Category: Photography

Real Estate Photography: Get Better Results with the Right Equipment
Real estate photography throws many challenges your way, just like any type of photography.

You deal with perspective issues and light and shadow extremes that confound even the best cameras. You also need to be critically aware of your surroundings and probably have very limited time to do the job.

The good news is, creating pleasing photos of interior rooms no longer requires a great deal of investment and experience. Nowadays, it only requires a few specific items, a few pointers, and a little practice.

In this article, you’ll learn how to get better results with the right equipment to take your real estate photography to the next level.

Which camera to choose for Real Estate Photography

Smart Phones

While the main choices for real estate photography are between DSLR or mirrorless cameras, you may hear an argument in favor of modern smartphones too.

While smartphone cameras are useful for some scenarios, they are not well suited to real estate photography.

Some of the main downfalls of smartphones include:
- Smartphone Apps process the image for you, resulting in a processed JPG image that you have little or no control over. The ‘lossy’ nature of JPG discards much of the original information, limiting what you can do in post-processing.
- The sensors are tiny, with the pixels packed in tight, reducing the dynamic range and causing more noise.
- Lenses are tiny and generally made of plastic. They lack the precision of milled glass lenses, and are easily scuffed or scratched. Lens quality plays a big part in achieving good quality images, so it’s unrealistic to expect the same performance that you’d get from a camera lens.
Smartphones perform well under ideal lighting conditions; however, interior real estate photography presents some of the most challenging light you’ll find in photography.

Use your smartphone as a tool to find great compositional angles, but not as your main photographic equipment.

See other ways a smartphone can be used here.

DSLR and Mirrorless Cameras

Whether your preference is a DSLR or mirrorless camera, your primary choice is format: Full Frame, Crop-sensor or Micro 4/3.

Each format changes the field of view (FOV) of a given lens. You can think of the FOV as the ‘zoom’ of the lens.

Full-frame equates to the standard 35mm film view of analog cameras and is the standard measurement still used today.

Crop-sensor cameras have smaller sensors, creating a ‘zoom’ effect of 1.5X or 1.6X. Micro four-thirds (M4/3) cameras increase the ‘zoom’ by 2X.

In practical terms, a 50mm lens on a full frame camera produces almost the same field of view as a 35mm lens on a crop-sensor camera. That same field of view results from a 25mm lens on a Micro 3/4 camera.

It’s vital to understand that different sensor sizes impact the focal length of a lens.

When reading advice on which lens to use, always remind yourself it’s the ‘equivalent’ focal length, then do the calculations as described above for your own camera’s sensor size.

The good news is that if you already own a recent model DSLR or mirrorless camera, you likely don’t need a new one.

It’s true that “recent” is a bit vague here, but in my experience, mirrorless cameras up to five years old, and DSLRs made during the last ten years should be more than capable.

Lens choices

Many photographers say prime lenses (non-zooms) produce a better quality image than zoom lenses. A good zoom lens, however, may be more convenient for real estate photography.

A decent quality zoom that starts from a wide angle (say between 12mm to 24mm) provides more compositional flexibility than a fixed lens.

Small rooms inside houses may be a little cramped, restricting the space available to set up a tripod and camera. Using a wide-angle lens of around 12-24mm may be necessary to give the required field of view to capture a small room.

In larger rooms, and when photographing outside, 35mm may give a better view of the property. There’s no definitive ‘right’ answer to field-of-view as it all depends on the surroundings and how much space you need.

If you find yourself with distorted lines and dark areas around the edge of your image shot with a wide-angle lens, these may be fixed in post-production.

Cheaper lenses, especially zooms, have more optical weaknesses, so if you’re going to invest in new gear, you might get more benefit from upgrading your lens instead of your camera body.

One indication of lens quality is a low aperture number such as f/2.8. A lower number aperture opens the lens wider than lenses with high numbers like f/5.6.

While this allows more light to enter the sensor, the focus plane becomes narrower, causing some of the room to be out of focus, which is not ideal for real estate photography. Use an aperture of f/8 or f/11 to allow more of your room to be in focus.

Chromatic aberration (CA) is caused by light dispersion as it travels through the lens. In plain English, it’s that pink/green color fringe you sometimes see around the edges of objects, most noticeably in areas of high contrast like window frames. Cheaper lenses have more problems with CA.

Using a better quality lens shows less CA, but the laws of optics means fringing can still happen occasionally. Most photo software includes functions to reduce or remove this, although it’s great to avoid it as much as possible in the first place.

Camera features to look for

Camera features to look for buried in just about every modern camera menu are the five features and functions that can seriously help for real estate photography images.

The first four of these features help you overcome the problems posed when photographing scenes with a high dynamic range (HDR). In these situations, all cameras struggle because they can’t match our eye’s adaptive responses.

The fifth, the digital level, helps with the challenge of perspective. Inside and out, houses have vertical and horizontal lines. If they’re just a little off-center, the whole photo looks lopsided and uncomfortable to the viewer.

1. AEB (Automatic Exposure Bracketing)

Automatic Exposure Bracketing is a specific setting that instructs the camera to take multiple shots of the scene while changing the shutter speed of each shot – all with one press of the shutter release button.

You can change the shutter speed for each shot manually, but it is faster (and potentially more precise) to let the camera’s onboard technology do it under your guiding hand.

2. EV Range (Exposure Value Range)

The reason to take this automatic series of shots is to capture all details, from bright windows to darker interior areas, although some cameras have more limited AEB capabilities than others.

Here are the two camera features to consider:
- The number of bracketed shots: This is the number of exposures the camera takes when you press the shutter release in AEB mode.
- Exposure Compensation: This is the spacing of exposure compensation between each bracketed exposure taken in AEB mode. These two factors combine to determine the total exposure range possible.
You need to look at both features to determine whether the camera’s EV range capability is sufficient for your needs. For real estate photography, look for AEB settings that let you choose five shots in 2-steps or nine shots in 1-step.

3. Continuous shooting

It is important that your camera can shoot continuously to minimize the number of times you release the shutter manually. Doing so avoids accidental camera movement or shake.

4. Luminosity histogram

The histogram offers clear information to ensure we cover the full dynamic range. While it may seem confusing at first, it’s straightforward once you know what it’s showing us.

Having an EVF (electronic viewfinder) somewhat reduces the need for a histogram but not entirely. Even with an EVF, it’s hard to determine highlight or shadow clipping by eye. Capture all the bright and dark areas correctly by using histograms.

5. Digital level

If your camera has a digital level, it’s quite handy. Not all camera models do, so you may need to look in the manual to find it. Once activated, a horizontal line runs across the scene in your viewfinder.

You can instantly see if the camera is at an angle and if so, make the needed adjustments to avoid a sloping room.

While you’re checking the horizontal lines, don’t forget the verticals. Tilting the camera up or down causes vertical lines, like walls, to look slanted.

Pro tips on using the digital level
- Take time to inspect the scene in live view, making manual corrections if necessary even if they contradict the digital level.
- Use a tripod so you can step away from the camera while seeing the live view screen and the room.
- Double-check your composition for framing, height, and perspective.
- Shoot from below eye level. An excellent place to start is between your chest and hip height, but there may be times to raise the camera. You might, for instance, want to show a particular view or other details you wish to highlight.
Flash and Lighting Equipment

Speedlights

The built-in flash on your camera is unlikely to be strong enough to balance interior and exterior light levels because of the high dynamic range present in most real estate interiors.

The built-in flash may create unwanted, deep shadows in the room. You’ll get a better effect by mounting a Speedlight flash on the hot shoe, then bouncing the light off the walls or ceilings.

With some practice, it becomes easier to find the right bounce position for each room.

Another technique for using Speedlights is taking them off camera via a wireless connection. This way, you can position the lights just where you need them.

Studio lights

Finally, there are studio lights.

While these are effective and give results that look professional, pro lighting equipment is expensive. The lights are also bulky and heavy and often need a power supply. Moreover, using them correctly requires considerable practice and skill.

The exposure bracketing technique, where you use the camera’s AEB features listed in the previous section, offers a less demanding way of achieving light balance for an interior scene.

Taking bracketed exposures becomes a natural part of your photography workflow, and you don’t have to worry about carrying heavy lighting equipment, or learning how to use it.

The bracketed exposures are then merged to HDR in post-processing to get a correctly exposed image. While Photoshop and Lightroom offer HDR merge, many real estate photographers prefer using Photomatix Pro.

This specialized HDR software offers natural-looking presets optimized for property interiors.

A tripod

If you get good, sharp results from handheld shots, using a tripod may seem unnecessary. However, no one can hold a camera steady for the slower shutter speeds used for interior real estate photography.

The minimum shutter speed for handheld shots is normally1/60 second as a rule-of-thumb, while interior scenes require much longer exposures.

What to look for in a tripod:
- Ball heads – These let you quickly change angles and orientations without having to fiddle too much with either camera or tripod.
- Rubber feet – When you’re working on slippery, polished floors there’s less chance of the tripod sliding out of position. Rubber feet also protect fragile surfaces.
- Lightweight and sturdy – Look for solid construction with tight joints and rigid legs. Top-of-the-range tripods (such as carbon-fiber models) carry a higher price tag, but less expensive aluminum versions do the job equally well with a little care. Any tripod is better than no tripod at all.
A good tripod gives you more compositional freedom, as you can position them just about anywhere. Attempting to keep the camera perfectly still without a tripod limits you to existing stable surfaces.

A remote shutter release

A remote shutter release untethers you from the camera, providing freedom of movement.

While the most obvious function of the remote release is preventing camera shake when you press the shutter button, there are other, less apparent advantages too:
- The tripod stays steady, even on a soft surface.
- You can step aside to avoid casting shadows, or to remove your reflection from windows or shiny surfaces.
- Your hands are free to hold distractions out of the frame, such as cables or plant fronds.
- You can move around to assess composition from different angles or spot potential distractions.
- You may need to monitor the road so you can shoot during a gap in traffic.
As an alternative to a remote shutter release, you can use a cable release or the camera’s automatic timer.

Some other helpful equipment

Beyond the main equipment needed for real estate photography, there are a few other items to make your job easier and more efficient:

A traditional bubble level – While the digital level is handy, some people may prefer external units that slot into the hot shoe or some tripods that have bubble levels built-in.

Gaffer tape – Use it for quick cleanups such as removing pet hair or holding back a curtain or cable. Use tape to mark the position of your tripod once you find a good composition.

Avoid using duct tape as the adhesive is too strong and it doesn’t peel off cleanly. Gaffer tape leaves no residue on most surfaces.

Cleaning cloths – You need a cloth for your lens, but also one to remove dust specks from surfaces or to polish water marks off bathroom fittings.

A lens hood – Use a short hood on your wide-angle lens to cut down the flare from windows or other bright lights.

Conclusion

Despite its challenges, anyone can learn to take great real estate photography photos by starting with the right equipment. Using the right equipment also sets you up for success, and with just a little bit of practice, you can discover what works best for you.

If you have any questions to ask me about equipment for real estate photography, please ask me in a comment below.

HDRsoft is a paid partner of dPS.

The post Real Estate Photography: Get Better Results with the Right Equipment appeared first on Digital Photography School.

Digital Photography School
October 25, 2018
How to Get Kids Interested in Photography
Kids are fickle creatures. One day they’re into painting and drawing, the next day they want to learn to play guitar, and pretty soon they’ve moved on to something else entirely like soccer or basket-weaving. For parents who want to get kids interested in photography, it can seem like a losing battle. They are competing with all the other hobbies and activities occupying their kids’ time and energy, and when they finally show some interest, it can be fleeting at best. Fortunately, there are some simple strategies that you can use to build a child’s interest in taking photos, and perhaps help you form a stronger bond with them in the process.

Get Them a Camera

The first step in getting kids interested in photography is to get them a camera! If you’re comfortable with them using yours, then by all means, hand over your DSLR, mobile phone, or even an old point-and-shoot. Another option is to let them use their mobile phone or tablet. I found that the best solution for me and my kids was to get them each an old point-and-shoot camera from eBay. These old cameras still pack a big punch and can go a long way towards igniting a child’s interest in photography.

Old point-and-shoot cameras, like this Canon A70, can’t stack up to their modern counterparts, but they are very inexpensive and often have features like optical zooms and creative filter modes. Perfect for getting kids interested in photography.

Give Your Kids Some Photographic Parameters

I used to be the computer teacher for a K-12 school, and I remember helping kindergarteners and first-graders explore creative apps. These apps allowed them to draw, create music, and express themselves in various ways while learning more about the digital devices they were using. One valuable lesson I learned soon after my first semester began was that children almost always produced better results when given a framework in which to work.

Allowing total freedom usually meant a classroom full of blank stares and nervous confusion, but giving a few parameters like ‘draw a family of elves’ or ‘create music that makes you think of summer’ was like watering the parched earth, and all sorts of creative results soon sprang forth. The same principle holds true for adults who want to help children explore photography. Giving some structure or rules goes a long way towards helping them explore.

This concept seems counter-intuitive, but it works more often than you might think. Instead of giving a camera to a child and telling him or her to ‘take pictures of something’ try offering some guidance or rules. Say things like…
- Take five photos of something that makes you happy
- Go outside and take 15 pictures of bugs
- Find photos that represent every color of the rainbow
- Take a piece of silverware from the kitchen and photograph it in ten different, unusual settings
- Find a friend and take pictures of as many emotions as you can think of
- Go to the park and take photos of 13 different flowers
Scenarios and parameters like these give children enough direction to be creative and explore photography while also producing results they can be proud of.

The rule here was ‘take pictures of things that move.’

Let Your Kids Break the Rules

One of the fun, or frustrating, parts about giving kids some rules is watching how quickly they want to break them. Sometimes that’s not okay, especially when breaking the rules would put them in danger or cause harm to other people. When embarking on creative endeavors, it never hurts to experiment and push the boundaries. Some might say you have to learn the rules first to know how to break them, and I understand that. However, if your only goal is to get kids excited about taking pictures, don’t worry so much about technicalities such as understanding the ‘Rule of Thirds’ or the ‘Brenizer Method.’ Instead, just let them push some simple rules you set forth.

My kids and I went out to find pictures of animals, but one of them wanted to take pictures of flags instead. There’s absolutely nothing wrong with that, and he got some pictures like this one that he loves as a result.

For example, if you start with the first tip and tell your child to take five photos of something that makes them happy, it won’t be long before they ask you if they can take ten photos of something that makes them nervous. They might want to take photos of grass instead of flowers, or want to play with the video feature instead of taking still images. It’s all about process over product, and if children learn and have fun by trying what they want to do, then there’s no reason to stop them.

Go on a Photo Walk With Them

When you think of the term Photo Walk you might conjure images of rain-soaked neon lights in Hong Kong, or impossibly tall skyscrapers of New York, or perhaps pedestrians perambulating past patisseries in a small French villa. Photo walks can be simpler than that, and you can do them right in your neighborhood, whether you live in the city, in the suburbs, or on a tropical island. The best part about photo walks is that they’re a fantastic activity that you can do with kids to help them get excited about photography.

My son took this photo of a spider eating a grasshopper while we were on a photo walk. It’s a little out of focus, and the composition isn’t great, but he had fun exploring nature with his camera. That was far more important to me than the technical details.

The first time I took my boys on a photo walk we spent about 40 minutes going a few blocks down the sidewalk they take on their way to school. The territory was very familiar to all of us, but re-framing our little jaunt as a photo-taking exercise put everything in an entirely different perspective. The kids paused every few minutes to snap pictures of flowers, leaves, insects, yard decorations, old cars, and all sorts of other objects they see every day but never really considered as photo subjects.

It was fun to see their eyes light up during the exercise and it was a nice way for us to spend some time together out of the house all doing the same thing. I had my camera too, and my kids were eager to have me take pictures as well. They helped me see familiar things in a brand new way.

Kids find even the most mundane things interesting, such as this baseball sitting in a patch of grass.

Be Present With Your Children

One of the more esoteric techniques to employ when finding ways to get kids interested in photography is to make sure you are a part of the experience. If you hand your child a camera and let them play while you do something else, they miss out on your help, encouragement, and excitement as they take pictures and learn about photography. You, in turn, miss out on spending some valuable time with your child that could help build and strengthen the relationship.

Being present with your children when they learn and explore is great for almost any type of activity, not just photography. Learning and exploring with them helps children feel safe and secure. It gives them a sense of belonging and allows them the freedom to create and explore without the fear of judgment or other adverse consequences—essentially meeting all the needs on Maslow’s Hierarchy. You learn together, share moments and create memories, and end up with some beautiful pictures as a result. You create pictures that tell a story of not just a plant or a bird or a lamp post, but a story of a parent putting everything else aside to share an hour learning, exploring and growing with their child.

After my son shot some photos of red flowers, the two of us looked through his images together commenting on which ones were our favorite.

Print the Pictures!

As DPS writer Bryan Caporicci once wrote, prints are one of the most meaningful ways that you can enjoy photography and this sentiment applies double when kids are concerned. Anyone who has spent more than five minutes with children knows how eager they are to share stories about their lives, impress you with their accomplishments, and show you talents they have or skills they have learned.

With that in mind, make sure that you find a way to get your child’s pictures off the camera, phone, tablet, or other such digital device and into a frame on the wall or a book on the shelf. Printing photos are easy and relatively inexpensive these days, and it is for your exciting your kids to have physical versions of their pictures to show and share. You could even take it a step further and get some larger prints framed and hung on their bedroom wall to help instill a love for the medium that could last for the rest of their lives.

My son asked if he could get this photo printed and framed. I’m not exactly sure what he liked so much about it, but it was a very inexpensive way to encourage his interest in photography.
Things Not to Do

Along with all these ways to help children learn and get excited about taking pictures, it’s also worth mentioning a couple of things not to do. Lest you inadvertently snuff out the photographic flame when it’s in such a fragile state of infancy.

Don’t criticize or over-analyze the photos they take. Focus on the positive aspects of their photos and be encouraging. It’s more about the process of learning than the end product, especially at such a young age.

Don’t give children a camera they don’t understand. An old mobile phone or point-and-shoot camera works well, but a DSLR could easily backfire despite your best intentions. Plenty of adults are confused and befuddled by the buttons and menus on DSLRs, and while kids might have fun experimenting with this type of camera, they could easily get overwhelmed and lose interest.

DSLRs can take better pictures than point-and-shoots, but they’re probably going to confuse most young kids.

Don’t make it about you. If you’re taking pictures with your child, let them be the star of the show and not you. Your pictures might be brighter, more colorful, or better from a technical standpoint, but that’s not the point right now. Your child could easily become discouraged if you compare their work to that of a seasoned adult. So, put your ego aside and focus on the child and helping nurture her newfound interest instead of showing off your pictures.

Don’t continually push them to improve. Let your children grow and develop at their own pace—encourage them, validate their work, and let the journey be the reward. Their interest could wax and wane over time, and they may show an intense interest in photography for a week, followed by two months of not using their camera at all. That’s normal, and if you try to force the issue, you’ll likely see your best intentions wither on the vine.

Sharing your own ideas

Sharing your photography passion with your kids can be incredibly rewarding and exciting. Perhaps some of these ideas give you a starting point if you aren’t quite sure how to begin turning the gears. I’m curious to find out what has worked for you and your kids, and I would love to learn from your experiences as well. Share your ideas, tips, and suggestions in the comments below!

The post How to Get Kids Interested in Photography appeared first on Digital Photography School.

Digital Photography School
October 25, 2018
Focus on Autofocus – Achieving Sharp Images Every Time

Focus on autofocus – this article goes out to all my fellow focus-obsessed shooters who strive for consistently tack-sharp images no matter what the scene, subject matter, or lighting situation.

Have you ever walked away from a shoot feeling confident that you nailed every last shot only to discover, upon closer review, that the majority of your captures are slightly or significantly front or rear focused? If so, this article is most definitely for you!

My eyes have been drawn to and compelled by explicitly sharp, detailed, and descriptive imagery since I was a young man pouring over the works of photojournalists such as Gordon Parks, Diane Arbus, Elliot Erwitt, and Eugene Richards to name a few.

These photographers not only captured substantive and spectacular content (moments) but did so with a technical acumen that titillated my visual senses and sent chills down my spine. I wanted to create images just as clean and captivating as those I idolized.

Autofocus in the age of modern digital technology offers quick, responsive subject acquisition and focus, but that technology sometimes yields inconsistent and unreliable results when creating images in chaotic environments or adverse situations—and, surprisingly, sometimes even in ideal situations.

My intention with this article is to discuss autofocus (AF): how it works and the various AF modes and points that are available to help ensure more consistent focus even under the most challenging circumstances.

Autofocus systems are incredibly complex and providing an in-depth explanation of precisely how they work, would take far too long and lead us astray. So here’s a concise breakdown of the two types of passive autofocus modes.

Phase Detection

Phase detection is most common in DSLRs and employs what is known as a beam-splitter. The beam-splitter directs the light (the image) onto two different microsensors, thus creating two separate and identical images. These are aligned (brought into focus) automatically using the camera’s internal software.

If you’ve ever used an older film camera with manual focus lenses, you may recall how the image or scene would appear split in the center of the viewfinder, and focus was achieved by aligning the two misaligned images. Phase detection works this way.

Contrast Detection

Contrast detection is arguably more accurate than phase detection, especially when shooting subjects (portraits) close-up with a wide aperture (i.e., f/1.4–f/2.8). The technology behind it is less cumbersome (lightweight) and less expensive. We see contrast detection AF systems most commonly in smaller and lighter mirrorless cameras.

Phase detection is more robust and more expensive, but it is also more responsive and reliable with subjects that are in motion or moving erratically. The mechanics of contrast detection are much leaner, lightweight and less expensive, but this system is notably slower and less responsive than phase detection.

For this article, I focus (no pun intended) on DSLR systems since they remain—for the time being—the mainstay for fast-action, low-light photography (i.e., photojournalism, sports, wildlife, and wedding photography).

I’ve worked extensively with both Canon and Nikon systems (each has their strengths and weaknesses), but based on my personal experience Nikon prevails when it comes to fast, accurate focus acquisition under adverse low-light situations with subjects in motion.

I shoot mostly using available light, fixed lenses, and wide apertures—typically between f/1.4 and f.2.8. There is no margin for missed shots when it comes to capturing key moments for wedding clients.

I need speed and accuracy and strive for consistency. I need to be able to capture those decisive moments as they unfold, but I also want tack-sharp images. Nothing frustrates me more than capturing great content that is slightly out of focus.

I need my focus to land precisely where I want the viewer’s eye to arrive first. Typically, that focal point is the main subject present in the scene or that subject’s eyes if the image is more portrait-like (rather than a scene with multiple subjects).

The issue of precise and accurate focus becomes even more pronounced and problematic when focusing on subjects close to the lens or when using fast lenses with wide-open apertures. A thorough and comprehensive understanding of your camera’s autofocus modes and AF points prove to be paramount in these cases.

When capturing stationary or slow-moving subjects, I achieve the best results with AF-S. I use the camera’s center focus point, which is considered the most accurate and reliable AF point. I acquire and lock focus with the center AF point then quickly recompose and capture.

Today’s cameras come equipped with many focal points. Depending on which make and model of camera you’re using, you could choose from up to 153 points. AF points typically light up in red or green when the shutter-release button is halfway depressed.

Focusing Modes (for Both Nikon & Canon)

Autofocus Automatic (AF-A) Nikon | AI Focus AF Canon

In Autofocus Automatic (AF-A), the camera analyzes the scene and determines which AF point/s to use. Based on whether or not the subject is moving or stationary, it automatically switches between AF-S and AF-C to achieve focus.

Single Servo AF (AF-S) Nikon | One-shot AF Canon

In Single-Servo AF (AF-S), the selected AF point locks focus on the subject as long as the shutter release button remains partially depressed. Focus lock is typically indicated in the viewfinder by the illumination of a solid circle.

Once focus is acquired and locked, the scene is recomposed without losing focus on the chosen subject/s. This AF mode is ideal for subjects that are stationary.

Continuous Servo AF (AF-C) Nikon | AI Servo AF Canon

In Continuous Servo AF (AF-C) focus, the camera continues to focus (and adjust focus) on the selected AF point up until the moment the shutter is activated. This AF mode is ideal for subjects that are moving.

The AF Area Mode (AF points)

In addition to these focusing modes, Nikon and Canon DSLRs come equipped with numerous AF points and AF area mode options.

Nikon AF Area Modes

Nikon allows you to choose the following AF area mode options:

Single Point – The photographer determines a single AF point manually, and the camera focuses on the subject in the selected AF point, working best with stationary subjects.

Dynamic Area – The photographer determines the AF point manually, as with Single Point AF (above). However, if the subject moves and leaves the selected AF point area, the camera adjusts accordingly based on surrounding AF points and refocuses accordingly. This setting works best with subjects that are moving unpredictably.

Auto – The camera determines which AF point contains the subject and focuses automatically.

3D – The photographer determines the AF point manually. Once the shutter release button is partially depressed, and the camera achieves focus, the photographer recomposes the scene, and the camera automatically shifts to a new AF point to maintain focus for the selected subject.

Canon AF Area Modes

Canon’s AF Area Mode options are very similar to Nikon’s but are predicated more so on groupings of AF points to achieve focus.

AF Point Expansion – This mode allows you to select a primary AF point accompanied by a surrounding 4 or 8 additional AF points for subjects that are moving or don’t offer much contrast for quick focus acquisition.

Zone AF – This provides a cluster of either 9 or 12 moveable AF point groupings to achieve focus on the nearest subject that falls within in the zone you’ve selected.

Auto AF Point Selection – In this mode, all AF points are active and track focus much like Nikon’s 3D AF mode.

If you’re anything like me, options can be exciting but also incredibly overwhelming. When reading camera manuals or highly technical tutorials, I want to ball up in the fetal position and go to my happy place.

So, I urge you to take a deep breath and read on as I speak more prosaically about how to synthesize and integrate this information for the practical application and use in the field.

I’m primarily a portrait and wedding photographer whose obsession with making sharp images has led to a great deal of experimentation throughout my 20-year career. I have worked with every pro DSLR body and lens combination imaginable and what I’m about to tell you isn’t a secret; it’s an affirmation.

Lens Calibration

First, I have achieved my best focus and image sharpness results by using fixed proprietary lenses. Proper lens calibration is also instrumental in achieving optimal results with DSLRs and proprietary lens combinations – both fixed and zooms. Lens calibration is the very first step you must take to achieve consistency and accuracy when it comes to focus.

Nikon offers AF fine-tuning with some of their newer or newly released DSLR pro bodies, and I can’t rave enough about what a valuable tool this is. Canon also allows its shooters to fine-tune and calibrate their pro lenses with their pro bodies, but for right now it remains a manual process.

If you’re interested in learning more about Nikon’s AF fine-tuning, please visit https://fstoppers.com/gear/how-get-most-nikons-auto-af-fine-tune-194063. This video provides a great tutorial that enables you to harness the power of this awesome feature!

Know that no camera body lens combination is ever a perfect match and that all body/lens combinations can benefit from calibrating your lenses. Whether you have a newer Nikon that allows you to calibrate automatically, or you own a Canon system and have to perform lens calibration manually, this is the genesis of consistently tack-sharp imagery.

My experimentation with AF points and AF modes is equally extensive. I have come to find that center point focus, and Single-Servo AF (AF-S) delivers more consistently for stationary or slow-moving objects than any other available combination of AF point and focusing mode.

I prefer to use the AF center point to achieve and lock focus, then recompose my scene for final image capture, rather than using AF points located nearer to the edge of the viewfinder. I haven’t always shot this way but discovered through comparison that this method was quicker and more reliable and that the focus was also far more accurate shot after shot.

Your camera’s AF points and focusing modes rely heavily upon contrasts present in the scene. The AF center point discerns contrast and thus achieves focus faster and more accurately than points closer to the edge of the viewfinder or image. Here contrast, clarity, and brightness get stifled by vignetting and optical aberrations that occur in all lenses—especially toward their edges and corners.

Additionally, the AF center points are cross-type focusing points, which are capable of focusing on lines in two directions, horizontally and vertically.

Focusing on Moving Subjects

When focusing for moving subjects, I have found that using Continuous-Servo AF (AF-C) in combination with Dynamic Area AF mode (Nikon) or Zone AF (Canon) delivers the best, most consistent results even in extreme low-lighting conditions.

Remember, Dynamic and Zone AF modes allow for the selection of AF point groupings ranging from 4-8 point groups to maintain constant focus tracking for subjects in motion.

When I’m a bit further away from subjects that are moving, I find that shooting in Continuous-Servo AF (AF-C) in combination with 3D area AF mode (Nikon) or Auto AF (Canon) produces the most consistent results.

For example, when I’m shooting the bride and groom’s first dance, 3D AF-C is my go-to, as it allows me to tell the camera which subject/s I want in focus and maintain that focus continuously as the subject/s move within the frame or I recompose the scene myself.

More on shooting moving subjects here.

Shooting Portraits

I think the most significant focus challenges come with shooting portraits or close-up details with longer lenses (50mm or greater) at apertures of f/1.2–f/2.8. This is where the pros separate from the amateurs.

Many photographers want to achieve the striking visual effect (bokeh) we see when shooting a subject wide open (f/1.2 – f/2.8) and nailing focus on the eyes. In these instances, there is no margin for error. Sometimes you see just a centimeter of sharpness—and if you miss it, the image is unusable (at least in my opinion). It’s a significant risk with huge rewards.

I’m often asked if there is a trick to nailing eye sharpness in portraits shot at such shallow depths of field. The ‘trick’ is to know how all of your equipment works. Know how each lens works with the body to which it’s paired, and which AF point or focusing mode produces best results when shooting shallow for that particular subject or scene.

For me, the reward is only worth the risk if I possess the technical acumen and confidence to achieve the desired result at least 8 out of 10 times (that’s my standard).

Consider the following: When shooting at 85mm set to f/1.8 with a subject to camera distance of 1 meter, you only have around a 1.3cm depth of field. If you use the center AF point in AF-S to set, lock focus, and recompose before capturing the image, it is highly unlikely your razor thin plane of focus will land where you initially locked focus.

It’s basic trigonometry.

The slight change in camera angle from recomposing (or even breathing), drastically affects (shifts) the plane of focus, resulting in the cheek, nose, ears, or chin (rather than the eyes) being in focus.

So unless you want the subject’s eyes positioned dead-center of the frame in all the portraits you shoot with a shallow aperture, you’ll need a more creative and effective strategy.

In my experience, using Continuous Servo AF (AF-C) and selecting a group of 4 to 6 Dynamic AF points near the eye is the best way to achieve eye sharpness in this precarious scenario.

However, I have found shooting in Continuous Frame or High-Speed mode, and manually making micro adjustments to the focus while the shutter is activated, is the only surefire way you’ll capture at least 1 or 2 frames where eyes are tack-sharp.

Conclusion

Autofocus is a powerful and convenient tool that has helped evolve and elevate photography to heights I would have never imagined 20 years ago.

However, with all things mechanical and humanmade, there exists weakness and limitations. That aside, there are no limitations when we speak of imagination or the creative wills that enable us—and compel us—to push those tools well beyond their limits to achieve optimal and desired results; something only possible when we possess the proper knowledge of how those tools work.

As I stated earlier in this article, Autofocus and AF systems are incredibly complex. It’s a topic of great interest and value to many photographers – from novices to seasoned pros alike.

It’s also a rapidly evolving technology, which means that what we know today may not apply tomorrow. Many variables and factors impact and affect AF accuracy and consistency – it’s a multifarious topic for sure. One article alone could never address all of these facets.

I hope that with this article I’ve been able to break the ice and provide useful information that inspires you to hone your skills further. We as photographers rely upon technology to articulate our vision and voices, so it’s not only crucial but also incumbent upon us to understand the technology – so that we may advance our artistry.

That said, I’m looking forward to writing more articles on this topic and carrying forward this conversation so that we may examine more closely and improve our collective focus.

The post Focus on Autofocus – Achieving Sharp Images Every Time appeared first on Digital Photography School.

Digital Photography School

October 25, 2018
How to Use a Black and White Filter to Improve Your Photos
In photography, you’re always looking for that extra percentage improvement in your work. One of the best ways you can quickly get this improvement is by using a black and white filter.

Those interested in black and white photography should know about the various filter options available to them. In this article, you’ll discover how to get more dramatic photos simply by changing the color of light coming into your camera.

So read on and find out which filters those are, and when and where best to use them. Now you’ll know all there is to know about the black and white filter options!

Using yellow, orange or red filters on a partially cloudy day will give you good results.

The Classic Black and White Filter Group

The workhorse filters for black and white photography are undoubtedly the red, orange and yellow filters. These filters can add more punch and drama to your scene, so let’s take a look at what they do and why they’re important.

Yellow Filter

Adding this filter to the front of your lens will add more contrast, which will lead to a more dramatic look. The main way this happens is that the yellow filter will darken the skies while keeping the clouds white. To get the most out of this you’ll need to be photographing on a partially cloudy day. The filter will also add more contrast to the foliage for your nature landscapes. Now, if you’re a cityscape photographer those darker skies will make a skyscraper building jump out of the frame more. This filter will reduce the amount of light coming into the camera, so be aware of this and compensate by increasing the exposure value if needed.

Buildings will stand out more against the sky when you use filters.

Orange Filter

You may have guessed that using orange as opposed to yellow will in effect dial up all of the effects that the yellow filter makes. Whether you want to darken those skies more is an artistic choice, but it’s always worth having an orange filter in the bag to give you that option. This filter further reduces the amount of light coming into the camera by about 1 stop.

Red Filter

Using this black and white filter gives your photo a dark foreboding look, and makes the viewer sense an incoming storm. It does this because the blue skies become black when you use this filter, so the clouds have a lot of mood and drama to them. Whether your an urban or nature photographer, this filter ensures that those particular elements jump out of the frame much more. Again, as you dial up the contrast that a red filter applies, you reduce the amount of light coming into the camera. You’ll lose around 2 stops of light with a red filter on your lens.

The use of a red filter will give a really moody foreboding look. In this photo, you can see Sinabung volcano in the background.

Other Filter Options For Black and White Photography

There are plenty of other filters. Indeed, circular polarizing filters and neutral density filters work just as well for black and white photography. This article looks to concentrate on filters specific to black and white photography. So beyond the prominent red, orange and yellow filters, what else is out there? The answer is more colored filters – green and blue.
- Green filter – Use this filter when photographing foliage, it brightens those areas of the image that contain green.
- Blue filter – This filter works in almost the opposite way of red, orange and yellow filters. It darkens the warm colors and is used to separate images that have a mixture of colors. Another application for this filter is when there is mist or fog. In these scenes, using this filter adds even more mood to your photo.
Street photography is an area that’s popular for black and white photographers.

Using Graduated Filters

The use of graduated filters for landscape photography is still very popular, even with the dawn of post-processing in photography. The aspiration to get the photo right in camera is still very much alive, and it’s great to cut down on extra post-processing if you can. In black and white photography you can use neutral density filters to balance the light out across the frame. There are also sunset filters that can be used to add reds and oranges to the top half of an image. These filters can also be used in black and white photography to selectively add the filter color effect to certain parts of the photo, giving you a little more creative control over your final result.

Screw-on Filters, or a Stacking System?

Filters come in broadly two types; Circular-shaped filters that screw onto the front of your lens and square or rectangular-shaped filters that attach to a bracket. So which system is the best for you? Those looking to use one filter at a time might find the screw-on filters work better. These filters are made of glass and are also more resilient as a result. The stacking option gives you a choice to line up several filters, one in front of the other, and to adjust the horizon line for any graduated filters you may have. So what’s the best system? There are advantages to both, but if pressed, the stacking system is a nice option.

The use of the correct black and white filter can add more mood to a scene.

How About Post-Processing?

These days you can produce an excellent black and white photo through post-processing. There is less need to use filters, and unless you’re using film, the use of physical filters is somewhat redundant. While this is true in some areas of photography, the pervading mantra is it’s better to get your photo right in-camera.

Nik Silver Efex

There is still a place for post-processing though, and one of the best programs out there for this is Nik Silver Efex. This program has a range of filters as well – though not the circular or screw on variety! You can use the program to add either red, orange or yellow to your image. Beyond that are filters like push-process that add contrast and punch to your photo. Finally, you can color cast your photo and add a vignette to it. All the effects you could create in a dark room, are now possible with post-processing.

Of course, you can use programs like Silver Efex to create black and white photos during post-processing.

Try Out a Black and White Filter!

Many people who like photography will no doubt be familiar with these black and white filter options. Which ones do you find the most effective? We’d love to hear your opinions in the comments section.

Those who are new to black and white photography, have you considered using filters? Which are you more likely to use; digital versions or a filter you can attach to your lens? Once again, please share your experience of filters with the community!

Now all that’s left is to go out and make some stunning black and white photos!

The post How to Use a Black and White Filter to Improve Your Photos appeared first on Digital Photography School.

Digital Photography School
October 24, 2018
7 Effective Post-Processing Steps For Beginners
Effective post-processing can be challenging to learn.

If you take photos in RAW format, you need to post process your photos to get them looking good.

Here are seven steps I take in Lightroom and Photoshop with most of the photos I take.

Typically, the photos I take are documentary-style, and I don’t change them with much post-processing. I have developed a workflow to enhance and tweak my photos with the aim of rendering a result similar to how I saw the picture in reality.

Technicalities and alternative variations are kept to a minimum in this article to avoid causing confusion and discouragement. This article is written for beginners starting on their post-processing journey.

The original unaltered RAW file.

Intention When Post-Processing RAW files

Post-processing software has become very complex and powerful. It is possible to manipulate photos, so they become entirely different from the original. There are dozens of tools and multitudes of ways of achieving the same or similar results.

My intention most for most photographs I post process is to make them look as natural as possible. I believe this is an excellent place to start, even when you want to go on and create more surreal looking images.

Tone range in a photo is one of my primary concerns. Your eyes can usually see a broader range of tone than your camera can record. How to post-process a RAW file to appear as close as possible to what you saw, in reality, is what I want to share with you.

Seven Post Processing Steps
- Step 1: Process The RAW File
- Step 2: Open in Photoshop (PS) and Create Two Layer Copies
- Step 3: Balance the tone range
- Step 4: Remove Distractions
- Step 5: Dodge and Burn to Refine
- Step 6: Crop (if you need to)
- Step 7: Save a TIFF and a JPG
Step 1: Process The RAW File

The RAW file with no adjustments.

Choose the photo you want to work with and open it in the ‘Develop Module’ in Lightroom. Take a look at the shadow areas, mid tones, and highlights. Choose what you consider to be an essential part of your photo and pay attention to that when making your adjustments.

For this article, I am using a landscape photo of the view I see from my home. Within it, there are no real extremes or any outstanding main subject. The photo has a pleasing range of tone and color, and I want to see detail in each area – the sky, mountains, and the rice. As an unprocessed RAW file, it looks flat and dull.

Make use of the sliders in the ‘Basic’ panel on the right to begin making adjustments. For my image, I move the ‘Blacks’ slider to the left, darkening the black areas and take the ‘Contrast’ slider to the right up increase the contrast a little. Then move the ‘Shadows’ slider to the right a fraction to bring back detail in the dark areas that I may have lost while moving the previous two sliders. Lastly, I push the ‘Clarity’ slider to the right a bit.

It’s good practice to avoid moving any slider to its extremity because the image quality deteriorates. It’s better to use a combination of the various sliders to achieve the look you want and keep the quality.

The ‘Color Temp’ slider has also been moved towards the blue as the photo is a little too yellow.

I’ve made a Preset in Lightroom with these adjustments, using it on most of my photos, and then tweaking the sliders if need be.

The RAW file with adjustments.

Step 2: Open in Photoshop and Create Two Layer Copies

About 90% of the photos I post-process go through this step. I have an Action set up in Photoshop that is applied first-up on any photo I process. Make two layer copies and set the Blend Mode of the top layer photo to ‘Screen’ and the middle layer blend mode to ‘Soft Light’.

Creating two additional layers of your photos allows you to add extra punch to them. This extra punch happens by manipulating the top ‘Screen’ layer.

Opening Photoshop with two new layers created of the photo and Blend Modes changed.

Step 3: Balance the Screen Layer

Adjust the ‘Opacity’ of the layer until the darkest area you want to retain detail in is looking good. In my photo, it is the forest on the mountain that’s in shadow. I adjusted my screen layer to 40%.

Manipulate the opacity of the top Screen layer.

You can turn off the top to layers to see the changes you have made. The bottom layer is still as you imported it.

Now select the ‘Eraser’ tool and give it an Opacity setting of around 30%. Begin to gently erase the areas of your photo you want to darken. The sky is the area I worked on the most because I wanted to bring out more detail in the clouds.

Use the Eraser tool to darken some areas that are too bright.

Having the Opacity set at 30% allows you to be more precise in the way you manipulate your photo. I use a pen and tablet which is pressure sensitive and gives me more control than a mouse.

Turn off the lower two layers and temporarily make the Screen layer 100% opacity to see what you are doing more easily.

Turn off the other layers and temporarily bring the ‘Screen’ layer opacity back to 100%. Doing so makes it easier to see the changes you are making. Turn the layers back on and set the ‘Screen’ layer to the opacity level you chose.

Once you are happy, flatten the image.

Step 4: Remove Distractions

Use the Patch tool and clone tool to remove distractions.

Use the clone tool or the ‘Patch’ tool to remove distractions from your photo. There’s not too much distracting in my photo, but even taking out the few bright elements enhances the photo. I have used the ‘Patch’ tool to fill in the small section of road that was visible, the electricity poles, a person and a water tower in the distance.

Cleaned image with distractions removed using the ‘Patch’ tool.

Step 5: Dodge and Burn to Refine

Zoom your photo to fill your monitor and take a good look at it. Are there still areas which are too dark or too bright? If so, use the ‘Dodge’ and ‘Burn’ tools to fix them. You also may need to use the ‘Burn’ tool on areas you used the ‘Patch’ tool to help them blend in better.

In my photo, I have set the ‘Burn’ tool to an Exposure value of 11% and chosen to work on the ‘Mid-tone’ Range. I have darkened the clouds more and also some of the rice. The clouds now look more natural. The rice in the foreground is a little darker and helps draw your eye into the photo. I have used the ‘Dodge’ tool also on 11% Exposure, to lighten the palm tree.

‘Dodge’ and ‘Burn’ to refine the tone range.

Step 6: Crop If You Need To

Take a look at your photo and consider whether cropping it somehow would make it a stronger image. Try it and see if you are not sure. Make a copy to crop and compare with your original. Alternatively, crop it and then use Ctrl+z (cmd+z on Mac) to see the comparison.

Step 7: Save a TIFF File and a JPG File

Saving two files gives you one of full quality and one you can use on the internet. I have a lot of different Photoshop ‘Actions’ set up to resize and save my photos depending on their usage.

The photo with post-processing complete.

Not Every Image is Created Equal

Apply these steps with a good dose of flexibility and creativity. Experiment with them to discover alternative ways you can make your photos look.

Based on these, I have alternative steps I apply to some photos to achieve a certain look. As you work your way through these steps, remember the scene you photographed to keep your photos looking as natural as possible.

If you have any other helpful tips, please put them in the comments below.

The post 7 Effective Post-Processing Steps For Beginners appeared first on Digital Photography School.

Digital Photography School
October 23, 2018
Create a Theme to Step Up Your Travel Photography

One of the things that always drew me to travel photography is the endless variety. Every place on earth is unique. The people, the landscape, the culture, the wildlife, the architecture. Even with neighboring cities, no two places are the same.

So, why is it that we tend to photograph them all the same way? When I look back through my archives from all over the world, most of my images have a similar look. If I didn’t remember the location of a photo, I likely couldn’t guess where I took it.

As photographers, we develop our own unique approach to our craft. It’s not a bad thing – it helps to develop our own style. Although, sometimes it’s worth taking a different approach for a specific location or trip. Choosing a travel photography theme for a trip can help focus and guide your photography, as well as give you a unique collection of images.

Coming Up With Your Photography Theme

I’m not talking about changing your style or learning a whole new genre, necessarily. Just taking some time to think about how you could create a theme for your next photography trip. Here are a few things to consider that could help to give your collection of images a unique photography theme.

Genre

You likely already have an idea of what genre of photography you’ll be using. This will largely come down to what you like to photograph. It will also depend partly on the location you’re going to and the gear you have available.

However, you may be tempted to photograph everything. It’s easy to fall for this temptation, I know. You’re in a new, exciting place and may never go there again. You don’t want to miss a thing. Go crazy, if you must, but try to think of a specific genre that suits the location and spend most of your time on that.

You don’t want to pick a genre that won’t give you many options. Trying to photograph the milky way in New York isn’t going to happen. Neither is photographing architecture in Yosemite. Come up with something that will give you a lot of material to work with and that you will actually enjoy.

Travel photography conjures images of epic landscapes or cityscapes. You really are only limited by your imagination. Try making the local people your theme with portraiture. Spend your days practicing street photography if you’re visiting an urban location. Maybe even try your hand at wildlife photography if there’s any around.

Subject

So, you’ve picked a genre. What are you going to point your camera at? It’s time to spend some time thinking about the subject of your theme. Again, it may be an easy decision. What’s unique about the location you’re visiting? What’s it known for?

On my recent road trip up the coast of Queensland, Australia, I followed a coastal theme. If there’s one thing Australia is known for, it’s incredible beaches. It was an obvious choice.

You don’t need to go with the obvious, though. Something less obvious can actually make a more engaging collection of photos. If you’re visiting a big, concrete jungle, you could create a contrasting theme by photographing the flowers you find. Think outside the box and get more out of the location.

Of course, there’s nothing wrong with photographing the cliche. There are some incredible collections of photos that follow an obvious subject – lakes of Canada, waterfalls of Iceland, Humans of New York.

Style

The style of your photography is one of the most powerful elements in creating a photography theme. The way you choose to photograph the subject you’ve chosen can vary a lot. You may have already developed your own style. You don’t need to throw that out the window.

If your photographic style suits the genre and subject that you’ve chosen, feel free to stick with it. You’ve likely worked hard to develop it. You could adapt it for this trip by turning up the volume or trying something slightly different.

If your theme uses long-exposures, you could try creating super-long exposures. If you’re doing astrophotography, maybe give star-trail photography a go. Creating an aerial theme? How about shooting panoramas with your drone?

A big factor in creating a style is focal length. A 50mm lens will create a very different image to a telephoto. As will a wide-angle or fish-eye lens. You might have a dozen lenses to choose from, or you might have one. Either way, try choosing one lens for your theme. You could even take it a step further and stick to just one focal length.

A photography trip could be a good opportunity to try something new. Have you been wanting to get a drone and have some fun with aerial photography? Maybe it’s an opportunity to try your hand at macro photography? Travel is expensive, so buying new gear for a trip usually isn’t possible. Renting is a great option, as is borrowing gear off other local photographers.

Color

If there’s one thing that can create a consistent theme within a collection of images, it’s color. This can be both in the colors that you capture in-camera and the way you edit them in post-production. A combination of both can really bring a bunch of photos together.

It’s not always the case, but you may find there are certain colors that are consistent in the locations you’re photographing. Certain landscapes, for example, will have dominant colors. Green hills, blue water, yellow sand.

There are opportunities to create color themes everywhere, though. You could create a color theme in a city by photographing doors, flowers, dresses, signs, etc, that are all that color.

When you import your photos to your computer, the options for editing your photos with a color theme are endless. Try playing around with the white balance and saturation sliders. Experiment with HSL and split-toning. Do something different to what you usually do, and when you find something you like, save it as a preset for your theme.

Creating a color theme doesn’t need to include advanced color grading or anything technical. Your theme might just be bright, vivid colors. It could also be the opposite. Maybe a desaturated look, or even go monotone. Black and white photography can create a very strong theme.

As a colorblind photographer, I’ve avoided advanced color editing in the past and played it safe. Taking risks and learning to create color themes for my travel photography really helped me take my photos from mundane to unique.

Summary

Whether your trip is a family vacation, business travel, or a photography adventure, try thinking about a photography theme. Ask yourself what you could do to come home with a more cohesive collection of images that represent the location well. You might even end up with a few side-by-side on the wall someday.

Do you have any photography theme tips? If so, let us know in the comments below.

The post Create a Theme to Step Up Your Travel Photography appeared first on Digital Photography School.

Digital Photography School

October 23, 2018
How to photograph family and bridal party portraits quickly at weddings
Wedding days are filled with details. While the bride and groom portraits are the most important pictures you’ll photograph during the day, family and bridal party portraits come at a close second.

These tips help you photograph family and bridal party portraits quickly and beautifully, giving your guests great photos without taking up valuable time.

If you have time during the bridal party photos, get creative!

Family portraits

Make use of a consultation to speak with your clients before the event to find out if any of their parents are divorced and note this down on a wedding info sheet.

I lead with this because it can change the order in which you photograph family portraits, especially if there are parents who choose not to see each other.

Unfortunately, this is a reality and should be handled with care.

Ask about divorced parents before the wedding because it can affect family portraits.

During the consultation process, you should also create an itinerary so that you have at least 30 minutes for family portraits. The more time you have, the more variety in posing you can get, however, 30 minutes is enough time to capture the family.

Both family portraits in the same location.

When photographing wedding family portraits before the ceremony, make sure you confirm if both the bride and groom families will be present or if you will be photographing them separately.

Either way, this list provides different combinations to use with each family; all achievable in under 15 minutes.

Build portraits by adding people gradually.
- Bride/Groom with parents (If they are divorced, photograph with new spouses or simply keep them separate portraits)
- Bride/Groom with entire immediate family, including brothers, sisters, including spouses and children
- If grandparents are present, take another photo of the entire family including grandparents
- Bride/Groom with mother
- Bride/Groom with father
- Bride/Groom with nieces and nephews only
- Bride/Groom with siblings
- Bride/Groom with grandparents
- Bride/Groom with important uncles/aunts/extended family
Build portraits by adding parents and without moving them, add in the rest of the family.

Keep the portraits of the extended family until the end.

They may be eager to get family portraits after the ceremony but make sure that you express to them that the most important photos are of the immediate family.

Of course, make sure to ask the bride and groom if there is anyone in the extended family that is a must-have during the family portraits.

At small weddings, you might have a chance to photograph all of the guests with the bride and groom.

Take photos of each family individually and don’t forget to add the bride or groom.

The family portrait formula

To do this and all of the family portraits quickly, follow this formula:
1. Find a big space with a neutral or pleasing background, like pretty landscaping, an interesting building, or a clearing in the venue/location. One great option is to photograph close to the ceremony where family members are all together and present. This helps keep people from wandering off and missing out on the portraits.
2. Begin with the family that is present. For example, if the groom’s family is ready, begin with them so that you don’t waste time waiting. Set up the bride and groom in the center, tummy to tummy, holding the bouquet. From here, build out until you get the entire family in the photo. Remember to also take photos of the bride and groom with their respective families alone.
3. From there, it is easier to keep the bride or groom in the center and add or remove people as needed.
4. Always show a connection by having people put their hands on the arm of the person next to them or if they are spouses, holding hands. Putting hands on the shoulders of children or holding their hands also helps.
5. For babies and children under 3, they are best when being held as sometimes they might be too small if they are standing in the portrait. If you have time, photograph both options.
Both families are in one portrait.

Family portraits are the ones that guests always download the most as many family members do not live nearby. Weddings act as a mini-reunion for families, which is why it’s important to get solid portraits of them.

Grandparents are very important guests, make sure to take portraits when they are present.

Taking family portraits using the formula above ensures that you can work quickly and not take up time from the cocktail hour or even the bride and groom’s portraits!

Connect family with hands to arms or on shoulders.

Once you take the solid portrait of the family, if you have time, get creative or have fun with it.

Get a photo of the family hugging or siblings doing something funny.

Doing this also helps keep the mood light and ensures that everyone has fun during the family portraits.

Bridal party portraits

Bridal party photos should take anywhere from 45 minutes to one hour to photograph to get as much variety as possible. Begin photographing the entire bridal party together to ensure that no one is missing and everyone is present.

Begin with photographing the entire bridal party together.

A few quick tips for bridal party portraits

Make sure that all boutonnières and bouquets are ready and each person has their flowers pinned or in hand. Place bouquets at belly button height because this keeps the arms slightly bent, and the flowers visible without being too high or too low.

For the groomsmen, ask them to take out all of their belongings from their pockets as this can create hard to edit shadows on the pants. If there is something special, like a gift from the bride or groom to their bridal party, take a photograph of that too.

Take the following series of photos for the entire bridal party portraits:
- Bridal party standing in line – placing bridesmaids on bride’s side and groomsmen on the groom’s side is a classic and sure portrait of the entire bridal party. Place the tallest people on the outside as they can distract from the bride and groom if they are shorter. Then line them up according to height.
- Create a ‘u’ shape forward or try to use a ‘v’ shape to create more depth.
- Stagger the bridal party and turn some people away from the center, creating more depth in the portrait. You can sometimes have the bridesmaids interlocking arms or the groomsmen holding shoulders or leaning against each other. Try different ideas with them standing.
- If you have access to chairs, place a couple in front to create differences in height and create a similar portrait but with a few people sitting. It makes a much more interesting photo.
- If there are steps, use them to stagger the bridal party across, keeping the bride and groom center.
- Get a photo of the bridal party walking toward the camera having fun.
- Ask the bridal party to mix and get a group photo of them having fun.
- Get a group hug if the bridal party isn’t too large. Doing so creates authentic smiles and breaks-up the stiffness or seriousness of the portraits.
Bridal party portraits should be fun and keeping the mood light always helps.

If you find yourself having a hard time getting them to focus, try letting them know that the faster you photograph the portraits, the faster they can get to the party.

This usually motivates them to cooperate faster.

Once you have the entire bridal party portraits, take photos of the groomsmen. The bride can take a break to touch up makeup, take a sip of water, or rest for a moment.

Groomsmen usually want to get the portraits over as quickly as possible so beginning with them makes everything run smoothly. If you have a second photographer, ask them to take the groomsmen aside and photograph them while you focus on the bride to cut time as well.

Photographing the bridesmaids and groomsmen separately is much more fluid and can be more fun. Have them line up, hug, do something funny, and take individual photos of the bride or groom with each person.

Have fun during bridal party portraits.

Take individual photos with each person in the bridal party.

Make sure to take waist-high portraits as well as full-length with enough room around the frame just in case they print the photo at different sizes that may crop the image.

Try and keep the bridal party photos in one location so that you don’t have to move so many people around.

Another tip is to photograph the bridesmaids and groomsmen separately earlier in the day and come together after the ceremony for the larger portrait.

Sometimes this can save time as well.

Extended family bridal party portraits

After the ceremony, as guests congratulate the couple, do not get caught in the trap of photographing extended family portraits. Make sure to let the guests know that during cocktail hour or the reception, you will have more time to photograph guests with the couple.

Extended family photos during cocktail hour saves time from the bride and groom portraits or other events during the wedding day.

The reason for this is because taking portraits of guests with the couple immediately after the ceremony, or while the guests are congratulating the couple, can cut time from the family portraits.

It is okay to get candid/photojournalistic photos during this time of the couple with the guests.

Photos during the reception for extended family is very ideal.

However, make sure to get a few before heading to the location where you are taking the family portraits. This gives you time to set up and get your camera ready for the quick family portraits.

Keep a checklist

Use the Notes app on your phone or carry a printout of a checklist with all the combinations to use to photograph the family and bridal party portraits. Doing so helps you keep track of what you’ve already photographed and what you need to do, so you don’t waste time wondering what comes next.

Weddings are all about the guests, and the guest list is meticulously planned, so make sure you take the extra step and ask the bride and groom if there are any guests they specifically want photographing.

Doing so makes all the difference when they look through their final images. Make sure to include these VIP guests in your checklist and note when would be a good time during the day to get their portrait.

Once you have more wedding experience, these portraits become easier and quicker to set up, photograph and pose. Soon you’ll be doing them in under 15 minutes, giving you more time to experiment and get creative!

Put a family member or someone close in charge

It can be stressful making sure all the family members and bridal party are present where and when they need to be. This stress should not fall on either the bride or groom.

On the day of the wedding, find someone who is a family member or bridal party member who is familiar with both sides of the family be in charge of making sure that all family members and bridal party are where they need to be during the portraits.

Since they know who the key players are, this helper can cut time by making sure everyone who needs to be in the portraits is present, making the portrait time more fluid.

Take photos of gifts the bridal party receives from the couple.

Keep the portraits moving

Sometimes, you’ll have to wait on a family member or bridal party member, and that is okay. You always want to make sure the bride and groom stay as calm and stress-free as possible. When this happens, keep the portraits moving.

For example, if the groom’s family isn’t ready, then begin with the bride’s family. If you’re waiting for a bridesmaid, take individual shots first and then move on to the groomsmen.

Making sure the portraits continue allows the person who is missing to arrive, all the while you are still creating beautiful portraits for the bride and groom.

Allow the bridal party to have fun.

If there is a circumstance where someone essential is missing or unavailable for the photos, ask the bride and groom to move the portrait session to a different time.

Perhaps you can do the bridal party portraits during the cocktail hour or carve out some time during the reception to get family portraits.

If you have access to chairs use them to pose the bridal party or family.

Make sure to note any changes to the portrait sessions and anyone still to be photographed. Ensure that you get the photo during the day to help the bride and groom feel less stressed and more confident in you to achieve all the crucial portraits.

In conclusion

Family photos and bridal party photos are a huge part of every wedding day and can be stressful when trying to pose large groups of people.

Using these tips can help these portraits to be more streamlined so that the guests, as well as the bride and groom, can enjoy the party.

You’ll get fabulous portraits that everyone loves without having to take up too much time.

Do you have any wedding portrait tips you’d like to share? If so, leave them in a comment below.

For more information on wedding photography, read this article on What Are the Real Responsibilities of a Wedding Photographer or What to Bring to Photograph a Wedding Besides Your Photo Gear

The post How to photograph family and bridal party portraits quickly at weddings appeared first on Digital Photography School.

Digital Photography School
October 22, 2018
Two Ways to Transform Old Photography Magazines Into Coasters
Photography magazines are one thing I can’t seem to throw away. My fascination with photography has culminated in a library of magazines filled with beautifully dated galleries, equipment reviews, tutorials and advice. They accumulate on my bookshelves, and quickly migrate to desktops, the tops of fridges, assorted drawers and nightstands.

While having a cup of tea the other day, I realized I’d forgotten to put down a coaster. I quickly grabbed a magazine and rested my cup on it, sparing my furniture. And it got me thinking. Could I transform some of my magazines into coasters themselves? Surely the thousands of pages I’d accumulated could be put to use as an interactive dining accessory. After all, who wouldn’t want a cute photography-themed coaster to admire while having a cup of tea?

Here are two simple ways to create striking coasters out of your old photography magazines.

The cut and paste method

You will need
- A photography magazine or two.
- Some coasters to stick your magazine images to. (I used simple round cork coasters from IKEA.)
- Mod Podge (a glue and sealant) available at art supplies stores.
- A pen or pencil.
- A brush.
Method

First, find an image you’d like to incorporate into your coaster design. The choice here is endless. You could focus on text, photographs or whatever catches your eye.

Once you’ve selected an image, trace a circle around it (using your coaster as a template) and carefully cut it out.

Next, apply a generous amount of Mod Podge to the coaster and spread it around evenly with the paintbrush. (I put some newspaper down for this bit to protect my work surface from spills.)

Place your image face up on the Mod Podged side of the coaster and smooth out any wrinkles.

Once your coaster has dried (allow an hour or two), you’ll need to seal it. Spread a layer of Mod Podge evenly over the image with the brush. (Don’t worry, it dries clear.)

Once it has dried (again, allow an hour or two), repeat this step four times. Make sure you let the coaster dry between coatings.

Once the last layer of Mod Podge has dried, your coasters is ready to use.

The coiling method

You will need
- A magazine.
- A ruler and scalpel (or a paper shredder).
- Glue. (Mod Podge works well for this project too.)
- A paintbrush.
Method

Tear out a few magazine pages – the more vibrant the better. Cut each page lengthways into 7mm strips. (If you have a strip-cut paper shredder, you can use it instead.) You’ll need to cut up at least six pages.

Once you’ve cut your strips, its time to start curling. Select one strip of paper and curl it over itself to create a coil. Once you’ve completely curled the first strip, add a dab of Mod Podge to the end and glue it down.

Now you need to add a new strip to build on the last. Add a dab of Mod Podge to the end of a new strip of paper, and press it Mod Podge side down onto the coil where the last strip ended. Wind the fresh strip around the coil, keeping the paper nice and taut. Once you’ve completely wound it on, add a dab of Mod Podge to the end of the strip and secure it to the coil.

Keep winding your strips of paper onto the coil. For every fifth strip, add a thin a layer of Mod Podge down its entire length and wind it Mod Podge-down, around the coil. This will keep the coil together as it grows.

Keep adding strips of paper until you’re happy with the size of your coil.

It may take you a couple of hours, but the results are striking. And it’s really fun to watch it grow.

Whichever method you choose, it’s a great way to get those stunning images out of the bookshelf and onto your coffee table.

The post Two Ways to Transform Old Photography Magazines Into Coasters appeared first on Digital Photography School.

Digital Photography School
October 22, 2018
Why We Have Such a Love-Hate Relationship with Mirrorless Cameras

It’s odd how some ideas seem to cascade once our minds start churning.

I recently wrote about the weird fascination we have with constantly chasing the latest cameras and gear, where I investigated the uncanny rise of full-frame mirrorless cameras. And with the newly announced full-frame mirrorless offerings from Nikon’s (the Z6 and Z7) and Canon (the EOS R), the bell has been sounded for an all-out mirrorless war.

Which got me thinking. Why are we so fascinated by mirrorless camera technology?

Our love-hate relationship with mirrorless cameras is of special interest to me. I’m a card-carrying member of the Sony full-frame mirrorless photography club, and I’ve used an A7R MK1 as my main camera body for some years now.

Let’s look at what mirrorless camera technology gives us, and why the winds of mainstream personal and professional photography are gusting towards a predominantly mirrorless future.

Note: I’m not trying to promote one camera system over another. While I do most of my work with a mirrorless camera, I still use SLR (film and digital) bodies and large-format film cameras.

The Allure of Mirrorless Camera Tech

The concept of mirrorless cameras is nothing new. Mirrorless digital cameras with interchangeable lenses have been available commercially since 2004. That was the year Epson released the still cool (yes, really) R-D1, which incorporated a rangefinder design alongside a digital APS-C sensor. This camera was a bridge between the familiar 35mm rangefinder and the digital revolution that was soon to come.

But let’s back up just a second. What makes a mirrorless camera so appealing to the general shooter? For the most part, it’s the lack of a mirrored optical viewfinder (hence the name).

Size

Traditional SLR cameras (both film and digital) use a mirror and pentaprism system to show what’s being seen through the lens. But while this system is ingenious, it does make the camera quite bulky.

Mirrorless digital cameras do away with this system, relying on the digital sensor itself to show what’s going in front of the camera using an electronic viewfinder (EVF), an LCD screen, or a combination of the two. (Think of this as a constant “live view”.) This means mirrorless digital cameras can be inherently smaller than most DSLR camera bodies.

The Sony A7R MK1 (left) and the Canon 7D MK1 (bodies only).

And whenever something becomes smaller, it usually becomes more comfortable and practical.

Resolution for Days

Let’s briefly talk about the game-changing event in 2013, when Sony released the ILCE7 and ILCE7R (commonly known as the Sony A7 and Sony A7R respectively). These two cameras took what most hobby and professional photographers thought was possible from a compact digital camera and threw it out the proverbial window.

The A7 and A7R were the first full-frame mirrorless cameras, each packing pro-grade DSLR performance into a hand little camera body. They could even be mated to whatever lenses the photographer was using at the time (with the appropriate lens adapters). The A7 sported a 24.3 megapixel sensor, while the A7R floored us with a sensor packing 36.4 megapixels.

This meant ultra-high resolution, enhanced low-light performance and full-frame bokeh cream could be achieved with a mirrorless camera, while keeping weight and physical size to a minimum. The fact the price was comparable to other full-frame DSLR cameras at the time led to a mass exodus as camera jockeys (including me) handed in their DSLR for these new, more wieldable mirrorless cameras that could match their current setups.

The Good, the Bad, and the Mirrorless

But it’s not all butterflies and rainbows in the mirrorless camera world. Some of the benefits of digital mirrorless cameras are also their Achilles heel.

Battery Life

The ever-present live view tends to drain batteries quicker than their DSLR cousins, and also limits their burst mode rates. While the problem has been somewhat alleviated, the battery life of full-frame mirrorless cameras still hasn’t caught up with most current DSLR models, even though their burst rates have. This leaves some feeling slightly disadvantaged when it comes to battery mileage.

A Diminishing Size Gap

As I said earlier, the ratio of photographic punch to physical size was one thing that drew me to the full-frame mirrorless realm. But it comes with a few caveats.

For example, if you need to use non-native lenses with converters you won’t get much of a size benefit from mirrorless systems compared to their DSLR counterparts.

A Canon 5D MK3 with a Canon 50mm F/1.8 lens (left) and a Sony A7R with an EF 24mm f/1.4 Sigma lens attached via an MC-11 adapter.

While this is becoming less of a problem – more and more third party lens manufacturers getting on board and producing native-mount lenses for most mirrorless cameras – it’s still worth mentioning.

An Undeniable Shift in Mentality

The “big guys” (i.e. the larger camera manufacturers) have been basking in their exclusivity for years. While they’ve produced excellent (and sometimes iconic) cameras and lenses, their innovation has been lacking during the past few years.

These long-standing giants in the photographic industry are starting to realize they aren’t the only game in town. And consumers have gotten wise to the fact that mirrorless cameras, particularly full-frame mirrorless cameras, can match (if not outperform) the products that have seen them resting on their laurels for so long. The Nikon Z6 and Z7, the Canon EOS R, and even the Panasonic SR1, all hint that Bob Dylan was right all along.

The times really are a changin’.

The post Why We Have Such a Love-Hate Relationship with Mirrorless Cameras appeared first on Digital Photography School.

Digital Photography School

October 21, 2018
How to Customize and Use the Photoshop Gradient Tool
Despite its straightforward name, the gradient tool is incredibly flexible. You can customize practically every settings, and use it in many different ways.

In this article I’ll show you how to use it to its full potential.

The Gradient tool shares the same toolbar space as the Paint Bucket tool, so you may not see it at first glance. Click and hold the Paint Bucket tool to reveal the fly-out menu, then select the Gradient tool.

You use the Gradient tool to make a smooth transition between multiple colors. And one of the first things you can customize is the colors you want to transition between.

With the Gradient tool active, you’ll see a sample on the left-hand side of the options bar. Clicking the small arrow next to it will reveal the gradient picker that includes a number of preset gradients. And clicking the gear icon to the right of that will bring up the settings menu where you can:
- load more presets
- add new presets
- customize the display window.
If none of the presets suit your needs, you can customize a new gradient by double-clicking the sample to bring up the Gradient Editor window. Here you’ll see a bar with the current gradient, along with a set of sliders you can use to create the gradient you want. The top sliders control the opacity, while the bottom sliders control the color. If you need more colors, simply click on the gradient where you’d like them to go.

As well as choosing the colors, you can also choose the start and end points of your gradient.

Next to the sample you’ll see five icons representing the five different types of gradients you can apply: Linear, Radial, Angle, Reflected and Diamond.

The Linear gradient will gradually transition your colors in a straight line from the start point to the end point.

The Radial gradient radiates out from the start point in the shape of a circle.

The Angle gradient will transition clockwise in the direction of the angle created by the line uniting the start and end points.

The Reflected gradient creates a mirror effect using the start point as the center.

Finally the Diamond gradient radiates out from the start point in the shape of a diamond.

Next to the gradient icons are two dropdown menus. The first lets you set the bending mode (how your gradient will affect whatever’s below it). The second reveals a slider that lets you control the gradient’s opacity.

Finally, you have three checkboxes:
- Reverse, which reverses the color order of your gradient
- Dither, which will make the transition smoother
- Transparency, which will apply the opacity from the gradient.
In this example, the top half has the transparency option checked while the bottom half does not:

So now you know how the Gradient tool works and how to customize it. Now let me show you how you can use it to give your images a trendy look.

First, choose the photo you want to modify. While there’s no right or wrong here, some photos are a better fit for this kind of effect than others. (e.g. something that looks vintage, or an artsy portrait).

Next, make it black and white by applying the Black & White adjustment layer.

Next, add a new layer on top of this adjustment layer you just added by either selecting Layer -> New Layer from the menu or by clicking the New Layer button at the bottom of the layers panel.

Now, create your gradient in this layer, choosing whatever colors and angles you prefer.

Finally, set the Blending Mode to Screen.

The Gradient tool gives you endless possibilities for adding effects to your photos. Start experimenting, and have fun.

The post How to Customize and Use the Photoshop Gradient Tool appeared first on Digital Photography School.

Digital Photography School
October 21, 2018