Category: Photography

What I Learned From 30 Days of Black and White Photography

Color is an amazing phenomenon.

Most of us can appreciate color, even if we don’t understand the complex nature of light. Color Illuminates the landscape of our daily lives, and naming them is one of the first things we learn in childhood. We use them as a language and a way of expressing emotion. They affect both our brain and our bodies and fill our world with variation and even the occasional surprise.

So why would I ditch color for black and white for an entire month?

Up until the mid-1930s, color photography wasn’t widely accessible. And color printing wasn’t an affordable option until the 1960s. Pioneer photographers such as Ansel Adams and Henri Cartier Bresson set the standard in black and white photography. They emphasized composition and the controlled use of light without color, revealing the artistic merits of black and white photography that resonate to this day.

As a photographer, I shoot predominantly in color. But with such a wealth of modern photographic history steeped in black and white photography, I thought it would be interesting to prioritize monochrome instead.

So, I set myself a challenge: to photograph in black and white with my digital rig at least once a day for a month.

Here’s how it went.

Getting Started

Setting the Camera to Monochrome Mode

Okay, first things first. I wanted to shoot black and white images in-camera, so I needed to put my camera in Monochrome mode. In this mode, the camera records photos in black and white when photographing in JPEG. The LCD also previews photographs in black and white in Live View and the gallery.

While shooting in this mode does encourage a bit of ‘chimping’ (checking the photo after every shot), being able to review your pictures in black and white is very useful. It helps your eyes adjust to seeing your surroundings in black and white.

I’m using a Canon 5D MKII, so in ‘Shutter Priority’ mode (‘Aperture Priority’ and ‘Manual’ work too, depending on your preference) I selected the ‘Picture Styles’ tab on the main menu.

I then selected the ‘Monochrome’ (or M) option from the ‘Picture Styles’ menu.

Pressing the ‘Info’ button with ‘M’ selected in the ‘Picture Style’ screen allows further adjustments to ‘Monochrome’ mode such as ‘Sharpness,’ ‘Contrast,’ ‘Filters,’ and ‘Toning.’ I increased the Contrast parameters a tad, as using the Monochrome Mode by itself can make the images seem a little flat.

For Nikon or other camera brands, check the manual to find out how to set your camera to Monochrome mode.

Changing Your Quality Settings

The next step was to set my camera to photograph in dual RAW and JPEG modes. Why? Because even in Monochrome mode a RAW file will revert to color when uploaded to the computer. Whereas, a JPEG file retains the monochromatic scheme used in-camera.

Unfortunately, a JPEG retains less quality than a RAW file. So what do we do? We shoot both! If you take a fantastic black and white shot as a JPEG, you’ll also have the quality RAW file to edit in post-production.

But make sure you have some decent space on your memory card.

On my Canon 5D MKII, I set dual RAW and JPEG mode by selecting the ‘Quality’ tab on the main menu.

I adjusted my settings with the ‘Main’ and ‘Quick Control’ dials so I had both RAW and JPEG selected, and pressed the ‘Set’ button.

Again, for Nikon or other camera brands check the manual to find out how to change the Quality settings.

Ready, Set, Go

With my camera settings sorted, I was ready to begin my 30-day challenge. Here are a few things I learned during my ‘Month of Monochrome.’

Adding a New Layer of Interest

One thing I quickly realized was the power a stripped back color scheme has in lending a unique atmosphere to an image.

Having worked in black and white before (both with film and digitally), I know how evocative an excellent black and white image can be. But working digitally in black and white with no other option was new and refreshing. It hammered home the way a black and white photograph can separate the everyday world and its portrayal. This separation presents subjects in a new and thought-provoking light that generates a significant connection between the viewer and the image.

Minimizing Distraction

When you work in ‘Monochrome’ mode, you appreciate the dominance color can have over a photograph. While confining myself to black and white photography, I could experiment within a gradient, free from the distraction of color. Black and white photography strips an image back to the basics of composition and light. Without the color distraction, I had space to hone in on what makes a compelling story – creating a visual study of a subject.

Learning How Light Behaves

A lot of photography is about observation: watching people, landscapes, light, and shadows. And most photographers have a basic knowledge of how light behaves from these observations.

But black and white photography highlights the fragility of light in every environment with higher acuity than a lot of color photography.

The way an image gets read is affected by degrees of light. Hard light creates a highly contrasted image with dark, hard-edged shadows. It emphasizes drama and immediacy. Soft light is more subtle, rendering a soft, lower-contrast image.

Black and white is all about degrees of light versus shadow. My 30-day challenge encouraged me to take more notice of the light. In each environment, I embraced different lighting situations as a chance to test out my skills and experiment.

Seeing Differently

After the fourth day of my 30-day black and white challenge, I started scrutinizing everyday things with more of a photographic eye. Walking down my street, I began noticing plant life that would look interesting in black and white. The texture on the path I was dawdling along stood out. Because I deliberately made time for my photography each day, my mind started working creatively to seek out more photographic opportunities.

I felt more inspired. There was a greater impetus to hang out to get the best shot rather than the most shots. I felt in the zone.

Conclusion

Photographing in black and white for 30 days was a fun and rewarding challenge. It helped me to rediscover a freshness in photography and inspired me to experiment.

Sure you can convert any photograph to black and white in post-production, but to go out and photograph in black and white in the moment is a different process.

If you ever find yourself in a photographic rut, why not challenge yourself to a month of black and white photography? You never know what you might discover.

Do you have some black and white photography you’d like to share? If so, put them in the comments below.

The post What I Learned From 30 Days of Black and White Photography appeared first on Digital Photography School.

Digital Photography School

November 8, 2018
Top 5 Tips for Extreme Sports Photography

Extreme sports photography is a discipline all of its own.

Each sport has its intricacies, rules, and set of specialists who operate in each arena. Me, I am a long time skateboarder. I’ve been a skate rat since I was a kid. I’ve looked at thousands of images, know how a trick should look and know what the rider is looking for. Put me with a BMX rider and I may have an idea of how they want the trick to look, but I will be unsure of exactly what they’ll be doing. The key, like any genre of photography, is to know what you are shooting and work with your subject to form a bond of trust.

To those who haven’t shot extreme sports before, it may look easy. But the truth is, unlike posing a model in a studio, sports photography is unpredictable and extreme sports, even more so. With this in mind, here are my top 5 tips to up your extreme sports photography game.

1. Know The Sport

Ever photographed a ballerina? If you have, you know they will pick out the minute detail in a photo you take. Finger placement or how high they are on their toes will dictate whether a photograph is one they love or one they hate. Extreme sports athletes are exactly the same! The best way to know what a great shot looks like is to start by doing your research. Look on websites such as Thrasher and Ride BMX. See what their photographers are taking. Look at where the photograph is taken from, try to figure what lens they used and how it was lit. As with any photography, breaking it down and visualizing how you want things to look before you shoot is key. The only difference with extreme sports is that the person you are taking a photo of will more than likely be risking personal injury for your photo. You need to be ready, know what settings you want to use and have an angle in mind. Which brings me nicely to….

2. Camera Settings

To quote my all-time favorite movie Ferris Bueller’s Day Off:

‘Life moves pretty fast. If you don’t stop to look around once in a while, you could miss it.’

Extreme sports is fast. Whole tricks last barely a second. And you need to freeze an incredibly small percentage of that. There are two ways to freeze motion in extreme sports; one is to use a high shutter speed, the other is to use a flash with a small flash duration. Unless you know what you are doing with off camera flash or are shooting at night, using a high shutter speed is a much better option when you are starting out. You need to have your exposure nailed quickly and a high shutter speed will be the easiest way for you to do this.

You should put your camera into ‘Shutter Priority’ and aim for a shutter speed of at least 1/500th of a second. This will mean your images will not suffer motion blur, which is important to capture those beautiful moves. The obvious pay off here is aperture and ISO. I would personally suggest when starting out to use a higher ISO and keep a wider aperture. This gives you a larger depth of field to work with and a higher chance of a sharp image.

This is great when shooting outdoors, but when shooting at an indoor skatepark, you need to think about using flash. Plan your shoot accordingly.

In terms of focus mode for your camera, you should aim to use Ai servo mode. This is designed for shooting action and will give you the best chance of getting the rider in focus. An alternative to this is to pre-focus and then switch to manual focus to keep it locked. This technique involves getting your rider to position themselves where you anticipate taking the photo, focus on this point, then flick over to manual focus. As with everything, read your camera manual, experiment and see which works best for you.

3. Think Don’t Feel

As I said above, extreme sports tricks can last less than a second. By the time you see the perfect moment in your viewfinder, it is already too late. You need to trust yourself and shoot just before the peak moment. Anticipate what is about to happen and trust your instinct. Your instincts will sharpen with practice. With most extreme sports tricks you will have more than one chance to get the shot. In some cases, you may have too many tries. You can help cure your boredom by changing angles if you think of something different, or you can tough it out. However, the unwritten rule of action sports is that the trick must be landed. This argument has been going on for as long as the sports themselves. The rider must make the trick in order for you to put the photo out, otherwise, they are just posing it. Now the even bigger question is: does the photo have to be of the one they landed? This is up to you. Personally, I pick the best photo.

If I had waited to see this in the viewfinder it would be gone. Try to anticipate and press the shutter just before the peak moment

4. Angles

The best angle for shooting tends to be down low. This adds height to the object and power to the person in your photograph. This technique is one you will see a lot of in magazines, but there are no hard and fast rules. When you get the spot, look around, try taking photos from different angles, until you find the one that makes the trick look powerful.

In terms of composition, to allow the photo to make sense to the viewer you need 3 key things: where they started, where they are and where they will land. I have lost count of the number of photos I have seen of riders in the air. It has no context, you may as well have just composited the rider onto a sky background. Context is key.

The third and final tip for composition is to avoid the butt shot. The key to a good extreme sports photo is to be able to see the riders eyes. When finding the angle for your shoot, look at which way the rider approaches the trick and plan accordingly. By getting their face in their frame, you will always get a better photo.

To answer the question that some of you might be asking, which lens is the best for extreme sports photography? It is the full frame fisheye. The lens gives that wonderful distortion that we associate with this kind of photography. However, this means you are incredibly close to the action, which brings me to my final point.

This was my second to last shot of this shoot. The next try I got hit with a board and cut pretty badly. Be careful!

5. Be Careful

You need to be aware of your surroundings at all times, even if you are shooting with a long lens, there will no doubt be more than one person at the skatepark or spot where you are taking photos. This means people and skateboards will be flying. It is incredibly easy to take a rogue skateboard to the ankle (and incredibly painful) but when shooting with an extremely wide angle lens, such as the fisheye, you can risk taking a rider, board or bike to the head. While it can be easy to feel secure when looking through your viewfinder, you need to remember that being a photographer can be as dangerous as being the rider if the trick goes wrong. Just keep your eyes open and remember a photo is not worth the pain of being hit in the head with a skateboard when a rider misses a trick. Trust me, I know!

Have you tried extreme sports photography? Do you have tips or photos you’d like to share in the comments below?

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Digital Photography School

November 7, 2018
Review Tamrac Anvil Pro Series Backpacks

Review Tamrac Anvil Pro Series Backpacks

Camera backpacks are abused, and I mean seriously mistreated.

We need them to be tough; want them to be comfortable; need them to be light; we want them to be dependable; want them to handle heavy loads (often worth thousands), we need them to offer security; we want them to adapt, and, we want to forget they’re there, and we don’t want them to complain.

It seems, on the surface, this is a rather one-sided relationship. But, in fact, it can be a rather nice love affair.

Ok, that’s a tad mushy, I know! The point is, camera backpacks are some of the hardest working bags in the world. When you need the shot, and the light is fading, they are dumped to one side, no matter what the surface, with zips ripped open. The last thing any of us think about is the poor backpack. And, that’s the way it should be. That’s the whole point. Their role is that of the consistently reliable silent partner.

Why I Switched to the Tamrac Anvil Pro Series Backpacks

After owning numerous backpacks over the years and always disappointed with their performance, I had a chance encounter with an old friend three years ago. They steered me in the direction of Tamrac, and more specifically, their range of six pro backpacks known as ‘Anvil.’

Side View of Anvil Pro Series Backpack with Accessories. Photo courtesy of Tamrac ®

Now, I had heard of Tamrac because I also own an older style Gura Gear bag. But I hadn’t realized just how influential they have been in camera backpack development over the last 40 years. A bunch of outdoor enthusiasts established the company in Southern California in 1977. They had a mission to design products that could withstand the day-to-day challenges of photographers in the world’s most testing and demanding environments and conditions. They stuck to that conviction and they continue to innovate and enhance – based on customer reviews they are getting.

Tamrac has sized the Anvil to fit us, and our gear. Whether we shoot pro-DSLR with battery grip, have a big fast glass or have been enlightened by the mirror-less movement. With six sizes, multiple heights and depths, any set-ups have an Anvil to suit.

I decided to invest in the ‘Anvil 23,’ as it is appropriate to my particular set of requirements. That said, all six Anvils are designed and built alike, with capacity being the only real difference.

Front/Side View of Anvil Pro Series Backpack. Photo courtesy of Tamrac ®

Now, when it comes to handing over hard-earned cash for a backpack, I have some basic criteria to meet. Albeit, I would have to take a punt based on existing customer reviews and previous experience. Three years on, and I can now add my own real-world experience to this set of standards.

Adaptability

Backpacks need to be fully customizable and to adapt with you as your gear evolves.

The Anvil has certainly delivered on this front. It features a large main padded compartment designed to protect and carry multiple pro-sized DSLR bodies with lenses attached. Along with a full range of lenses, flashes, and accessories.

Compartment View of Anvil Pro Series Backpack Photo courtesy of Tamrac ®

Top Compartment View of Anvil Pro Series Backpack. Photo courtesy of Tamrac ®

I’ve lost count of the number of times I’ve reconfigured the internal compartment over the years to cater for my varying needs!

Robust Materials

While keeping my bag light is extremely important, there is also the need for it to stand up to some serious long-term abuse.

Anvil backpacks utilize over ten different optimized foams for the perfect balance of weight and protection. The fabric used is ‘Cordura 500D’ with a PU coating. It is super-rugged and has excellent abrasion resistance. It’s also incredibly strong with outstanding tear strength and water repellent capabilities.

My Anvil 23 is now three years old. Although it shows signs of use (extreme abuse) and its showroom shine has gone, everything is still in working order. There’s no evidence to suggest material degradation.

Of course, when your backpack is dragged down a wet pebble beach by a German Shepherd, it has to be tough, right?

Photo © Andrew Sproule

Comfort

Wider, flexible waist-straps and shoulder straps are a must to ensure I can manage all my gear comfortably over long periods of time.

Furthermore, I transit through plenty of airports each year and climb many a mountain. The Anvil’s comfortable airflow harness and removable belt system (which you can use independently) has made any amount of gear easy to carry.

I’ve also been able to fit the Anvil in the overhead compartment of most commercial aircraft, but please check with your own carrier’s carry-on restrictions.

Back View of Anvil Pro Series Backpack. Photo courtesy of Tamrac ®

Belt View of Anvil Pro Series Backpack. Photo courtesy of Tamrac ®

Back Belt View of Anvil Pro Series Backpack. Photo courtesy of Tamrac ®

Access

Due to the fact that I work predominately outdoors, there are few things worse than missing a shot because I couldn’t get access to my gear on time.

Except for the Anvil Super 25 (designed to carry up to an 800mm lens or up to a 500mm attached to a pro DSLR), all Anvils have a handy front padded pocket that holds most 15” laptops. There are also many other exterior pockets for carrying accessories. These are where I tend to keep memory cards, phone, etc.

Front View of Anvil Pro Series Backpack with Tripod (not included). Photo courtesy of Tamrac ®

Front Open View of Anvil Pro Series Backpack. Photo courtesy of Tamrac ®

Dust

Dust is my camera’s enemy.

I lead worldwide wildlife photo safaris to some extremely inhospitable places, and dust can be a constant concern. Past backpacks I’ve used have been dust magnets, especially ones with air-mesh type materials.

Thankfully, the Tamrac Anvil Pro Series Backpacks are completely seam-sealed and have a weather protective rain fly. Both have been critical components in my gear’s welfare.

Rain Fly View of Anvil Pro Series Backpack. Photo courtesy of Tamrac ®

In conclusion

As I’m sure you can tell by now, I’m a big fan of the Tamrac Anvil Pro backpack. That’s down to the fact that it has delivered against my set of expectations and requirements. So, it’s certainly not the cheapest backpack on the market, with prices ranging from around $ 170 – $ 270 (approx. £130 – £210). Although, if I had to choose a backpack again, I would most certainly go for an Anvil.

The post Review Tamrac Anvil Pro Series Backpacks appeared first on Digital Photography School.

Digital Photography School

November 7, 2018
How to Use Import and Export Presets in Lightroom Classic CC

When it comes to using Lightroom Classic CC (formerly Lightroom CC. Yeah, it confuses me too) there are lots of fun things to do and some not-so-fun things to do. Oddly enough, those not-so-fun (okay, painfully monotonous) undertakings can be the most pragmatic and valuable.

Don’t get me wrong. I like using the filters and sliders as much as the next guy. But sometimes you need to endure a little dullness so you have time to do more of the fun stuff.

In this article I’ll be tackling two of the less adventurous aspects of working with image files in Lightroom Classic CC: import and export presets.

The Great Power of Presets

A Lightroom preset (along with a Photoshop action) is a file containing a set of actions you want to perform. It can help you complete a relatively complicated operation without needing to perform each step manually. What’s more, it can easily be repeated as many times as needed.

Import and export presets allow you to apply certain choices when importing and exporting your images. They tell Lightroom where you want to start and end with one or more images.

Fortunately, creating and working with import and export presets is extremely easy. Let me show you how easy and useful they can be. (I promise I’ll sneak in a joke at some point to keep things fresh.)

Using Import Presets

Import presets are sets of parameters you can apply when you first import your images using the import dialog box.

Creating an import preset is a great way to speed up importing your photos. Instead of having to choose the destinations, file naming and handling, and metadata each time you bring your images into Lightroom, you can simply make a preset. What’s more, the develop and metadata presets can be automatically applied as you import them. This is a great way to not only speed up your processing but also ensure your images are protected with copyright metadata.

How to Create an Import Preset

Once you’ve selected all the options you want saved as a preset, look for the ‘Import Preset:’ tab at the bottom of the import dialog screen. This is what you’ll use to save your import preset.

Next, select the drop-down menu on the far right of the tab and select ‘Save Current Settings as New Preset…’.

Next, enter a name for your new import preset. In this example, I’ve chosen a name that’s demure and professional.

Finally, select ‘Create’. Your new import preset should now appear in the presets drop-down menu.

How to Apply an Import Preset

If you think creating an import preset is easy, wait ’til you see how painless it is to apply one to your next import.

This is the real reason why import presets are so great to have in your Lightroom toolbox.

Simply go back to the ‘Import Preset:’ tab at the bottom of the import dialog screen and select the preset you want to use. (You’ll notice I’ve added some more presets with similarly demure and professional names.)

Select the preset you want to use from the list and it will instantly be applied to your import. No more cycling through option panels or wasting time on file handling and renaming.

Using Export Presets

Export presets are the cool uncle of our import presets. They accomplish essentially the same task except they look after the back end of your editing.

In a way, export presets are even more flexible and useful than import presets. They can ensure you export and store your images correctly every time, which is important when working with websites, publications or clients that have specific image requirements. And they’re just as easy to make as import presets.

To get started, click ‘Export…’ to bring up the export dialog screen.

As you can see you have the usual suspects you can apply as you export – export location, file naming, file settings, image sizing – along with develop presets, watermarking and output sharpening. Won’t it be great having a preset ready and waiting to save you from doing all those clicks?

How to Create an Export Preset

Creating an export preset is incredibly simple. Lightroom comes with some default export presets, but we’re going to be grownups and create our own.

Once you’ve made all the selections you want to be included in your preset, click the “Add” button

Next, choose a name and a folder for your export preset. If you want to create a new folder, select the ‘New Folder’ option from the drop-down.

Congratulations. You’ve just created your first export preset. If you regularly work in Lightroom Classic CC you’ll fine them indispensable. And your mouse (and your fingers) will thank you.

And now, as promised…

“Knock knock.”

“Who’s there?”

“An interrupting cow”

“An interrupting cow w—”

“MOOOO!”

Thanks, folks. I’ll be here all week. Try the veal.

How to Apply an Export Preset

To use your export presets, simply select it from the list on the left. But don’t forget that all of your export presets are entirely editable.

Let’s say you want to tweak the preset you just made. To do this simply make your changes, and right-click on the preset and select “Update with Current Settings”.

This will save your current export settings, overwriting the previous export preset settings.

Note: This won’t change the name of the preset. So to avoid any mixups for future exports you should save the changed settings as a new export preset.

Some Final Thoughts on Import and Export Presets

The question isn’t whether you should use import and export presets, but rather why on earth wouldn’t you use them? Your time is valuable, so why not work smarter instead of harder. Sure, creating import and export presets isn’t the most glamorous part of working in Lightroom. But the time and guesswork they’ll save you are definitely worth the effort.

If you don’t currently use these types of presets I hope this article gives you the kick you need to do yourself and your processing a huge favor.

The post How to Use Import and Export Presets in Lightroom Classic CC appeared first on Digital Photography School.

Digital Photography School

November 6, 2018
Blur and Creative Photography – Why Your Images Don’t Need To Be 100% Sharp
Blur and creative photography – Why your images don’t need to be 100% sharp all of the time.

I have an image of a blueberry shot on the end of a spoon with my macro lens. It has a very narrow depth of field (DOF). Only the front of the blueberry is in focus. The rest has a lovely soft blur.

The first comment when I posted it on Facebook was ‘it would look better if it were all in focus.’

No.

There is a perception amongst some photographers who are very invested in the technicalities of shooting, that absolutely every image has to be 100% sharp. While it is an entirely valid choice – and I fully support the decision to shoot their images that way – it is not the ‘only’ choice.

For those of us who want to explore different creative styles, have fun with different lenses and push the boundaries of what photography can allow us to do in creating art, there are plenty of alternatives.

NOTE: To clarify, sometimes an image ‘just is’ out of focus for whatever reason. This article addresses the photographers deliberate creative choice to use softness or blur in a picture. It may be a subtle difference for some, but it is a difference.

Beyond Bokeh

It amuses me that many photographers believe all images ‘must be tack sharp.’ Still, they are out there taking photos of birds, portraits or wedding shots with very soft blurred bokeh backgrounds. However, the reasons they do so are perfectly valid.

Some photographers do so to:
- soften a distracting background
- bring the subject into prominence
- make it aesthetically pleasing
- give depth and 3D feel to the image
But for bokeh to work well, you need to have some specific elements present and happening. Such as decent quality lenses, a lot of distance behind the subject to the background, and good soft light. Not every shoot offers those situations, nor can everyone afford the best lens.

What if we want even more softness in our image, including the subject? Maybe we want the background sharp, and the subject blurred – a technique often used in some street photography styles.

What about ICM – Intentional Camera Movement? Or Wabi-Sabi, the Japanese/Zen aesthetic of the beauty of imperfection.

There are so many other ways to see the world and present our images with our unique creative viewpoint. If that means smearing stuff on a filter in front of your lens, then smear-away :).

Learn To Love the Blur

Bring your hand as close to your face as you can, so you can still focus on it. What happens to the background? If you shift focus to the background instead, your hand blurs.

Distant mountains are blurred as we physically cannot focus clearly that far away.

So its natural for blur to be present in our images. Therefore if we choose to use it more creatively to give our pictures a different feel or mood, we are enhancing a natural element in our world.

Painters can represent a tree in different ways depending on their technique and style. It may be rendered beautifully with every leaf painted as an individual element. It may have stark lines representing a trunk and branches, or colorful blobs in the background.

Photography can be playful, creative, stylistic and artistic as well. We can allow ourselves to love blur.

Intentional camera movement is popular with stands of trees, soft beach scenes, and fields of flowers. To enhance it, even more, some people stretch plastic film in front of the lens. Or wrap it around the front leaving a small opening to shoot through.

I know flower/macro photographers who wrap gauze fabric around the front of their lens for an alternative soft effect and to add some color as well. Stretching pantyhose across the front of the lens is also cheap and effective.

Smearing petroleum jelly on a filter screwed to the front of the lens is reasonably common for an effective soft blur effect.

Lens Choices

Lenses with an F stop of 2.8 to 1.4 give a very narrow depth of field, which highlights the subject and softens the background. Macro lenses are excellent for this effect.

Many portrait and wedding photographers will have an 85mm portrait lens with an F-stop in this range. Often specifically used to blur the background for a nice effect.

Lensbaby are well known for their special effect lenses. Their lenses offer lots of creative blur effects. The ‘Composer’ range allows you to select a specific point in the image to be in focus while softening the remainder. The ‘Twist’ range gives a swirly bokeh effect in the background, and there are other options too.

‘Helios’ and ‘Vivitar’ vintage lenses are experiencing a renaissance in popularity. They have many creative bokeh effects (including the swirl style) and are quite cheap in comparison to Lensbaby. They are vintage manual-focus lenses and may need a specialist mount to attach to your modern camera, but can they can be purchased at very affordable prices.

Vintage ‘Helios’ lens gives very swirly bokeh blur in this image

Have Fun

For some people, it can be scary to let go of the need for sharpness and embrace the softer side. Other people sit happily in that place and rarely shoot a classically sharp shot.

There is room within photography as a creative medium for us to be artistic. To let go of the perceived rules, relax and have some fun doing something different.

Yes, some effects are niche, and you may not want to use them all the time. But you wouldn’t use a Fish-Eye lens every day either.

Having a range of choices gives you much more scope to shoot differently, add your unique take on an image. Using different lenses can help us see the world in new exciting ways and open up opportunities to create memorable images.

Ways to Play

1. Bokeh

Bokeh relates to the quality and smoothness of your blurred background when you shoot the subject with a shallow depth of field. Different lenses give a varied type of bokeh. Usually, the better quality fast primes or macro lenses have the smoothest, most pleasing bokeh.

Bokeh happens when the subject is closer to the camera than it is to the background. Shooting wide open, i.e., F2.8 to F1.2 will give maximum blur of the background.

So try to shoot your subjects wide open with a narrow depth of field. With the background further away from them, you will achieve the nice soft blur.

2. Selective Focus

When you combine a narrow depth of field, such as F2.8, with selecting a specific part of the subject, it will soften everything else in the image.

Doing so creates a lovely effect with flowers and macro imagery.

3. Shoot Through

Place something in front of the lens to add some level of softness. It can either completely cover the lens or be wrapped around it to only soften the edges.

You can use:
- nylons stretched across the lens
- gauzy fabric wrapped around the lens
- plastic film across or wrapped around the lens
- filters smeared with petroleum jelly
- hold fabric or flowers in front of part of the lens to add softness (common in flower photography)
4. ICM (Intentional Camera Movement)

Intentional Camera Movement is when the camera is deliberately moved during the shutter opening and closing to add blur to the image. A neutral density filter can assist with giving you a slightly longer shutter speed if shooting in daylight.

You may have seen this used in shots of forests with vertical stands of tree trunks.

5. Vintage Lenses

Try purchasing ‘Helios’ or ‘Vivitar’ Lenses (or other options) and related mounts for your camera. Many of these lenses have unexpected visual effects (sometimes seen as a fault) but can be used effectively for creative shots.

6. Specialty Lenses

Lensbaby offers a range of lens solutions to give you a variety of soft effects.

Lensbaby Velvet 56 at F1.8 is very soft and adds a glamour effect

7. Filters

Soft Focus filters get screwed in front of your lens and are useful in portrait and glamour work. Otherwise, many people mimic this effect in post-processing via Photoshop.

Conclusion

For those who strive to have every image as sharp as possible, continue with your efforts. If you who want more variation, flexibility, and creativity in your work, there is space to play and create that style of an image too.

It doesn’t have to be expensive. The vintage lenses can be bought online for under $ 100 (depending on freight and exchange rates).

Give yourself permission to relax, experiment and play, and create something unique!

Come over to the soft side. We like it here!

Share your images with us in the comments below.

The post Blur and Creative Photography – Why Your Images Don’t Need To Be 100% Sharp appeared first on Digital Photography School.

Digital Photography School
November 6, 2018
The Truth About Becoming a Professional Family Photographer
So you’re growing restless with your place in life, and thinking of becoming a professional family photographer? You know it’s what you want to do, but there seem to be a lot of obstacles holding you back. If only you could take a quick peek into the future and see if it will really work out for you.

Unfortunately, there’s no way to see the future. But would hearing from a photographer a few years ahead of you help?

I’ve been there myself and encouraged others along the way. And I hope I can inspire you too.

My first photography job had me working with dozens of kids every day. I didn’t know how to work the camera. Everything in the studio was preset. But what I did learn was how to work with people, especially kids. That is one of the most valuable parts of my family photography business.

Am I Good Enough?

Chances are many of your doubts relate to one question: ‘Am I good enough?’ But keep in mind that’s different from asking, ‘Are my photographs good enough?’

Are your photographs good enough? Do you know how to work your camera, and take the photo you envisage in your head? Do you get good responses from people when you put your photos out there? Do other photographers give you encouraging feedback?

If you can’t answer ‘Yes’ to these questions, then you probably need to improve your skills. But if you can, then you are good enough. And you’ll keep getting better through experience. Eventually, you’ll know you’re good enough because everyone who hires you will love their photos.

Begin with competence, and the confidence will come with time.

Along the way, you may be really hard on yourself. You might be a great photographer who pleases the families that hire you, and yet you still feel inferior. Learn to be honest with yourself, and start assessing your work from other people’s perspective.

At first, it may feel really awkward taking photographs of families you don’t know. Learn to embrace that awkwardness and be comfortable with new people, silences, and the occasional tears.

I Don’t Have a Defined Style Yet

You don’t need a defined style when you’re starting out. You’ll develop your style along the way. You don’t really know what you’ll encounter yet, so keep yourself open to surprises. Your style will reflect your unique vision (which you’ll be developing your entire life) and the experiences you’re drawn to.

Compared to other photographers well ahead of you, your style and vision may seem weak. But if you ask, they’ll tell you it took them a while to develop their style too.

I knew nothing about ‘golden hour’ photography when I first started my business. Now I love this time of day for photography.

I Need to Have the Right Gear First

Don’t go into debt for thousands of dollars to start your photography business. Use what you’ve got to the best of your ability. It’s probably better than you think.

Yes, you need to have good gear. But most new photographers over-purchase and buy gear they never use. Start with a good camera and a 50mm lens. Then upgrade and expand your gear as you get more experience.

No photographer is as good as the simplest camera — Edward Steichen.

I use a Fuji XT1 and 56mm lens for most of my photos.

Where Can I Get a Logo?

You don’t need a logo to get started. Nobody really cares about your logo. When people are looking for a photographer, it’s not your logo that will convince them to hire you.

Spend your energy building and showcasing your photography, and leave the logo for later.

How Many Facebook ‘Likes’ Should I Have?

When you’re starting out you should use every avenue possible to let people know you’re in business as a photographer – social media, networking, word of mouth and, of course, a website.

But don’t worry about the number of ‘likes’ you have. It’s the people who hire you that count, not the people who click ‘like’.

In the beginning, social media and word of mouth were critical for me. But now my website brings in most of my business. Create a simple website showcasing your photography, and tell people why they’ll love hiring you as a photographer.

Should I Quit My Job?

No.

Ease yourself into becoming a professional family photographer, and then leave your day job when you’re confident it’s the right decision.

I had seasonal jobs that allowed me to pursue photography in the summer. After about three years I decided to quit my job. I’m introverted and find it difficult to promote myself, so it took longer than it needed to. It might be much quicker for you.

Occasional sessions on evenings or weekends is a great way to get started. Prove you really want to be professional and that you can make your business work, then quit your job.

The more you focus on your photography instead of things such as logos and likes, the sooner you’ll be able to transition into your own business.

What Should I Charge?

I guarantee you’re thinking about this the wrong way. You’re thinking about how much you should charge per session, aren’t you? But you really have no idea. You’ll make assumptions about how much people are willing to spend. And you’ll settle for way too little.

Instead, you should:
1. Decide how much you’d like to earn in a year.
2. Decide how many sessions you’d like to do each year. (How many sessions can you handle each week or month?)
3. Use those numbers to calculate how much you need to charge per session.
Suppose you’d like to earn $ 50,000 per year and want to do only one session a week.

So that’s $ 50,000 / 50 sessions, or $ 1000 per session.

Maybe you’d settle for $ 20,000 each year and 100 sessions (two per week).

That’s $ 20,000 / 100 sessions, or $ 200 per session.

Keep in mind expenses. I use minimal gear and work on location, so my costs are quite low. But some photographers make a lot of money and then lose a lot of it due to expenses.

Above all, don’t assume you have to be cheap. People value photography, and when you’re a great photographer with excellent people skills they’ll be happy to pay you.

And don’t worry if your friends think you’re charging too much. Believe me when I say you shouldn’t start out cheap and then raise your prices over time. By all means, start off cheaper for a month or two to build your portfolio. But when you start you should already have your correct pricing in place.

Any Questions?

I’d be thrilled to answer any questions you might have. Leave them in the comments and I’ll answer them for you.

The post The Truth About Becoming a Professional Family Photographer appeared first on Digital Photography School.

Digital Photography School
November 6, 2018
How to Create a Wedding Day Photography Timeline Quickly and Effortlessly
A wedding day photography timeline can help streamline the order in which you photograph a wedding.

From when the couple is getting ready all the way until the dance party, the timeline helps to keep everyone, especially you, on top of how the day unfolds.

It doesn’t matter if the couple has a coordinator or if the venue has a planner. A wedding day photography timeline will make sure that you are ready for the next big event.

Portraits of the bride and groom at two different times during the day.

Why You Should Create Your Own Timeline

As the photographer, you need time during the wedding day to be able to capture all of the essential details, moments, and events that unfold throughout the day.

If you want to have even a little bit of control with the photography, you need to have a timeline made.

Creating the timeline gives you control over how much time you have during any part of the day. Like the getting ready, where you can have the time to photograph the details.

Having a specific timeline for photography is priceless not only for you but the couple as well. It can help the bride to schedule her makeup and hair team.

The timeline also allows the bridal party to know where to be at what time. It also helps with family members who need to know when the extended family portraits are.

A wedding timeline can help you choose or prepare for each of the important portraits during the day.

Not only does the timeline help you anticipate what is next during the wedding day, but also makes you look more professional because you know what is coming next. You aren’t scrambling asking the couple what is next.

The wedding timeline can serve as a guideline for you during the wedding day. A directive ensures you get all the necessary photos of the day without questioning when or if you’ll have time to get them.

That way, you won’t miss the ring or shoe shot, or the photo of the bride with her favorite uncle.

The timeline lays it all out for you – the couple, the guests and the bridal party. It even outlines the other vendors who will be working alongside you, such as the videographer or planner.

Take advantage of any downtime during the day. This gives you the opportunity to create something unique and different.

It’s best to have the timeline made as soon as you know all of the major details of the wedding day.

Send it to your clients with at least a month in advance. Doing so gives them the time to make any last minute changes if necessary.

Confirm the wedding timeline at least a week before to make sure the day unfolds as planned.

Answer These Questions First

The following questions are important as they determine how you are going to schedule each portrait event of a wedding day.

Some of the questions will have to be answered by the couple and other questions are for you to answer.

All of them equally important to the timeline!
- Will the couple be having a ‘first look’?
- If not, will there be enough light after the ceremony to take the bride and groom portraits?
- If the couple is doing a ‘first look’, will they want bridal and family portraits following the portraits?
- If the couple is not doing a ‘first look’, then the family portraits will have to be done separately. Also, bridal party portraits may have to be done separately as well. Is the couple okay with having these portraits separate?
- Will the couple want sunset photos?
- Are the locations for the portraits far from the ceremony or reception venue?
What it comes down to is whether the couple is deciding to have a traditional wedding or a ‘first look’ (when the couple sees each other before the ceremony).

Photography timelines are vastly different for each, which I will explain in more detail below.

It Doesn’t Have to be Fancy

The wedding photography timeline doesn’t have to be made in Adobe Illustrator (although you could do that). A simple Word document, or equivalent, would work just fine.

Having this schedule gives the couple a chance to look over the timeline and if need be, make changes of their own.

The following questions are important as they determine how you are going to schedule each portrait event of the wedding day.

Also, you’ll want to create a template of some sort since you’ll be creating more timelines as you continue to grow your business. Once you get more experience creating these timelines, it will get easier and easier to fill in the details.

Traditional Wedding Day Photography Timeline

A traditional wedding means that a couple will not see one another before the ceremony and portraits get taken after the service. It usually isn’t a problem.

However, it is important to note if there will be enough light after the ceremony or if you will have to photograph the couple using artificial lighting.

This couple opted to keep their wedding day traditional. Portraits were scheduled right after the ceremony.

The easiest way to create the wedding photography timeline for a traditional wedding is, begin with the times of the two most important parts of the wedding day: the ceremony and the reception.

From there, you will be able to work your way back and schedule the times for the rest of the days’ essential details.

The same couple also decided to have sunset photos after dinner and toasts.

Say, for example, the ceremony begins at four o’clock in the afternoon, and the reception starts at seven o’clock. Begin with writing the ceremony time down first, and work your way backward until you reach the ‘getting ready’ part of the day.

‘Getting ready’ photos can lead into the bridal portraits seamlessly.

Example Timeline for a Before the Traditional Ceremony

Working backward in time from the ceremony, a sample wedding day timeline may look like this:
- 04:00 pm – BRIDE AND GROOM ARE MARRIED
- 03:00 pm – Travel time to ceremony location and allow the bride to have touch-ups and get ready for the ceremony. Photos of the ceremony location and details. Candid photos of guests arriving
- 02:45 pm – Portraits of the groom with his family
- 02:00 pm – Portraits of the groom with groomsmen
- 01:00 pm – Portraits of the bride with her family
- 12:00 pm – Portraits of the bride alone and with bridesmaids
- 11:00 am – Photography coverage starts
- 10:00 am – Getting ready
Even if you may not be photographing the ‘getting ready’, due to collection choice or otherwise, it’s good to have a general layout of the day.

This couple kept their wedding traditional. There was no more light after the ceremony and we prepared for that because we had a timeline.

Example Timeline for After the Traditional Ceremony

Once you have the bulk of the day laid out, it’s time to schedule all of the events after the ceremony.

It can look something like this:
- 05:00 pm – Portraits of the family with the couple after the ceremony. This can be either at the altar, ceremony location or somewhere close by.
- 05:45 pm – Portraits of the bridal party altogether with the couple.
- 06:00 pm – Bride and groom portraits
- 06:45 pm – Arrive at the reception location. Take detail photos of the reception set up.
- 07:00 pm – Reception time
- 10:00 pm – Photography coverage ends
Knowing when family portraits will be done can help keep everyone on schedule.

At the Reception

During the reception, it’s good to consult the coordinator or planner to ask what their scheduled timeline is. When there is no planner or coordinator, go to the DJ booth and consult with them.

The reception is much more relaxed than the rest of the wedding day. Here, you can follow the timeline that the other vendors provide so that you can focus on getting great photos of the dancing without the pressure.

Work with your clients to outline which portraits are the most important for them. That way, you carve out enough time for those. The remainder can be filled in throughout the day.

For example, if the couple isn’t interested in having family portraits after the ceremony, fill the time with more bridal party photos or extend the couples’ portrait time.

Ask your clients if they want sunset photos or if they will be having something special during the day. This way you can include it into the timeline.

Each wedding timeline can differ. Beginning with the ceremony and working in reverse will give you the quickest way to lay it all out.

‘First Look’ Wedding Day Photography Timeline

Again, even though the couple will be seeing each other before the wedding, it is quick and easy, to start with the ceremony time.

We’ll keep the same times for this example so that you can compare the two. Refer back here when you are creating your clients’ wedding timeline.

‘First look’ before the ceremony.

‘First Look’ Example Timeline for Before the Ceremony

The ceremony begins at four o’clock and the reception begins at seven o’clock.
- 04:00 pm – BRIDE AND GROOM ARE MARRIED (Ceremony)
- 02:45 pm – Bridal Party Portraits with the couple
- 02:00 pm – Bride family portraits and groom family portraits
- 12:30 pm – Bride and groom ‘First Look’ and portraits
- 10:00 am – Getting ready photos
A timeline can change somewhat depending on ‘light’ situations. The afternoon sun is very harsh, especially for outdoor photography. You’ll want to avoid setting this time for the bride and groom portraits unless necessary.

In my experience, this is more often the case.

The above is a typical wedding timeline and even with the harsh light, you can opt for a covered or indoor location.

‘First Look’ Example Timeline for Before the Ceremony with Formals After

When your couple chooses to only do the ‘first look’ before the ceremony, and then do the formals later in the day, the wedding day could look something like this:
- 04:00 pm – BRIDE AND GROOM ARE MARRIED (Ceremony)
- 02:00 pm – Couple portraits alone
- 01:30 pm – Bridal party portraits with the couple
- 01:00 pm – Bride family portraits and groom family portraits
- 12:30 pm – Bride and groom ‘First look’ only
- 10:00 am – Getting ready photos
This couple had their ‘first look’ and formals before the ceremony. They also had formals after the ceremony during sunset.

‘First Look’ Example Timeline for After the Ceremony

From here, the post-ceremony timeline would look something like this:
- 05:00 pm – Portraits of the family with the couple after the ceremony. This can be either at the altar, ceremony location or somewhere close by.
- 05:45 pm – Cocktail hour at the reception venue
- 06:00 pm – Photograph reception details and other candids during this time
- 07:00 pm – Reception time
There are many different timelines because every wedding event is unique. Depending on your style, you might schedule the portraits earlier or later in the day.

Perhaps you’re photographing on a beach and want beautiful sunset photos. You may choose to take pictures of the couple earlier, and again during sunset.

Stick to the Timeline But Also be Flexible

Keep in mind that setbacks happen more often than not during wedding days. Fortunately, you have a handy wedding timeline. Due to the way it is set up, you have the option of rearranging and moving things around if necessary.

An example of this would be if a groomsman is running late to the bridal party portraits, you can begin with the bridesmaids. Or if the bride is late for the portraits or ‘first look,’ you can switch to the pictures of the groom with his family instead.

We didn’t have time before the ceremony to take the full bridal portraits so we opted to do them at a later time.

Having the timeline in mind during the wedding day will make these setbacks easier to overcome. You can reassure your clients that you will still get all of the photos that are of utmost importance to them.

Template for Quick and Easy Wedding Day Photography Timeline

Creating timelines doesn’t have to be a grueling task. Use the below template to help you effortlessly create quick and easy wedding photography timelines. It works for both traditional or non-traditional weddings, and begins with the ceremony and working backward.

Once you’ve created your timeline, make sure to confirm all of the details with your couple. Sure, things can change on the day, but it is still essential for the couple to sign off on it.

Be sure to send a copy to the wedding planner or coordinator as well. That way, everyone is on the same page in regards to the timeline of how the day will unfold.

Conclusion

As the photographer, it’s important that you, your clients, and team, are all on the same page as the day unfolds.

Taking the time to create a timeline of each significant photographic moment during the day will save time and keep you in control of the photography.

Work with the coordinator or DJ for the reception events. Add these to the timeline, even if they might be changed on the day.

With time and experience, you’ll be creating wedding timelines quickly and effortlessly!

Do you have trouble with wedding day photography timelines? Are their extra things you would consider? Share with us in the comments below.

The post How to Create a Wedding Day Photography Timeline Quickly and Effortlessly appeared first on Digital Photography School.

Digital Photography School
November 5, 2018
Samyang 14mm f/2.8 Lens – Astrophotography On A Budget

When it comes to choosing lenses, there are two main schools of thought. The first is to use a minimum number of zoom lenses with a large range of focal lengths. The second is to use more lenses with a smaller range of focal lengths.

As a travel photographer, I’ve worked hard to minimize my gear. I would love to own a dozen lenses, I just don’t want to carry them all. It’s rare to find more than three lenses in my bag.

I’ve followed that first school of thought for years, and it’s served me well.

The Case For Specialist Lenses

Whatever you photograph, there inevitably will come a time when you want a specialist lens for a specific subject. I’ve experienced this a couple of times.

In a past life as a wedding photographer, I owned a macro lens that I bought exclusively for photographing details such as rings. My other lenses weren’t up to the task, so I added it to my kit for just a few detail images per wedding.

Fast forward a few years, and I discovered a love for astrophotography. I found once again that my landscape lenses weren’t up to the task.

Astrophotography is a highly specialized subject and one that calls for the right gear. I was getting some reasonable night sky photos with my 16-35mm f/4 lens, but I wanted something wider and faster. I needed another specialist lens.

The Samyang 14mm Ultra Wide-Angle f/2.8 IF ED UMC Lens

My search for a lens that was wider than 16mm and faster than f/4 led me to a few lenses that I would’ve loved to add to my kit. The problem was that they were all either too large or too expensive. I didn’t want or need another wide-angle zoom lens.

Then I found the Samyang (also branded as Rokinon) 14mm f/2.8 lens. 14mm gives you a 115° view, which is plenty wide enough to capture the night sky.

The maximum aperture of f/2.8 is fast enough to capture insane amounts of light in the stars. Being a prime lens, it’s lighter than most wide-angle zoom lenses. As if that wasn’t enough, it’s cheap.

Weight

At around 550g, this lens isn’t going to add a lot of extra weight to your camera bag. It’s made mainly of plastic, but build quality is surprisingly good for the price.

It isn’t the highest quality astrophotography lens on the market, but for a budget lens, it’s good enough.

Sharpness

Image sharpness is about what you would expect for a budget lens.

It’s sufficiently sharp for astrophotography, but personally, I wouldn’t use it for landscape photography during daylight hours.

This lens also has quite a significant distortion, but that’s unavoidable with such a wide lens. Lightroom’s lens correction profile does a pretty good job of correcting it.

Focus

One thing you need to consider before buying this lens that it’s manual-focus only. It also uses a manual aperture ring.

This has never been a problem for me, as I’ve found auto-focus to be virtually useless when photographing the stars. The focus ring has a nice smooth feel to it and a large throw, making focusing incredibly accurate.

You’ll also need to consider that you can’t use filters with this lens due to the large front element. Again, this shouldn’t be an issue if you’re using it for astrophotography, because you won’t be needing filters.

Who Is This Lens For?

If you’re looking for a wide lens on a budget, you should definitely consider the Samyang 14mm f/2.8 lens.

For a great astrophotography lens that won’t break the bank, it’s hard to beat. It may not be the best option if you’re planning to sell large prints, but the image quality will be sufficient for most photographers.

Other uses for this lens could be architecture and real estate interiors photography.

You could definitely photograph landscapes with it, but the image softness could be an issue. If you want a higher quality, sharper lens, you’ll need to increase your budget a fair bit.

It’s available with mounts for Canon, Nikon, Sony, and Pentax, and compatible with both full frame and cropped sensors.

Have you used the Samyang 14mm f/2.8 lens? What’s your go-to lens for astrophotography?

The post Samyang 14mm f/2.8 Lens – Astrophotography On A Budget appeared first on Digital Photography School.

Digital Photography School

November 4, 2018
The One Skill That Will Help You Become a Better Portrait Photographer

Watch any accomplished people photographer at work and you’ll see deliberate intention. Not so much with their camera, but with their subject. Bruce Gilden takes just moments to photograph New Yorkers in the streets. Nick Knight spends hours with models in his studio or on location. The relationships they have with the people they photograph is calculated and purposeful.

© Kevin Landwer-Johan

Photographers with less experience approach making a portrait differently. They’ll look at the camera in their hands, make technical decisions, alter and check settings, change lenses, perhaps add filters. All with the intention of making a better photograph.

Meanwhile, the portrait subject is probably feeling a bit lost or ignored. They may become disinterested, or even bored.

Engaging with the person you want to photograph will help you get better photos far more than fiddling with your camera at the last minute.

© Kevin Landwer-Johan

Connect and Relate

Pay attention to your subject. You won’t see an experienced professional focusing on the camera when they are with their subject. They will have already taken care of the exposure and focus options, made conversation, and paid their compliments. The smiles and laughter will come naturally, or a more somber mood established if needed.

Relating to your subject, giving them your attention and engaging them will help them relax. When the subject enjoys the process and feels good about it you’ll get much better portraits.

© Kevin Landwer-Johan

For this photo made during a street parade, I wanted to eliminate the background. This was a challenge as there were people and activity everywhere. I had to move her until there was nothing distracting behind her. As I did, I chatted with her and mimicked how I wanted her to hold her hands. She was fascinated that I was being so precise and enjoying the interaction.

Even if you have only a short time to make a portrait, learning to connect is the best thing you can do to improve your craft. For me, it was extremely difficult as I’m a naturally shy person.

© Kevin Landwer-Johan

Purposefully Build Your Confidence

My career started in the photography department of a daily newspaper. I quickly realized that to be successful I needed to overcome my insecurities. Most photos in newspapers include at least one person in the composition, so if I didn’t overcome these securities, I wouldn’t have a job for long.

You probably won’t have the same pressure to perform and come up with publishable pictures. But if you aren’t accustomed to connecting with people, you’ll need to change if you want to make engaging portraits.

Shy photographers often think, ‘I don’t want to impose on people, or cause them any bother.’ This is the first aspect of portraiture you need to work on.

© Kevin Landwer-Johan

Instead of thinking you’ll be a nuisance, think that you might just make someone’s day by photographing them. People often like attention. If you approach them with a smile and a friendly manner, you’ll be surprised at the responses.

Revisit the Same Locations

Building relationships with people over time will allow you to photograph them more easily. We run photography workshops in Chiang Mai, Thailand. The people at the markets and villages are now quite familiar with us. We know many people who enjoy being photographed. We’ve been purposely building relationships.

You may have a local farmers market or your kid’s football club you can go to regularly with your camera. Return to the same locations and photograph the same circumstances. Doing so will help build relationships – and your confidence.

© Kevin Landwer-Johan

I’d never photographed this man before. But he’d seen me around taking photos and was keen to have his picture taken. This makes life easy for a photographer. Him being so open and willing meant I could easily engage with him and get a very natural environmental portrait, even though he was posing. I showed some interest in him. I asked about the produce he was selling and he responded warmly.

Take Control of Your Camera

Know your camera. Plan ahead and set your gear before you’re with your subject. Choose the right lens. Guess what the light will be like and whether you want a soft or sharply focused background. If you’re unsure about using manual controls, choose aperture priority so you can get the depth of field you want.

When you know your camera well and are in control of it, you’ll be free to engage your subject. Talking with your subject before taking their photo will be far more beneficial than messing around with your camera settings.

© Kevin Landwer-Johan

I’d seen this porter at the market a number of times, and sensed he was a little shy. But I wanted to photograph him. He has an interesting face and traditional tattoos on his forearms.

When I saw him resting on his push cart I set my exposure manually and made a test frame from across the street without him being aware. I guessed my focus distance and then approached him. I anticipated him being shy, and that some of the vendors might start teasing him and encouraging him to smile.

He agreed to me photographing him. But as he did, he put his hands by his side. I asked him to put them back where he had them, explaining that I wanted to photograph his tattoos as well.

In this short moment, two or three people did start to tease him. He got embarrassed and pushed his handcart off down the street. This frame is the only clear one I got.

If I’d been ill-prepared with my camera and not engaged him, I doubt the picture would be as interesting.

The next time I saw him I gave him a print of his portrait. He always says “Hi” to me now and gives me a big smile when we visit the markets.

© Kevin Landwer-Johan

Learn From the Masters

When I was learning there were no YouTube or other internet resources to help me. These days there are dozens of documentaries and programs showing photographers at work. Find some you admire and wish to emulate, and learn how they do it.

This documentary about some of New York’s well-known street photographers will give you a good insight into how different people achieve their results.

One of my favorite Instagram feeds is that of Lee Jefferies’ portraits. In this video, he tells a little of his story, and how he creates his incredibly intimate portraits of homeless people.

Many of the best portrait photographers are naturally more reserved. This comes through in their photography. Their portraits speak more about the subject than the photographer.

Engage Intentionally

Next time you make a portrait, converse and connect with your subject more than with your camera.

And if you’ve had a fun conversation with someone while making a portrait, share your story with us in the comments.

The post The One Skill That Will Help You Become a Better Portrait Photographer appeared first on Digital Photography School.

Digital Photography School

November 4, 2018
How to Mimic Lomography in Photoshop with Ease

Ever wondered what Lomography is?

Have you seen Lomo images and wanted to know how to do it? Do you know what Lomo photography is but don’t want to go back to film or buy more cameras?

If you answered yes to any of these questions, read on to learn about Lomo, and how to achieve a hassle-free, totally digital image like it.

What is Lomo?

You’ve probably heard of this term or its more colloquial name Lomography. It became very trendy over the last decade, and there are even workshops, contests and more dedicated to it.

It refers to a style of photography made with a particular brand of camera from Austria called Lomo. Thus, the name of the technique comes from the camera brand. Different models create a different kind of image.

What is Lomography?

Regardless of the model of camera, the make is mostly plastic including the lens.

Sometimes they have light leaks and allow very little control over the settings. Therefore, the results are fun and unpredictable. While technically they have photographic ‘flaws,’ it creates a particular style that created an entire visual culture around it – Lomography.

How to Mimic the Lomo Effect in Photoshop

As I’ve explained, Lomo photography can be unpredictable, and also includes different models of camera that create a different kind of photograph. Therefore there’s no specific set of rules.

I’ll mention some of the most common and characteristic effects of the Lomo cameras and how to achieve them using Photoshop. These are not set in stone. The fun part about real Lomo or digital Lomo effect is that you can be as creative as you want.

1. Vignette

Most of the images created with a Lomo camera, especially if made with long exposures, have a vignette.

To create a Lomo image in Photoshop, you need to duplicate the background layer by dragging the existing one to the bottom into the New Layer button, or by going to Menu-> Layer-> Duplicate Layer.

Next, go to Filter-> Lens Correction (If you don’t immediately see it in your version of Photoshop, go inside ‘Distort’ to find it). In the ‘Custom’ tab, move the slider called ‘Vignette.’ Once satisfied, apply the filter.

Duplicate this ‘Vignette’ layer. Go to Menu -> Blur -> Gaussian Blur. I’ll set it to 3 pixels, but this is entirely up to you.

Now use the ‘Eraser’ tool. Start to delete the center and slowly widen your moves towards the outside. We do this process because the edges are not super sharp in Lomo photography, due to the lenses often being made of plastic.

2. Grain

Since Lomo cameras use film, you can give the illusion of analog photography by adding a little grain to the image. To do this, select the first Vignette layer and go to Menu -> Filter -> Filter Gallery- > Artistic -> Film Grain.

Again, the quantity is for you to decide as it’s an authors choice and not an exact recipe to follow. I’ll do 4 with an intensity of 3.

3. Color Saturation

Finally, Lomo’s characteristic colors are overly saturated. To achieve this, while there are many ways in Photoshop, I like to do it channel by channel with the ‘Curves’ tool. Firstly, add an adjustment layer.

To do this, click on the button at the bottom of the Layer panel with the circle symbol, and choose ‘Curves’ from its pop-up menu. You can move around the settings in each channel separately by opening the ‘Preset’ drop-down menu as per the picture below:

You may continue adding some adjustment layers to keep modifying the effect. I added a ‘Gradient Map’ with an ‘Overlay’ blending mode. I also added a ‘Vibrance’ and ‘Saturation’ layer where I pushed the vibrancy up a bit more. Experiment until you are satisfied with your adjustments.

Remember that you can double-click any adjustment layer to open its properties and move the settings as many times as you want.

Once your adjusts are set, go to Layer -> Flatten Image which will compact all the layers you created into one. If however, you’d like to keep your layered file first, save a copy of it before you flatten. Once your image is flattened, go to Menu -> Filter -> Sharpen -> Unsharp Mask and apply it to your image.

Be careful not to exaggerate this because it will enhance the film grain from before. Just move the sliders while keeping an eye on the preview window.

That’s it! Take a look at the before and after images below.

Before

After

Try out this technique for yourself, and show us what you come up with in the comments section below.

The post How to Mimic Lomography in Photoshop with Ease appeared first on Digital Photography School.

Digital Photography School

November 3, 2018