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Taking a Measured Approach to Learning Photography

07 Dec

The post Taking a Measured Approach to Learning Photography appeared first on Digital Photography School. It was authored by Kevin Landwer-Johan.

Whether you have just invested in your first camera, or you did so a while back, taking a measured approach to learning to use it will help you improve your photography.

Woman Photographer at the Shopping Mall - Taking a Measured Approach to Learning Photography

Beyond camera skills, there’s a whole lot more to making great photos. Composition, lighting, timing, and relationship with your subject are all important aspects of photography. All are largely unrelated to camera tech.

Photography is a journey. You can make it as long or short as you like. You can stick to a well-beaten path, (and create photos much the same as most people do,) or be more ambitious and scale lofty peaks. If you want to do the latter you better have a good idea of where you want to go and be ready to develop the necessary skills for the adventure.

Where do you start and how do you become competent in both the technical and creative aspects of photography?

Start with What’s Essential

Camera manuals are notorious. They are often difficult to understand and the information can appear disjointed. However, these books provide you with valuable insight. To be able to create interesting photographs you need to have a good knowledge and understanding of your camera first.

Taking a Measured Approach to Learning Photography Happy Photographer

Start with your camera manual. Read it in the language you most easily understand, (and ignore all other language options.) Don’t try and absorb it all at once. Spread out your reading over the first week with your camera in your hands. Take in a little at a time and practice it.

Google and Youtube will often provide you with information about your camera that’s more straightforward. Search your camera make and model. Find one or two sources that cover it in depth and spend time studying it.

Get a good grasp of the basics of how your camera works. Get to know it’s settings and functions. Learning these things will help you avoid a lot of frustration when you are taking photos.

Concentrate on the Basic Functions

Trying to learn all the intricacies of your camera right at the start can be confusing. Modern cameras are packed with more whistles and bells than you will ever need to use.

Taking a Measured Approach to Learning Photography My First Camera

My first camera was a simple tool. I had no option but to learn to use it manually. It had no automatic functions. This was a great way to learn. Thirty years or so later as I was preparing to launch my photography workshops, I had to study how to teach using the auto settings. I had never used them.

It’s a little like driving a car with an automatic transmission after learning in a manual shift car. Easy, because you’ve already mastered the essentials in manual mode.

Personally, I think using manual mode gives you the freedom to become more creative with your camera. I encourage you to do this. If you don’t have the time or commitment, experiment with the auto settings on your camera and find one or two which suit you best. Don’t be distracted by the scene modes or the many other functions your camera has. When you are starting out these will just add confusion.

Taking a Measured Approach to Learning Photography Camera Police

Be Regular

Picking up your camera frequently and regularly is the one thing that will advance your photography. Make a habit of taking at least one photo a day. It only needs to take a few minutes.

Once you form a habit you will find it easy to make more time for photography. As you become familiar with your camera you will start to enjoy it more. When this happens you will notice you are beginning to take better photographs. It can become addictive.

Using your camera infrequently will lead to some frustration each time you do pick it up. You will have to think again which dials and buttons do what. You will not be familiar enough with the controls to use your camera with ease. Taking at least one photo a day will help you learn the camera controls and before long you will know them and use them intuitively. You don’t need to make a masterpiece each day, just try to improve a little at a time.

Taking a Measured Approach to Learning Photography Example

Learn a Little More

Studying – along with regular camera use – will accelerate your photography learning experience. Find a good book, online course or enroll in some classes.

Look for a teacher or author whose style you like and would like to emulate. Some people who teach photography will have you concentrate heavily on the technical aspects of the craft. Others will encourage you to leave your camera on auto all the time and let the camera do the work. It’s your choice which path you choose to follow. I prefer to teach a mix of the creative and technical aspects of photography.

Taking a Measured Approach to Learning Photography Monk Photographer

Building your technical ability is important. You need to understand your camera and how to manage the settings. Receiving some good teaching on the functions of shutter speed, aperture, ISO, focus and other essential controls will lead you to be more creative. Once you have learned these skills your mind will be freer to focus on the creative elements that make good photographs.

Having a good grasp of composition, light, color, and timing is equally important for being able to make good photographs. Much of the creative side of photography is very subjective. You can study it and gain foundational knowledge. This will set you up towards developing your own personal photographic style.

Without a balance between technical and creative study, you can end up unbalanced. This can lead to technically perfect snapshots or terribly exposed, out-of-focus ‘creative’ photographs.

Three Helpful Tips to Help Your Progress

Make a separate folder on your computer, somewhere you can access it easily. At least once a week, go through the photos you have made and choose a few of your favorites. Put them in this new folder. This is your portfolio. You don’t need to share it with anyone else (but it’s a good idea to.) It’s there so you can see your photographs improve over time.

Taking a Measured Approach to Learning Photography Market Photographer

Having your work critiqued by a more experienced photographer helps. You may not always see what you have done wrong. You may look at your photos and know they are not great, but not be able to figure out why. This is where an experienced photographer can help you. A good critique will be positive and constructive but not shy away from pointing out changes which need to be made.

Finding someone to mentor you is one sure way that will help your photography progress. Regular contact with a more experienced photographer who’s committed to helping you learn will accelerate the process. The feedback a mentor can provide is invaluable. A good mentor will teach and guide you. They will also set and assess assignments for you.

Conclusion

Taking a Measured Approach to Learning Photography Kevin Teaching

Like learning to play a musical instrument or losing weight, the level of your commitment will be reflected in the level of your success. The more committed you are to learning to use your camera well, the more successful you become.

Frequent camera use and study will propel you more quickly to your goal. It’s your choice. Make regular study and camera use a daily habit. Go through and separate out your favorite photos once a week or so. You will be encouraged by the photos you are making. You will never achieve your potential by only occasionally picking up your camera.

The post Taking a Measured Approach to Learning Photography appeared first on Digital Photography School. It was authored by Kevin Landwer-Johan.

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Photography Equipment Tips for an Africa Photo Safari

06 Dec

The post Photography Equipment Tips for an Africa Photo Safari appeared first on Digital Photography School. It was authored by Andrew Sproule.

There’s no doubt that booking and planning for an Africa photo safari is an exciting time, especially if it’s your very first venture. As a photo safari tour leader, I’m used to the process. Nevertheless, I still behave very much like a child in anticipation of what Christmas brings. As your departure date draws nearer, your thoughts move to packing for your trip. Although the appropriate clothing is essential, these trips are really about amazing wildlife encounters, shared experiences and capturing memories. It’s time to think about your photography equipment, – your gear.

It’s time to pack your camera bag!

Author’s Note

Before I dive in, I would like to state that this article represents my tips for maximizing your experience while on an Africa photo safari. It’s a guide with a mix of opinion and facts based on my on-location, in-the-field experience. It’s a summary, an introduction and not a laboratory review and therefore should be treated as such.

Secondly, I always recommend photography enthusiasts choose a safari designed explicitly with photographers in mind. General ‘tourist’ safaris have their place, but they’re much more likely to be governed by a species timetable. Lion, check. Move on. Buffalo, check. Move on. You get the picture. On a dedicated Africa photo safari trip, not only will you share a vehicle (often customized for photographers) with liked minded people, you’ll also benefit from being able to spend much more time with an individual animal or group of animals. You’ll be able to witness unusual behaviors and explore different angles and lighting situations. Explicit and invaluable guidance and advice are also on tap.

Thirdly, you’ll notice that I’ve included my camera settings below a number of the images. These settings worked for me in those particular situations, under certain conditions to produce the type of image I was after. I suggest you use these posted settings as a guide only. Instead, think about how these images might look if you were to adjust the shutter speed, aperture or ISO. Then, take that information into the field with you. The relationship between these elements can create widely different outcomes and also help you to define your style.

Leopard, Botswana. Canon 1DX, Canon 70-200mm(at 105mm), f/2.8, ISO 400, 1/125th sec handheld. Image © Andrew Sproule

Cameras for an Africa Photo Safari

Notice I have stated ‘cameras’ in the title and not ‘camera.’ I recommend you take at least two camera bodies with you. On the surface, this may seem like overkill or even a touch extravagant, but there are valid reasons why.

Firstly, it’s peace of mind. Imagine the heart-sinking moment if your camera fails. That emotion is tenfold if it happens on day one of a two-week photo safari! Whether you take two DSLRs, two mirrorless cameras, a combination of both, or an alternative solution, possessing a backup prevents any unnecessary anxiety. Before I purchased a second camera body, I used to hire one for my Africa trips. I still do this on occasion. It’s a great way of testing and trialing gear in the field beforehand and working out what works best for you.

Secondly, Africa is an extraordinarily harsh and dusty environment. Sand and dust particles are the enemies of sensitive camera sensors. Consequently, eliminating the need to swap lenses while on location can be a huge plus.

Furthermore, having two cameras armed with different lenses (for example a telephoto lens and a mid-range zoom), you’ll find it easy to switch between them. Switching between them is useful when wildlife comes too close, or if you are pulling away for a wide shot of wildlife in context of its habitat. Being able to adapt to shifting conditions can mean the difference between capturing, or not capturing the shot.

Not everyone is in a position to take two cameras. It also doesn’t matter whether your camera is full-frame, crop-sensor or another type, as there are pros and cons to all. What is fundamental is that you know your camera intimately. Practice on your dog, your cat or deer in a local park. Whatever you can. The more familiar you are with your camera’s features, the quicker you’ll be able to adjust to conditions that unfold in front of you with confidence.

Lenses for an Africa Photo Safari

Super-telephoto lenses with a focal length of 300mm plus are the staple for most Africa photo safaris. For crop-sensor cameras, 300mm should be ideal. If you intend to photograph birds as well as large game, the longer the focal length, the better. Full-frame cameras usually need lenses of 400m+.

Wild dog, Botswana. Canon 1DX, Canon 500mm, f/5.6, ISO 200, +2/3 EV, 1/160th sec, monopod. Image © Andrew Sproule

Although my go-to lens is a 500mm, I believe the versatility of zoom lenses make them ideal for African safaris. There’s such a wide variety of birds and mammals of a degree of varying sizes and distances that a good lens option would be something like the 100-400mm.

A short-zoom lens in the range of 24-70mm is also a great option as it provides the flexibility to pull away to present wildlife within its environment, adding real context to an image. Because I’m also a landscape photographer, I also favor super-wide lenses in the range of 16-35mm or 14-24mm.

Much of Africa’s wildlife is active in the early mornings and late evenings meaning you’ll be battling low levels of light. Lenses with larger apertures, such as f/2.8, allow more available light into the camera, so you’ll be able to use a reasonably high shutter speed for much longer. These lenses are a luxury item though, so an alternative solution is to increase the ISO. Doing so most certainly increases noise, but most photographers would rather have a sharp shot with an acceptable amount of noise than an out of focus shot with no noise. In many cases, you can eradicate most noise in post-production.

Filters for an Africa Photo Safari

I often use filters when composing landscape images, and on an Africa photo safari there are most certainly circumstances when the use of a filter is advantageous. For filters that reduce glare, saturate colors and darken skies, I recommend using a polariser filter.
If you need help to correctly expose bright skies, while preserving exposure detail in the foreground, then I recommend an ND filter.

Camera Support on an Africa Photo Safari

Burchell’s Zebra, Kenya. Canon 1DX, Canon 500mm, f/4, ISO 200, 1/50th sec, bean bag. Image © Andrew Sproule

Bean Bags

Bean bags are my go-to support, especially in East Africa. They are a simple, yet extremely effective support for your camera. Bean bags can be used to rest your lens on a vehicle’s doorsills, window frames, roof rails and the actual roof itself. Also, wildlife is often on the move, so you’re not limited to one position within the vehicle. Many reputable Africa photo safari tour operators provide beanbags. However, that said, it is always worthwhile double-checking beforehand. Bean bags can pack light and get filled with rice or beans on arrival. Some photographers prefer to fill their beanbags with lightweight polystyrene balls before they leave. It’s bulkier but a lightweight alternative. I’ve been using a couple of Kinesis SafariSacks 4.2 for a while. As well as being a great support, the quick release straps secure the bags in place, so you never lose them in the bush.

A typical East Africa safari vehicle. Image courtesy of Governors Camp, Maasai Mara, Kenya

Unfortunately, bean bags are not a universal solution, contrary to what you may have read in certain books or magazine articles. Although they’re a fantastic solution in East Africa, they’re not as useful in Southern Africa (including South Africa, Botswana, Zambia, and Zimbabwe). The reason is that the vehicles there are radically different. Safaris in Southern Africa use open Land Rovers and Land Cruisers with no sides at all – often there isn’t even a windshield! So, there is nothing on which to rest the beanbag. In Namibia, both open Land Rovers and closed vehicles are in common use.

A typical Southern Africa safari vehicle. Image courtesy of Motswari Private Game Reserve, South Africa

Monopod

If a bean bag is not an option, a monopod offers a lightweight and more practical alternative to use within the confines of a safari vehicle. Especially in Southern Africa. You don’t need to extend it entirely, and it takes the strain from your arms and shoulders while seated. It’s surprising how effective it can be. I have tested many monopods over the years and have found that Gitzo Monopods best suit my needs. I also use a Really Right Stuff lever-style, quick release that makes the process of taking lenses on and off the monopod very fast.

Tripod

A tripod is useful or even an essential piece of kit for evening photography, longer exposures or for around the camp. Although, the wide-spread tripod legs make them impractical and ill-advised for most safari vehicles. However, if you’re in an open vehicle on your own, or perhaps with one other, a tripod can be rigged to provide an excellent platform for larger lenses. To avoid badly damaging your camera from vehicle shake, always remove your camera from the tripod while on the move.

Some airlines take a dim view of tripods, and you may find it difficult to persuade them to let you take it in the cabin as part of your hand luggage. If it’s going in the hold, it can take up more of your baggage weight allowance.

Clamp

I often use a ball head or gimbal head on a Manfrotto® Superclamp that can be bolted almost anywhere, including a vehicle’s roof bars. If I’m on my own, or part of a tiny group, I may even have several of these clamps placed in strategic points around the vehicle making it extremely easy to switch from side to side and back to front.

Manfrotto 035 Superclamp. Image courtesy of Manfrotto®

Storing Images while on an Africa Photo Safari

Laptop

You could easily take 300-500 images a day. Trigger-happy photographers may even have over 1,000, so a small laptop with external hard drives are useful for securely backing up your photographs. If weight restrictions allow, two hard drives that mirror each other is a great solution. Remember to pack essential items such as connecting cables, chargers and memory card readers.

Memory Cards

An alternative solution to external hard drives is to bring extra memory cards. You can file these away at the end of each day. That way, you are safe in the knowledge that your data remains untouched until you arrive home. If you don’t like the idea of swapping out memory cards too often, go for larger capacity ones such as 32GB. That said, I don’t like to put all my eggs in one basket, and therefore I opt for 2 or 3 smaller cards in favor of one larger one.

Accessories for an Africa Photo Safari

Batteries

Get to know what you can expect out of your camera with regards to battery life and take enough spares to get you through each day. Cold is a battery’s nemesis, so make sure they’re not getting too cold overnight. I have two spare batteries for each camera body, and that’s always been more than adequate for my purposes.

Lens Cleaning Cloth

Remember lens cleaning cloths. I would also recommend a camera and lens cover that helps protect your camera in the event of a rain shower and for protecting your gear against the dust mentioned above.

Others

Don’t forget your smartphone, binoculars, head torch, notepad and pen, personal medication, malaria medication, toiletries, money, your passport, and visa.

For detailed, up-to-date information on vaccinations and more, you are best to consult an official website.

Packing for an Africa Photo Safari

I recommend packing high-value items like cameras, lenses, and laptops in your hand luggage. Some airline safety requirements require you to pack batteries in your hand luggage, so ensure you charge your items, as airport security often requires you to demonstrate that laptops and cameras are all in full working order. A simple rule of thumb is to pack items essential to your photography, travel, and health in your hand luggage.

Pack your gear very carefully with disruption in mind. Some Africa photo tours can consist of two or three successive flights to get to various destinations in Africa. There may be two or even three layers of airport security on each of these flights. You may be required to unpack large cameras, lenses, and laptops. If you can, avoid placing smaller accessories on top of larger items that you may need to take out repeatedly and re-pack. Pack cables and batteries together in small pouches rather than loose in your bag.

Your camera bag should be large enough for your gear but small and light enough for all cabin limits. When packed you should be able to safely lift your bag in and out of the overhead lockers without assistance. Check the maximum sizes and weights for all the airlines and be aware that different flights often have different rules.

For small internal charter flights within Africa, total baggage allowance (hand luggage plus hold luggage) can be as little as 20kg and bags must be soft and pliable.

Typical Southern Africa internal charter flight. Image courtesy of Moremi Game Reserve, Botswana

Final Thoughts on an Africa Photo Safari

An Africa Photo Safari is an incredible experience. For many, it is a-once-in-a-lifetime opportunity both to experience incredible scenery and wildlife and to take amazing photographs.

There’s no doubt that it can be a daunting experience packing expensive and essential photography equipment for a safari. Even for seasoned photographers. Just remember to seek out advice. If you are booked on a photographer-specific tour, you can request support from your guides and or Africa safari tour facilitator. They have the experience and knowledge to help you make it the through this process with as little stress as possible.

The post Photography Equipment Tips for an Africa Photo Safari appeared first on Digital Photography School. It was authored by Andrew Sproule.

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4 Tips for Building a Photography Portfolio and Business

06 Dec

The post 4 Tips for Building a Photography Portfolio and Business appeared first on Digital Photography School. It was authored by Lily Sawyer.

dps-Building a Photography Portfolio and Business

For some of us, a photography business springs from a hobby and grows into a paid endeavor, and so we feel it just landed in our laps. To others, it was more of a dream that was kept close and dear and planned to make a reality for a long time. For others, doors of opportunity open at the right time and place, and they’ve grabbed it.

Regardless of how your photography business has come about, for your business to take shape and grow, there are necessary steps to take. These steps require many initiatives and work and do not depend on luck or open doors of opportunity.

Let me share with you a few tips for building a photography portfolio and business. This article is of benefit if you are building your business from scratch or have been in operation but have relocated, requiring you to start afresh in a new location.

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1. Build a Strong Portfolio

Now, don’t get me wrong – I don’t expect that you have a massive pile of photoshoots under your belt in the beginning (although that would be great.) All you need is a handful of carefully curated photos for your portfolio. If you have any images from practices or hobby shoots, choose your very best images. The best of the best, even if you only end up with a handful. If you are brave enough to do so, choose one genre and focus on that!

Usually the more niched, the stronger the portfolio.

3-dps-Building a Photography Portfolio and Business

2. Call for Models

If you don’t have any images to use or you feel your images are not good enough yet, plan a model call-out. Shoot new images that are more focused and consistent – your portfolio benefits from more consistent images. The goal down the line is that you are the one people think of when they need a photo shoot of a particular type.

You’re the expert in that field, and therefore you can also command decent prices. Having this in mind at the very start of your portfolio-building helps you streamline your model call plans in regards to age group, style, outfits location, and set-up. Branding is vital, especially at this stage. One could go as far as saying branding is everything.

3-dps-Building a Photography Portfolio and Business

You have two choices for model calls:

1. You can ask friends or friends of friends. You can do a public call on your social media platforms. If going the friends’ route, you may decide not to charge as you may feel they are doing you a favor. That is your call. However, money doesn’t grow on trees in business. Money comes from clients or investors who want a return on their investment.

Therefore, don’t be quick to offer your services for free, especially if you want to start charging decent fees or market rate. It’s hard for a potential paying client to start paying good money after initially being offered a freebie.

2. There are other options far better than offering freebies. You can do a barter of some sort. Think of something that either party finds beneficial with relatively equal values. You can also charge a fair rate for portfolio building that is lower than the market rate. You can offer the session at no charge in exchange for the model call but sell the prints. That way it’s not a total freebie.

Right off the bat, learn to accept money from clients without feeling guilty or feeling that you don’t deserve it. Also, don’t be embarrassed about it!

4-dps-Building a Photography Portfolio and Business

3. Have a Web Presence

Nowadays, if you are not on the web, you are not on the map. You don’t need a super-fancy website either if you feel that is out of reach at the moment. Although, it is easy enough to start a website using readily adaptable templates. More importantly, use social media platforms that are free and easy to set up such as Facebook and Instagram.

If possible, have both. However, if you are only doing one, a top tip is to think about your audience. What platform is your target market using? Parents with children are usually on Facebook. Younger age groups, like seniors, early 20s and 30s, are on Instagram. If you are after more real-time conversations and engagement with your followers, you could also link your accounts on Twitter.

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A Web Presence is Your Virtual Office

Having a web presence is like having a virtual office. People can contact you and view your strongest images in your portfolio. This tool can be leveraged to reach more people, especially friends of friends. You can tag friends, share on their page, and ask them to share. All of these methods help to spread the word about you.

By tapping into your contacts’ friends, you are starting from a position of trust. You are no longer a stranger to a potential client but a referral. Use that to your advantage. By being reached easily on social media channels, you become more of a real person than just a webshop.

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4. Print Some Business Cards and Stationery

While they may seem old-fashioned, business cards are useful because some people expect them, and they are great if you are networking in-person. If you want to be memorable, make your cards into a magnet, so you stay on people’s fridges! Think of something quirky, or at least different, so that you stand out more.

Having some printed promotional materials like mini-brochures and vouchers are invaluable. They come in handy if you want to collaborate with other small businesses in your area, such as your local health clinics for baby and maternity shoots, or boutique shops that sell outfits that fit with your branding.

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I hope the tips in this article will help you in some way as you start your photography business. If you have any other tips, please share them in the comments below.

You may also find this article helpful.

The post 4 Tips for Building a Photography Portfolio and Business appeared first on Digital Photography School. It was authored by Lily Sawyer.

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Black and White in the Outdoors: Learning to see in Monochrome

06 Dec

The post Black and White in the Outdoors: Learning to see in Monochrome appeared first on Digital Photography School. It was authored by David Shaw.

1 - Black and White in the Outdoors

To determine when black and white is the best option in nature photography, you need to learn to see your scene in black and white. Most beginner photographers arrive at their monochrome images by experimenting with post-processing. While this occasionally works, shooting with black and white in mind results in far better images.

In other words, you need to SEE in black and white.

Look for Contrast

Highlights

In color photography, there are almost unlimited options to juxtapose contrasting and complementary colors or to provide an attention-getting subject in a flashy tone. But in black and white, you lose the ability to use color in the traditional way and are instead left with shades of gray. Contrast, rather than color, is our compositional tool.

Most of us see the world in rich color and there is no saturation slider in our eyes or brains with which we can switch color on and off. But we can train ourselves to see contrasts.

As I’m writing this, I’m looking out my window onto the spruce trees in my front yard. The sun is shining on a layer of fresh snow which fell over the past few days. The limbs of the spruces are draped in white. Looking south, toward the low sun, I can see flashes of perfect white where the sunlight is illuminating fresh snow. Those bright highlights contrast sharply with the dark, shaded trunks and exposed branches of the trees. In fact, even in the shaded areas, the difference between the snow and the dark needles is remarkable. With little color in the scene to begin with, it doesn’t take much to “see” this scene in black and white.

Because I can “see” this scene clearly in black and white, I can recognize that images like this will translate well from color. Here, let me step outside for a few minutes and make a few photos, to show you what I mean.

(A few minutes later…)

I’m back. I’ve pulled a few images and did a quick black and white conversion in Lightroom. Here are a couple of shots; first color, and then black and white.

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4 - Black and White in the Outdoors 5 - Black and White in the Outdoors

This is a straightforward example. As most people can see, lacking many colors, the snowy trees were a likely subject for black and white. However, the next step is harder.

Color Contrast

I had another black and white shooting session a few months back when “seeing” in black and white was much more difficult.

Each fall, I make a pilgrimage from my home in Alaska’s interior to the Kenai Peninsula. This year, I spent a day exploring the forest and mountains of Kachemak Bay State Wilderness Park, across the bay from the town of Homer. I hiked for several miles through the wet forest making images of the rising autumn colors, and the fog-draped mountains. It was a sea of greens and yellows, red highlights, grays, and browns. Some images were perfect for color, others not so much. Telling the difference in the field was a game I played as I walked.

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Some black and white images were clear in the gloomy forest. The dull yellow, jagged leaves of Devil’s Club against the muted greens and browns of the forest floor were an obvious contrast that I knew would translate well into black and white.

Others, like the pale green of fern fronds, were less contrasty in the field, and yet translated beautifully into shades of gray.

These ferns were dying back at the end of the season and were largely a dull brown. Kind of ugly really. However, the color doesn’t matter in black and white, and the contrast between the pale brown fronds, and the deeply shaded background worked.

This patch of ferns was pale green and popped against the darker green background. This is my favorite image of the series. It was a shot that took me a moment to “see” in black and white.

Another shot of an autumn stalk of bright red fireweed, I thought would look good in black and white when I first made the image, but upon examination of the back of my camera in the field. There was actually little contrast in brightness between the greens and red. That image didn’t work quite as well.

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Lighting Contrast

Later that same afternoon, bright sunlight started to filter through increasingly thin clouds. It wasn’t yet hard light, but it was bright enough to be directional. The sun came through the forest canopy in patches, illuminating and shading different areas.

And this brought about a third option for black and white: lighting contrast. In the differing light, even similar colors will contrast in black and white.

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Beyond Details

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Seeing a large scene in black and white is the next step. I was photographing by a lake this fall. It was early in the day, the sun not yet far above the horizon, but any lingering sunrise color had faded. Most of the lake, some rising fog, and the surrounding mountains were in shadow. Aside from the sky, there wasn’t a lot of contrast. I was about to pack it in for the morning when the sun got high enough to illuminate a patch of fog, which flashed white in this scene of muted blues. Not much for color, I thought, but in black and white? That, I realized, would work.

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Terrible Light

At times, when photographing in harsh light, black and white can also salvage an otherwise impossible situation. A number of years ago, I was shooting in the altiplano of Bolivia. I arrived at mid-day at the spectacular and weird Laguna Colorado. It was savagely bright; cloudless skies, high elevation, middle of the day, and within a few degrees of the equator. Lighting conditions couldn’t have been worse.

While the landscape was uniformly drenched in harsh, ugly light, there was contrast in the colors of the desert. A polarizer darkened the sky and removed the worst of the glare. The resulting black and white conversion, was if not perfect, at least the best of a very bad situation.

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Frequently traveling photographers find themselves in beautiful locations at bad times, and we don’t always have the freedom to return when the light is better. In such situations, consider black and white. It’s not a cure-all, by any means, but nasty light will often translate better into monochrome than full color.

The situation I described above was not unique on my trip through Bolivia. The sweet light of morning and evening lasted only minutes in the high desert, quickly replaced by glaring light. And yet contrasts in the landscape salvaged many a scene for me.

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Conclusion

If you can recognize a black and white subject in the field, it will open up your eyes to new compositions you may have previously ignored. Black and white photography is not simply the removal of color, it is a way of seeing.

When next you venture outdoors with your camera, look at the way colors and even shades contrast with one another. Look for lighting conditions that cause contrast to appear and embrace those situations in the form of black and white photography. Even on those days with rotten, bright light, consider how removing those washed out colors might help your final image, sometimes black and white can salvage an otherwise desperate moment.

Give it a try and then share your results in the comments below.

The post Black and White in the Outdoors: Learning to see in Monochrome appeared first on Digital Photography School. It was authored by David Shaw.

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How to Create a Lithography Effect Using Photoshop

05 Dec

The post How to Create a Lithography Effect Using Photoshop appeared first on Digital Photography School. It was authored by Ana Mireles.

1- How to Create a Lithography Effect Using Photoshop

I love getting inspiration from darkroom techniques and applying original effects to digital photos. If you’re like me and want to give your images a vintage look, this tutorial is for you. I’ll show you how to get a beautiful creamy-caramel tone that mimics Lithography (or Lith for short) printing.

Lith printing is a monochrome technique that consists of overexposing the paper and then underdeveloping it. By doing this, your photograph gets warm colors with strong shadows but with aerial highlights. That explained, now let’s get into Photoshop.

1. Choose Your Image and Create a Black and White Adjustment Layer

To create a Lithography Effect Using Photoshop, choose the image you want to work with and open it in Photoshop. There’s no need to duplicate it or save an extra copy as you’re not going to touch this original image. Everything is done using layers and adjustment layers. Working this way not only protects your original image, but it also allows you to go back and adjust or modify every step if you wish to.

2 -How to Create a Lithography Effect Using Photoshop

The first step is to create an adjustment Black and White Adjustment layer. To do this, click on the ‘Add Adjustment Layer’ button from the bottom of the layers panel. It’s the one with the symbol of a half dark – half light circle. A pop-up menu appears with all your choices. Choose the Black and White one. Now the properties panel allows you to adjust it through the use of sliders. You can move the green and the yellow sliders to lighten it a little bit like I’m doing. However, this depends on the photo you’re using.

3 - How to Create a Lithography Effect Using Photoshop

2. Create a Hue/Saturation Adjustment Layer

Next, add another adjustment layer. This time choose ‘Hue/Saturation’ from the menu to achieve the tones you want. Ensure the ‘Colorize’ box is checked and move the ‘Hue’ slider. In the original technique, the tone depended on the type of paper, the specific blend of developer and the time you left it to process, so you can also be flexible here. In any case aim for a soft brown or caramel, For my taste, something between 20 or 30 on the slider works well.

4 - How to Create a Lithography Effect Using Photoshop

3. Create a Brightness/Contrast Adjustment Layer

Create another adjustment layer and choose ‘Brightness/Contrast’ from the menu. Click the ‘Legacy’ box and drag the contrast slider to the left to flatten your mid-tones.

5 - How to Create a Lithography Effect Using Photoshop

4. Create a Curves Adjustment Layer

The last adjustment layer is meant to adjust the shadows. Add a ‘Curves’ adjustment layer and anchor the lightest part by clicking on the top right corner. Drag the darkest one (on the bottom left) to the right until you reach the first quadrant. Finally, create an anchor point in the middle and drag it upwards for the mid-tones. It may sound complicated, but you can see it in the screenshot below. There is also no need to replicate exactly. It also depends on your image and your liking.

6 - How to Create a Lithography Effect Using Photoshop

5. Create a New Layer

That is all for the adjustment layers. Now create a new layer. This button is also on the bottom of the panel; however, the symbol is a square with one corner bent. Color this layer by going to Menu -> Edit -> Fill, choose 50% Gray and apply. This layer should completely cover your image but don’t worry; you’ll fix that later.

7 - How to Create a Lithography Effect Using Photoshop

6. Add Noise

While still in this layer, go to Menu -> Filter -> Noise -> Add Noise. In the pop-up window, choose ‘Monochrome’ and slide up to about 140% because you need to distress the image.

8 - How to Create a Lithography Effect Using Photoshop

6. Add Blur and Soft Light

Next, go to Menu -> Filter -> Blur -> Gaussian Blur and set it to ‘4.’ This softens the noise.

9 - How to Create a Lithography Effect Using Photoshop

Now change the Blending Mode from the drop-down menu that you’ll see on the top of the panel, and choose ‘Soft Light.’

10 - How to Create a Lithography Effect Using Photoshop

7. Add a Layer Mask

Now your image is distressed as desired, but the effect needs to be contained only into the darkest areas because Lithography prints are characteristic for their grittiness within the shadows. To achieve this effect, you need to add a layer mask to it. Go to Menu -> Select -> Color Range and sample the darkest areas by clicking on one of them. You can fine-tune this selection by dragging the fuzziness slider.

11 - How to Create a Lithography Effect Using Photoshop

Now click on the Layer Mask button and see the results or your finished digital Lith. Please give it a try and share your results in the comment section.

12 - How to Create a Lithography Effect Using Photoshop

The post How to Create a Lithography Effect Using Photoshop appeared first on Digital Photography School. It was authored by Ana Mireles.

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Full Frame VS Crop Sensor VS Micro Four Thirds: Camera Sensors Explained

05 Dec

The post Full Frame VS Crop Sensor VS Micro Four Thirds: Camera Sensors Explained appeared first on Digital Photography School. It was authored by Kunal Malhotra.

1 - Full Frame VS Crop Sensor VS Micro Four Thirds: Camera Sensors Explained

‘DSLR Camera, Full-Frame, Crop Sensor’- Just 3 terms which are prevalent in virtually every discussion involving photography. The two terms in use to classify sensor sizes of a DSLR camera are ‘Full-Frame’ and ‘Crop-Sensor.’ A Full-Frame camera contains a sensor size equivalent to a 35mm film format whereas a Crop-Sensor camera has a sensor size smaller than a full-frame sensor or a 35mm film format.

Micro-Four-Thirds (4/3) is a relatively new format (and term). First introduced around 2008, this sensor is slightly smaller and compact in nature. However, owing to a variety of factors, this format is now considered almost equal to, if not better than, the Crop Sensor format.

Apart from the physical size difference, there are several other points of difference between a full-frame sensor, a crop-sensor, and a micro-four-thirds sensor. Let’s take a look at a comparison between them under the following characteristics, to get an accurate understanding of their differences.

Crop Factor

As mentioned above, a full-frame camera has a 35mm sensor based on the old film-format concept. Whereas, a crop-sensor (also called APS-C) has a crop factor of 1.5x (Nikon) or 1.6x (Canon). Micro-Four-Thirds are even smaller sensors having a crop factor of 2x.

This crop factor also directly affects our field of view. Simply put, an APS-C sensor would show us a cropped (tighter) view of the same frame as compared to a full-frame sensor, and a Micro-Four-Thirds sensor would show an even tighter (more cropped) output of the same frame.

2 - Full Frame VS Crop Sensor VS Micro Four Thirds: Camera Sensors Explained

LEFT: Photo clicked using a Full-Frame camera. CENTER: Photo clicked using a Crop-Sensor camera. RIGHT: Photo clicked using a Micro-Four-Thirds camera.

Focal Length

The focal length obtained by different sensors is also directly associated with crop-factor. The focal length measurement of any given lens is based on the standard 35mm film format. Whenever we use any crop-sensor camera, its sensor crops out the edges of the frame, which effectively increases the focal length. However, this is not the case with any full-frame sensor, as there is no cropping involved with a full-frame field of view.

For example, in the Nikon eco-system, a crop-sensor camera such as the D5600 has a ‘multiplier factor’ of 1.5x. Thus, if I mount a 35mm f/1.8 lens on my Nikon D5600, it would multiply the focal length by 1.5x, thus effectively giving me a focal length output of around 52.5mm. If you mount the same lens on a full-frame Nikon body such as the D850, it gives an output of 35mm.

Similarly, if you mount a 35mm lens on a Micro-Four-Thirds sensor, which has a crop factor of 2x, it effectively doubles the focal length obtained to around 70mm.

3 - Full Frame VS Crop Sensor VS Micro Four Thirds: Camera Sensors Explained

LEFT: Photo clicked at 35mm on a Full-Frame camera. CENTER: Photo clicked at 35mm on a Crop-Sensor camera. RIGHT: Photo clicked at 35mm on a Micro-Four-Thirds camera.

Depth of Field

Similar to focal length, the aperture or f-stop measurement of a lens is based on the full-frame 35mm format. Similar to focal length, a ‘multiplier effect’ gets applied to the f-stop when using crop-sensors. As we know, the f-stop or aperture is the singular most important factor that affects the Depth of Field.

Thus, a Micro-Four-Thirds camera gives us less (shallow) Depth of Field at similar focal lengths when compared with a full-frame camera. For example, an image shot at f/1.8 on a Micro-Four-Thirds camera would give an output similar to an image shot at f/3.6 on a full-frame camera, and f/2.7 on a crop sensor camera. This is assuming that the effective focal length, and other shooting conditions, are the same.

Low Light Performance

Generally, full-frame cameras provide not only better low light & high ISO performance, but a better dynamic range. These factors combined eventually produces a much better image output than any crop-sensor camera can achieve.

Full-frame cameras are capable of capturing the most light and will almost always out-perform an APS-C or Micro-Four-Thirds camera body under low-light conditions. Micro-Four-Thirds sensors don’t perform well under low-light conditions where the ISO needs to be cranked up to say, above 2000.

For these reasons, despite full-frame camera kits being expensive, bulky and heavy to carry around, they are still industry-standard and the preferred cameras for virtually all professional photography work.

Conclusion

Thus, while full-frame DSLR’s remaining the industry standard even today, we cannot ignore the undeniable advantages of the Micro-Four-Thirds cameras. Micro-Four-Third cameras, such as the Olympus EP-5 & the Panasonic GH5, are affordable and easy to carry around. Thus, enabling a much larger group of people (who are hobbyists and enthusiasts but not professionals) to have access to DSLR-like shooting conditions at a fraction of the price.

Ultimately, factors such as your budget, use and other criteria define whether you choose either Full-Frame, Crop-Sensor, or Micro-Four-Thirds cameras.

5 Ways to Light Your Christmas Tree Portraits This Festive Season

04 Dec

The post 5 Ways to Light Your Christmas Tree Portraits This Festive Season appeared first on Digital Photography School. It was authored by Mat Coker.

You want to snap a picture of the kids around the Christmas tree. But after finally getting a photo where they’re all looking happy, you’re disappointed with how it turns out.

In this scene both the tree and the people are nicely illuminated.

Why is it so dim? Where’s the ambiance? Why can’t I capture what I’m seeing with my eye?

The classic Christmas tree portrait can be problematic. And many of those problems have to do with light. So today I’m going to walk you through the five major lighting solutions for better Christmas tree portraits.

I want you to be able to set up a quick shot in front of the tree and have it turn out well. And to do that you need to light the people in the photo without ruining the mood of the Christmas tree lights.

Nighttime vs Daytime Tree Photos

There’s a big difference between taking a Christmas tree portrait at night and taking one during the day. What’s the difference? Light. During the day you can make use of natural window light. However, at night you have to create your own light, which means you’re often taking your tree portrait in a dimly lit room.

So let’s cover nighttime tree photos first, then daylight. Because shooting photos in daylight is easy.

1. Ambient Light by Accident

Ambient light simply refers to the light already present in the scene – the light from your tree, whatever other bulbs you have on in the room, and maybe some lamps or an overhead light.

Many people prefer using ambient light to their camera flash because the flash often ruins the mood of the scene. Working in ambient light can be wonderful providing you’re intentional about it. You can’t just turn on the tree lights and hope for the best.

This was our first ever family photo around the Christmas tree. Like most families, I propped up the camera and set the ten-second timer. But clearly, it didn’t work. Even though the tree is glowing nicely, we’re not lit at all.

2. Ambient Light on Purpose

If you’re going to rely on ambient light for your photos (rather than using your camera flash), you need to get extra light on the people without it spilling onto the Christmas tree. You don’t want to spoil the mood and glow of the tree lights, but you still want the people to be lit nicely.

Try moving some lamps around. Don’t just turn them on to get more light. Move them closer to the people.

This portrait was taken using only the tree lights and a small lamp. Because of the way they diffuse light, lamps create soft light.

3. Pop-Up Flash

Sometimes the ambient light just doesn’t work. So how else can you light the scene? By using the pop-up flash on your camera.

I can hear you groaning. “But I hate the look of flash.” Me too. But there are things you can do to make it look better. And what you rather have – a photo lit as well as possible with flash or no photo at all?

Remember, the idea is to light the people without ruining the mood of the tree lights.

Here’s how to do it:

Move the people in your photo away from the tree a little (three feet or more).
Get as close to the people as you can.

Why do it like this? Because when you’re closer to the people, the flash sends out a smaller burst of light. Once it reaches the people in your photo it fades out quickly, which means it won’t light up the tree too much.

In this photo the pop-up flash has lit the entire scene, ruining the ambient light of the Christmas tree. I need to bring her away from the tree and closer to the camera so the flash lights her but not the tree.

While I also used the pop-up flash in this photo, this time she’s further away from the tree. Now she is lit nicely by the flash, while the tree remains untouched by the flash.

4. External Flash

If you don’t like your pop-up flash blasting light directly at your subject, you could try using an external flash instead. It still attaches to your camera, but you can aim it at the ceiling or a wall to bounce the light off that surface and onto your subject.

I used an external flash for both of these photos. For the photo on the left, I pointed the flash at the wall so the light bounced back to light her up. In the photo on the right, I pointed the flash at the ceiling.

Bouncing light can be tricky when it comes to color. As well as the light, it will also reflect the color of the wall or ceiling it bounces off. (Direct flash is a much cleaner light than bounced flash.) As you can see, the photos I took with the external flash look much warmer. But I can adjust that with a program such as Lightroom.

Notice how her eyes are a little dark in this photo? The light is being bounced off the ceiling above her and isn’t lighting up her eyes. To avoid that, back up a little farther so the light bounces back in front of her and not just above.

Tip: If your flash seems too bright, turn down the power with flash exposure compensation.

I turned the flash power down all the way in order to add just a little bit of light to the scene.

5. Window Light

Window light is is my favorite form of natural ambient light. It’s bright and soft, and illuminates people wonderfully for photos.

This works best when the tree is tucked into a corner out of the window light so it still has some glow for the photo.

Here the tree is tucked into a dim corner so the lights can glow. The kids will sit on the stool and be lit by the window.

Have the light from the window lighting people from the side to create some dimension in the photo through shadow.

The window light provides soft light with just a hint of contrast from the soft shadow. Notice that her left cheek is just a little bit darker than her right.

Notice the glow of the tree and the nice soft light illuminating the portrait.

However, try not to get split light. Have them look toward the window slightly.

Because she’s turned away from the window, a shadow is now dividing her face. Even though it’s still a soft shadow, the light on her face isn’t as pleasing.

In this group portrait, you can even see catch lights in their eyes.

They are turned ever so slightly toward the window, ensuring their faces are nicely illuminated.

Even though I had no idea what I was doing at the time, this is a good example of a glowing Christmas tree combined with window light. There’s a small window illuminating his face, and a larger one creating edge light around his arm and head.

Practice Makes Perfect

Remember, your goal is to set up a quick shot in front of the tree where you’re lighting the people without ruining the glow of the tree lights.

Practice using both flash and window light so you’re prepared for anything. Feel free to share examples of your christmas tree portraits that you’ve taken and how you lit them in the comments.

The post 5 Ways to Light Your Christmas Tree Portraits This Festive Season appeared first on Digital Photography School. It was authored by Mat Coker.

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6 Ways to Capture Coastal Scenes to add Impact to Your Photos

04 Dec

The post 6 Ways to Capture Coastal Scenes to add Impact to Your Photos appeared first on Digital Photography School. It was authored by Jeremy Flint.

1 - 6 Ways to Capture Coastal Scenes to add Impact to Your Photos

Coastal photography is a popular genre and provides a plethora of photographic opportunities. At the same time, it is an enjoyable experience being by the sea. Whether you are visiting the seaside on a day trip or as part of a holiday, or are lucky enough to live near the coast, the fresh sea air is a refreshing draw while the coastline can be incredibly scenic.

Here are 6 tips to help you capture coastal scenes with impact and take your photos to the next level:

1. Colors of the Seashore

You don’t need to be taking a vacation on a paradise island to capture a beautiful beach shot. Light and water always make an inspiring subject. Captured in the right light, which may only last minutes, a pebbly or sandy beach can become transformed into a strikingly colorful image. With careful framing and the right conditions, a color in the sea in good light and with waves can add impact to your images.

Look at the beach in different ways. Close-ups of vibrant textures in the sand or sea make for great abstract pictures. Alternatively, add contrast to a scene. You can achieve contrast by adding another element such as the sky or white foam in the water.

2 - 6 Ways to Capture Coastal Scenes to add Impact to Your Photos

2. Crashing Waves

Have you ever been on the coast and enjoyed seeing the dramatic effects of a rough sea and crashing waves? Capture one of the cycles of waves when the next big swell hits. It may take a few attempts to get a picture that is pleasing.

3 - 6 Ways to Capture Coastal Scenes to add Impact to Your Photos

Be careful to position yourself in an area that is out of danger, so you don’t end up wet. Some coastlines can produce unusually large waves so stay at a safe distance. Use a zoom lens to capture the action and avoid being too close to the sea if the conditions are hazardous.

3. Fast-Flowing Water – Sea Shot

Fast-flowing water can be a challenge to photograph well. There is often a sharp contrast between the dark shadows and the brightness of the water. In bright sunlight, there is the added disparity of light and shade. Take some test shots and adjust the shutter times for creative effects. If you want to record sharper images of the moving sea water, use shorter shutter speeds, or use a longer exposure to give a milky effect. Try different settings and see which effect you prefer.

4 - 6 Ways to Capture Coastal Scenes to add Impact to Your Photos

4. A Tranquil Scene

Idyllic, peaceful seascapes are great subjects to photograph by the coast.

So how do you capture a tranquil scene well? Some things you should consider are location, tone, and color. Select a suitable location, use gradients of tone to draw the eye into the picture and use color to suggest movement. Capturing a serene and calming scene can be very inspiring and great for the soul.

5 - 6 Ways to Capture Coastal Scenes to add Impact to Your Photos

5. The Colors of Sunset

Who doesn’t love witnessing a spectacular sunset by the sea? Photographs of this spectacle can often be underwhelming but vastly improve when vivid skies shine brightly overhead. Aim to arrive early to capture the sunset and be in a position to capture the last rays of light on the ocean.

6 - 6 Ways to Capture Coastal Scenes to add Impact to Your Photos

Don’t forget to turn around and capture the sky and landscape opposite the sunset which gets bathed in beautiful light.

Take in and photograph the warm yellows and deep blues as the sun reaches the horizon before dipping below.

For subtle or dramatic tones, shoot the palette of colors left in the sky after the sun sets.

7 - 6 Ways to Capture Coastal Scenes to add Impact to Your Photos

6. Cloud Formations

Magnificent cloud formations are always worth photographing and help take your coastal images to the next level. If you look up from the shoreline, you can see clouds change constantly. They often take on wonderful shapes and patterns that encompass great colors interacting with the seascape.

You can create a fabulous picture of cloudy seascapes just by capturing these changes and shifts of light.

Watch for low clouds in the sky too, which can produce a magical spectacle.

8 - 6 Ways to Capture Coastal Scenes to add Impact to Your Photos

Conclusion

In summary, photographing the coast can be a great experience and a brilliant opportunity to capture coastal scenes beautifully. Crashing waves, fast-flowing water, tranquil scenes, clouds, and colors can all be utilized to create images with impact. Once you capture coastal scenes near you, please share your images with us below.

The post 6 Ways to Capture Coastal Scenes to add Impact to Your Photos appeared first on Digital Photography School. It was authored by Jeremy Flint.

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Cocktails with Don Draper, Dinner and Drinks at Oakland’s New Mid-Century Modern, Bardo Lounge and Supper Club

03 Dec

Bardo Lounge and Supper Club, Oakland, California

If, like me, you are a fan of all things mid-century modern, then you won’t want to miss Oakland’s newest Lakeshore addition, Bardo Lounge and Supper Club. Like a vintage trip with Don Draper back in time, you’ll enjoy all the little touches that make for a perfect night out for some excellent cocktails along with lounge or supper service to go with them.

With Bardo, owners Seth and Jenni Bregman have transformed the former Michel Bistro space on Lakeshore into a sort of museum of great taste and design from our favorite wayback era — with some seriously good tunes spinning all night long.

Along with the lush 60s feel, Bardo serves up swingin’ cocktails with lounge service downstairs (no reservations required) and supper service upstairs (reservations required). The downstairs lounge features a lounge and bar where you can order “lounge fare” and some of the items off of the larger tasting menu from supper service upstairs.

Last night Mrs. TH and I tried the lounge service at the bar. In terms of the booze, I opted for the “Walk in the Orchard” cocktail, a well balanced craft cocktail with High West Double Rye, Cynar 70, Apple Cider, Fresh Lime Juice, White Pepper Thyme Maple and Angostura Bitters. Mrs. TH chose the equally delicious “Pilot Maxine,” Blackberry-Washed Gordon’s Gin, Top Hat East India Tonic, Fresh Lime Juice and Fee Brother’s Rhubarb Bitters.

From the menu I’d highlight the devilishly delicious deviled duck eggs, the super rich foie gras cacio e pepe pasta, and most definitely the broccolini casserole — the toasted shallot and almonds on top of the casserole were just perfect. That casserole would win any neighborhood bake off hands down.

Bardo’s Lounge is open from 5pm to Late Wednesday-Sunday and supper is served upstairs 5:30-10pm Thursday-Saturday and 5:30-9:30pm on Sunday. I’d recommend getting there as early as you can for lounge service. We had no problem getting a spot at the bar at 5:30pm last night, but it filled up quickly with a line as it got later. Bonus tip, go catch an epic sunset, with your old school film camera of course, for an early winter sunset over Lake Merritt and just walk on over for dinner afterwards.

More photos here.

3343 Lakeshore Avenue, Oakland, CA 94610

Bardo Lounge and Supper Club, Oakland, California
Bardo’s upstairs supper service

Bardo Lounge and Supper Club, Oakland, California
Walk in the Orchard: fall aromas and flavors in a glass. High West Double Rye, Cynar 70, Apple Cider, Fresh Lime Juice, White Pepper Thyme Maple, Angostura Bitters

Bardo Lounge and Supper Club, Oakland, California
Pilot Maxine: refreshing and light with berry notes. Blackberry-Washed Gordon’s Gin, Top Hat East India Tonic, Fresh Lime Juice, Fee Brother’s Rhubarb Bitters

Bardo Lounge and Supper Club, Oakland, California
Deviled Duck Eggs: Spiced red wine jus, scallions, duck skins

Bardo Lounge and Supper Club, Oakland, California
Kanapachi tartare: persimmon, Calabrian pepper, brussel sprouts, charred vegetable broth, yam chips

Bardo Lounge and Supper Club, Oakland, California
Foie gras cacio e pepe, beemster, duck jerky

Bardo Lounge and Supper Club, Oakland, California
Broccolini Casserole: Brown mustard, gruyere, almond, shallot

Bardo Lounge and Supper Club, Oakland, California
14 oz Dry Aged Prime New York: Bone-in, grilled and loaded baked potato, greens, B1 Sauce

Bardo Lounge and Supper Club, Oakland, California
Ice Cream Sandwich: Banana semifreddo, double chocolate cookie.

Bardo Lounge and Supper Club, Oakland, California

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Improve Your Photography by Learning How To Use Exif Data

03 Dec

The post Improve Your Photography by Learning How To Use Exif Data appeared first on Digital Photography School. It was authored by Kevin Landwer-Johan.

Whenever a photo is taken with a digital camera, data relating to that photo gets stored with the image in what’s known as the Exchange image file format (Exif).

Knowing how to use that Exif data can help you gain insight into the camera settings of both your own and other people’s photos. Seeing what settings worked well together in a great photo (or didn’t work well in a bad one) can help you improve your photography skills.

Improve Your Photography by Learning How To Use EXIF Data Hmong Girl

Data About Data

The Exif data is what’s called metadata (data about data). Some data is more significant and useful than the rest. Within it you’ll find the information you probably know already – camera make and model, image dimensions, copyright information, etc. But you’ll also find information about the exposure, whether or not the flash fired, metering mode, distance to subject, and plenty more.

You can view the Exif data on your camera, on your computer, and on photo sharing sites such as Flickr and 500PX.

Here’s a screenshot of the Exif data being displayed in Adobe Photoshop after choosing ‘File Info...’ from the ‘File’ menu.

Improve your photography by learning how to use Exif data

To view this information in Windows right-click on the image file and select ‘Properties,’ then select the ‘Details’ tab.

If you’re using a Mac, open the image file in Preview, then select ‘Show Inspector’ from the ‘Tools’ menu and select the ‘Exif’ tab.

Note: Adobe programs create a file with the same name as the image but with the extension ‘xmp’. This stands for Extensible Metadata Platform and contains the Exif data for the image.

Improve Your Photography by Learning How To Use EXIF Data File Explorer Data View

As you can see, the EXIF data includes all the information about the exposure. My camera was set to manual mode. My shutter speed was 1/320 sec, the aperture was f/2.8, the ISO was 100, and I used my spot meter. It also shows that my flash fired.

In these examples, we’re looking at data from the RAW file. But the data is also stored in other file types such as JPEG and TIFF.

About the only thing it doesn’t tell you is whether a photo has been manipulated during post-processing.

How Is This Information Useful to Beginner Photographers?

When you first start out, and you’re still getting used to your first camera, the Exif data can help you learn. If you took a photo that didn’t turn out the way you thought it would, the data may show you why.

Improve Your Photography by Learning How To Use EXIF Data 105 one fourth

For example, seeing that the shutter speed was 1/4th sec will help you understand why your photo was blurred. To shoot at such a slow speed you need to use a tripod to avoid camera shake.

And seeing an aperture setting of f/16 will help you understand why so much of your image is in focus. You could then look at the Exif data of an image where more of the composition is out of focus to see what its aperture setting was.

Improve Your Photography by Learning How To Use EXIF Data Three at f16

Use Exif Data To Make Comparisons

The Exif data can also help you compare images you’ve made. Looking at the lens data can help you understand when it’s best to use that lens. Compare the same aperture setting on two different lenses. It will help you learn more about depth of field.

Comparing the same image shot with two different focal lengths is also a useful exercise. These three photos were taken using different lenses (as shown in the Exif data).

Improve Your Photography by Learning How To Use EXIF Data EXIF-f4

Analyze and Anticipate

Analyzing the Exif data of your photos can help you plan and improve future photo sessions of the same subject or situation. Studying the data on photos from an annual event will give you insights into what you did well and where you can improve.

The Hmong people in Thailand, Laos, Vietnam and other countries (including the US and France,) hold awesome New Year festivals. The celebrations include various sporting competitions such as kart racing, crossbow shooting and top spinning, which can all be challenging to photograph.

So before I go to the festival each year I look back at photos I’ve made previously. The Exif data from these images reminds me of the settings I’ve used in the past. When I arrive I know which lens will give me the best photos for each competition, and what shutter speed I’ll need to capture sharp action in the kart racing.

Improve Your Photography by Learning How To Use EXIF Data Kart

Analyzing data from photos of subjects you don’t photograph can also be helpful. On websites such as Flickr and 500px the Exif data is often displayed alongside the photos, and so you can use it as a reference. When you’re photographing new subjects, especially ones that require special camera settings, look at the Exif data of other people’s photos. It could save you a lot of time and stress.

Conclusion

Making the most of the tools you have will help you become a better photographer. Next time you wonder why a photo worked (or didn’t work) so well, take a look at the Exif data. You may be surprised what you can learn.

Do you use the Exif in other ways? I’d love to hear about it in the comments.

The post Improve Your Photography by Learning How To Use Exif Data appeared first on Digital Photography School. It was authored by Kevin Landwer-Johan.

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