic looking stranger, or that strange event unfolding before your eyes, but you are gripped by fear.

You know you want to bring your camera up, you want to move closer to your subject but something stops you. You end up walking away without the shot and feel annoyed with yourself.

The second type of fear response I see in my students is a deep self-consciousness about shooting for too long in front of strangers.

Think about this scenario. You are walking along a busy city street on a rainy day when all of sudden a ray of golden sunshine bursts through the grey clouds, creating stunning reflections and patterns around you.

It’s mesmerizing! You want to shoot everything that this beautiful light is reflecting off. You start to shoot, but after a few minutes, you are hit by a wave of self-consciousness.

There are people everywhere. People shopping, coming home from work, tourists chatting, kids running. And here you are crouching down on the ground photographing puddles!

I’ve noticed that when this wave of self-consciousness hits, most people stop shooting and move on because it feels weird to be doing something that no one else is.

Now fear is normal in these situations. I think most photographers experience fear in certain situations. We know that our bodies produce a chemical response to new situations, which can make us want to run away.

Instead, we need to examine how to deal with this situation so that fear doesn’t overpower us. So how can I dispel my fear and get those great shots?

First, accept that like clouds, fear comes and goes. You will never live a life where fear disappears. You wouldn’t be human otherwise.

Even if you are a super-experienced photographer, there will always be times when you will be dogged by fear.

Secondly – allow it! This might seem counterintuitive, but I have found that if I try to run away from fear, or suppress or ignore it, it starts to get bigger and bigger until I am almost paralyzed by dread.

So I allow the fear. I just say – Ok, here is some fear. Welcome. OK, I don’t say welcome. I’m not that zen. But you get what I mean? I don’t fight it.

Carry on taking the photograph – and just let the fear be there. Eventually, like a cloud in the sky, it will leave. Fear always leaves! Maybe it will take a few seconds or a few minutes. Maybe longer.

Yet, the more you allow fear to be there, the quicker it seems to evaporate.

The good thing to understand is that the more you practice being in such situations as photographers, the more you will get used to these fear responses. They won’t overpower you and stop you from shooting.

If you suffer greatly from fear, then I suggest you practice getting comfortable being with your camera, so you can focus on the actual photography!

6. Stop consuming and start making

I don’t know why, but a day spent creating is a day that feels much more satisfying to me than a day spent consuming.

When I think about consuming, it’s not just buying things – it’s the endless stream of social media, checking Facebook, 24/7 news, and endless discussions about the politics of the day.

When we are just consuming, we definitely aren’t making anything.

To stop mindlessly consuming was an important realization for me to make in my life. Instead, I think to myself – what can I accomplish today?

7. Get started

With something as enjoyable and satisfying as taking photos, you should never be in a state of I should be doing my photography!

You don’t want to create a situation where photography is one of many things you should be doing – like going to the gym or eating less of your kids’ candy.

And yet, sometimes we need a push to get us out the door. We are all responsible humans beings and we are all keeping various plates spinning. And so taking time out can induce guilt.

But think about it: every single day of our lives is a day we will never experience again. And in every single day of our lives, we are given a choice of how to spend our time. We do the things we have to do but then we weave in the time to do the things we are passionate about.

If we don’t do it now, then when?

Taking time to cultivate our photography practice pays dividends across our lives too. Great by-products of a strong photo practice are that we are more present when we are in other spheres of our lives, we are more engaged and excited in life because of our inspirational photo practices.

I have to say I am a more interesting, inspired and happier person to be around when I have taken time out to do my personal photography. And in that, everyone in my life benefits!

I really hope you enjoyed those ideas about how to be more creative every day. They are ideas I feel passionate about and hope that you will too. I would love to know if these ideas have helped you, so do let me know in the comment box below.

The post 7 Easy Ways to be More Creative Every Day appeared first on Digital Photography School. It was authored by Anthony Epes.

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