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7 Things I’ve Learnt About Photography From Pablo Picasso

29 Nov

1-7 Things I've Learnt About Photography From Pablo Picasso

One of my favorite photographers, Ernst Haas, said we should seek inspiration from anywhere and everywhere. Listening to music, looking at paintings and sculptures, and reading books feeds your imagination more profoundly than just looking at the work of other photographers.

I think this is true. Exploring the work of a painter I love is as enriching to me as exploring a new city at sunrise. Similarly, wandering through a forest and photographing the sunlight filtering through the trees.

Our minds are hungry beasts. We think around 60-70,000 thoughts every day, with the majority of them being the same thoughts we had yesterday (and the day before). That’s scary. You can see how easy it would be to live life on autopilot.

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We can choose to think the same thoughts as yesterday, or we can feed our minds with new ideas – be they visual, sensory, words or music.

One artist who has inspired me with his work and ideas is Pablo Picasso. When he spoke about the artistic process, he articulated many of my core beliefs about taking photos.

He reminded me of the most exciting and essential elements of living a creative life. In the busy-ness of life, I so often forget.

Today I’d like to share some of Picasso’s ideas that are incredibly inspiring and impactful on any photographic journey.

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1. “Art washes away from the soul the dust of everyday life.” – Pablo Picasso

This quote of Picasso’s sums up why I dedicated my life to photography. Why I let it be almost everything that I am.

There is something about photography that deeply stirs my soul. I feel more alive while taking photos than I do with most other things.

Playing with my kids or talking to my teenage son deep into the night about challenges he faces, brings a similar feeling of purpose. However, very little else matches the feeling I get in the act of creation.

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Photography is a life-affirming pursuit. It makes me feel I am not just skating on the surface of life – rushing to and fro, writing emails and filling in forms.

Of course, there is nothing wrong with either of those activities, but do they really make you feel alive?

We all have to live and do necessary mundane tasks. But, we can also commit to making a vast amount of space in our lives for things that create deeper satisfaction in ourselves.

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2. “Inspiration does exist, but it must find you working.” – Pablo Picasso

This quote of Picasso’s is a testament to say: take photos even when you’re not in the mood, even when you’re only getting rubbish images. The only way to get that fantastic image is to keep going.

You never know when the light may dramatically change, making the scene before you look eerily beautiful. Alternatively, an intriguing stranger might walk past doing something peculiar!

Even though I am a professional photographer, I sometimes suffer from procrastination as much as the next person. I intend to go out shooting but get distracted by my kids or get too tired after a heavy meal.

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I realize if I’m not out there, I’ll never know what experiences, and then what photos, I’m missing. That seems like an insane waste of life.

Keep going. Continue searching for that great scene, interesting person, or a beautiful landscape. Whatever it is that floats your boat, go and find it.

3. “Art is the elimination of the unnecessary.” Pablo Picasso

I look at thousands of photos on my workshops. One thing I see regularly is people making images too complicated. When your images are too complex, you are not defining your subject correctly.

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There’s a myriad of compositional ideas you can use to help define your subject. For example, Rule of Thirds, creating clean backgrounds for your portraits and breaking the world down into elements.

The overarching concept in all of these ideas about composition is to eliminate all that is unnecessary.

Photography is a process of choosing what to put in the frame, and what to take away. It is wise to make your composition, then look and think. What isn’t working here? What do I need to remove?

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For example – one common mistake many photographers make is not checking their corners. It’s amazing how often people spend so much time composing their subject, but not checking all around the frame, especially the corners, to see that everything within it should be there.

Therefore, creating images is not just – ‘what do I put in the frame?’ But also – ‘what do I take away?’

4. Creating Feeling Within Your Images

“There are painters who transform the sun to a yellow spot, but there are others who, with the help of their art and their intelligence, transform a yellow spot into the sun.” – Pablo Picasso

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The same is true for photographers. You can photograph any number of things, and it looks entirely real. However, what does it feel like when you look at your photograph?

It is all too easy to just document, without creating any sense of what it feels like to be in that hot and humid city, to look at that face, to feel the textures of the buildings you are capturing.

Photographing a cold winter’s morning is simple. Nevertheless, to translate the feeling of what it would feel like to stand in a misty field, with cold biting your face and a deep feeling of eeriness as fog rolls in across the land – that is another skill entirely.

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Ultimately, the success of any photo is whether it creates an impact for your viewer. The only question you need to ask is, ‘does this image invoke a feeling?’

It’s not just what we see that creates an impact, but the feeling that is created within our bodies when we see something that we love, dislike, or invokes joy, or sadness.

Feelings are what we remember. Images have no sense of feeling are instantly forgettable.

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5. “I am always doing that which I can not do, in order that I may learn how to do it.” – Pablo Picasso

One of the things that surprised me about being a parent is how quickly young children latch on to the idea, ‘I can’t do this now, so I’ll never be able to do it.’

Once you have allowed that thought into your mind, it can quickly mushroom until you are utterly convinced that you can’t do something. Never, ever.

I see it in my children, and I see it in 70-year-old clients who come to my workshops. I have to say that, ‘I can’t do this, so I’ll never be able to it,’ is one of the most destructive ideas for your photography.

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Of course, the technophobe might never become the most skilled camera person alive. In contrast, they can overcome their self-perception and become competent and confident with their cameras. I see proof of this regularly.

One of the most exciting ideas I have noticed coming out of the science community in recent years is the idea of Neuroplasticity.

Instead of the old belief that our brains become ‘fixed’ and unchangeable as we enter into adulthood, we now understand that brains are completely changeable.

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In fact, at any point in life, one is able to totally rewire thoughts and beliefs we hold about ourselves.

“The man who thinks he can and the man who thinks he can’t are both right.” – Confucius

Think of all the things you believe you can’t do with your photography, and go out and challenge those beliefs.

If you believe you can’t do street photography, but would secretly love to try it, do it!

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If you think you’ll never master manual mode, read up on it. Go out as often as you can. Make a ton of mistakes. You’ll get it eventually.

If like me, you think, ‘I’m not a nature photographer, but I’d love to try it,’ go and spend time in nature. Experiment, play and try new things.

As long as you approach the world with the attitude of ‘I can,’ you probably will.

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6. The World is Rich With Ideas

“A piece of space-dust falls on your head once every day… With every breath, we inhale a bit of the story of our universe, our planet’s past and future, the smells and stories of the world around us, even the seeds of life.” – Pablo Picasso

Of course, photography starts as a technical exercise. You need to use a machine, often with a little computer in it. Fully get to know the machine you are using. At least to the place where you are comfortable.

Photography is a union of the technical and the creative. The creative part of photography comes from an ethereal place within you that is unique.

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Your creative vision flows from everything that has made you who you are – your experiences, your life, what you love and what you detest.

It also comes from the world around us; from the feeling of history we experience when we walk through old city streets; from the awe of looking at a majestic five hundred-year-old tree.

The world isn’t a flat surface. Everywhere we look we see the ‘moment;’ the weather; the time of day. We also know that in a few hours everything we are currently seeing can change.

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Most people are so locked in their minds and focused on themselves that they don’t open themselves up to the mysteries of the world.

There are stories and ideas all around us that can inspire us in our photography, can provoke new ideas and adventures for us.

All we have to do is pay attention and commit to the awesome power of photography.

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7. “Only put off until tomorrow what you are willing to die having left undone.” – Pablo Picasso

The older I get, the more I feel like I need to demand of myself. That by the end of each day I want to be profoundly and truly satisfied. Not just to be content, or to have my to-do list full of check marks.

I want to have created something. Something that is entirely my own. A creation that no one else could have, because they are not me.

Photography gives us that, and I love that it does. It can give us opportunities to see, feel and experience more of the world.

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Without photography, life would not be anywhere near as rich and meaningful as it is.

When faced with either sleep or the chance to catch an amazing sunrise – I get up to photograph the sunrise.

Our lives are speeding along and, although we are aware of this, we become complacent. In a subconscious part of ourselves, we truly believe we live forever. The possibility of not existing doesn’t seem right.

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Our time on this planet is finite. If we acknowledge that we are organic beings, it can motivate us to demand more of what we truly want from our lives.

For me, it’s exploring and taking photos. It’s creating art and sharing it with others or showing people what beautiful things I see all around me.

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Of course, your photography journey is different from mine.

You may record the breathtaking journey of your children from babies into adulthood or documenting the joyous color of flowers.

Alternatively, you may be climbing snowy mountains and showing the world the awe-inspiring landscapes you witness. You may be documenting the strange and humorous things we humans do when out in the world, inhabiting our little bubbles as we move around the streets, unaware of the world watching us.

There are so many ways to be a photographer. So many things to document, explore and see. Follow your own path.

Just be open, and inquisitive. Look around you and open your mind to everything you don’t usually notice.

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By showing yourself and others what you see in this world, you open up other people’s perspective of the world around them. You take them out of their hectic bubble – full of the 24/7 news, the list of things to do, the emails and daily demands of daily life.

You give them a gift of seeing — a gift of taking a moment to stop and stare in awe at what the world has laid out before us.

It’s a pretty exciting, amazing and incredibly life-enhancing pursuit taking photos.

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Have these ideas fed your creative soul? If they have helped you demand more from your photography, and to take more time out of your life to commit to this fantastic pursuit, let me know below. It’s always great to hear from you.

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Nikon Custom Modes of the D750 and D500. Which mode is best?

28 Nov

Customization is a big trend. From 3D printing to personalizing phones to our face, customization is becoming a requested product feature and a competitive advantage. Cameras also try to provide more and more customizable features to cater to our individual shooting styles. In this article, I will present and compare the Nikon custom modes of the D750 and the D500 including:

  • U1/2 and
  • Memory banks

A D750 features ‘U1/2’ and a D500 the ‘Memory banks.’ In this article, you will learn ways to set both up. Shooting scenarios showcasing the usefulness of custom settings will be included. Finally, I will share my preferred settings for each one, as well as some thoughts on both methods.

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The location of U1/2 on the D750

Location and activation of U1/2

Generally a warmly received feature, U1/2 can be found on the top dial of the cameras that include them.

The way to move between them is to push the button next to the dial and spin the dial until the required setting aligns with the white indicator line next to the dial. This then becomes the active combination of preselected settings.

Location and Activation of Memory Banks

On the other hand, Memory Banks are not assigned upfront directly to physical controls. Instead, these are selectable through the menus or are assignable to button and dial press-and-turn combinations.

There are different ways to access and activate banks. The most common are:

  • Through the ‘photo shooting’  and ‘custom’  menus shown below. It is the top option on both menus. These switch between the four (A/B/C/D) available photo shooting menu banks (in the photo shooting menu) and the four (A/B/C/D) available custom setting banks (in the custom setting menu). This is the longest way to set banks up, as it resides deeper in the menus.
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Screen of photo shooting menu on the D500

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Screen of custom setting menu on the D500

 

  • Through the ‘info’  button at the back of your camera. Pressing this opens up a menu and the two topmost options are: ‘photo shooting menu banks’ and ‘custom settings banks.’ There is no way to change the order in which they are shown.
  • Through the ‘my menu’  tab. With this menu, you assign them in any ranking that suits you. A variation, for quicker access, is to first place either of them (but only one at any time) as the top item in ‘my menu.’ To follow, assign the shortcut ‘access top item in my menu’ to any permissible button. The buttons / / / work for this shortcut (sub-selector press).
  • Through the assignable button and dial press-and-turn combinations. This method applies exclusively to ‘photo shooting menu banks.’ The buttons that can be pressed in combination with any command dial rotation are / (sub-selector press) / (movie record button next to the shutter button). For the combination with the movie record button to work, the live view selector needs to be in rotated to .
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Live view selector to photography mode position on the D500

A Conceptual Way to Approach Custom Settings

Now you should know how to access and activate both custom settings. I will now discuss the rationale behind them using them.

Firstly, I will talk about useful ‘generic’ concepts:

  1. Camera settings (core/output/fine-tune)
  2. Photographic parameters (scene variables/photographic intent/enablers)

These concepts are a framework for you to consider in the use of custom settings. I prefer this framework, rather than simply answering ‘which custom settings are best for portrait, sports, nature or any other photography genre?’ I have intentionally left out perspective (I consider this primarily impacted by lens selection) and composition (as this is the photographer’s prerogative).

1. Camera Settings

Core Settings: Aperture, shutter speed, ISO, and metering. These are at the heart of photography, regardless of genre. Most of these are changeable on the fly while shooting through the dedicated button and/or dial press/turns.

Output Settings: Most of the settings of the ‘photo shooting’ menu. These affect the output file type, size and look, such as file quality (raw and jpeg), picture control system (standard, vivid etc.), and white balance. An exception is the ISO setting, which I consider core.

Fine-tune Settings: The menu options of the ‘custom settings’ menu. These are important adjustments to the way the camera looks at and reacts to the scene/subject.

2. Photographic Parameters

Scene variables: I keep it simple, by including (available) light levels and subject movement only.

Photographic intent: This is the part where you decide what you want to convey or achieve through your photograph. Do you want to freeze or show movement? Go high or low key on the scene? Are you isolating your subject from its surroundings or showing some background detail? These (and many more) are the meaningful aesthetic choices, which make each photographer unique.

Enablers: Out of the many props/modifiers available to photographers, I include here the flash and the tripod. These two (arguably filters as well) make possible, more than anything else, the realization of our vision in diverse genres of photography (e.g. landscape, long exposure, night photography, macro etc.). Additionally, each of them has their own distinct group of settings to maximize their effectiveness. 

How Do U1/2 and Memory Banks Approach These Concepts?

Any given scene can be broken down to any pair of variables (marked with x) in the table below.

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I argue that superimposing our photographic intent on these sets of variables, assisted by suitable enablers, is the art and technique of photography. In my view, the custom settings number one goal is to facilitate effortless interplay between variables, intent, and enablers.

To achieve this, they should allow a quick switch from one bundle of the core, output and fine-tuning settings to another. U1/2 and Memory Banks do this in different ways, as I will demonstrate below.

U1/2 Table

Key: U1 (User-defined 1), U2 (User-defined 2), C1 (Core 1), C2 (Core 2), O1 (Output 1), O2 (Output 2), F1 (Fine-tuning 1), F2 (fine-tuning 2)

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Memory Bank Table

7 Nikon Custom Modes

The tables above summarize the difference in the logic of U1/2 and Memory Banks.

  • U1/2 are vertical combinations of selected settings of all types of camera settings.
  • Memory Banks is a matrix combination (i.e. mix and match) of primarily ‘Output’ and ‘Fine-tuning’ camera settings. The exception is the inclusion of the core ISO setting on the photo shooting Menu Banks. Turning on the ‘extended photo menu banks’ option in the ‘photo-shooting’ menu allows for the other settings (aperture/shutter/manual priorities, aperture, and shutter values as well as exposure and flash modes) to be embedded in the photo shooting banks.

Applying Custom Settings to Real-Life Shooting Scenarios

Generic Shooting Style

Before I provide some examples of real-life shooting using both custom settings, I will make a few important working assumptions about a ‘generic’ shooting style:

  • You shoot various genres of photography regularly in a mixed way (i.e. you would opt for the maximum settings’ range and flexibility within easy reach)
  • You do not employ back button focus. I propose you do so. It can increase your focusing and composing options, as well as your speed of shooting considerably.
  • You are not a full-time raw or jpeg only shooter. Myself, I shoot raw 95% of the time/shots.
  • You do not use auto ISO. I propose you do, as on the field it can make life a little less complicated.
  • You have and know how to use a flash and a tripod.

Typical Shooting Situations

Now, I will walk you through one of my typical shooting situations – walking around town or traveling, to show what I ideally expect from my custom settings.

Scenario One:

As I am strolling along, I see a nice background for a portrait. I want my camera to be on the ready with pinpoint focus accuracy (AF-S single point) with a nice shallow depth of field. Depending on surrounding light levels and contrast, I may or may not want to add flash-fill or even overpower available light using high-speed sync, so it is handy to be able to quickly access a convenient flash exposure starting point.

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Portrait of a friend taken with the D750

Scenario Two:

Along the road, a cute animal is playing. I’d like to shoot it as it moves, freeze it or do a nice pan. My camera needs to be ready to follow motion (AF-C combined with any preferred focus area mode). Also, I need quick flexibility on my shutter speed selection from a 1/1000th sec (to freeze action) down to around 1/30th sec (to pan).

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A portrait of a dog taken with the D500

Scenario Three:

I enter a beautiful garden. Flowers are perfect to photograph close-up (macro) so I set up my tripod. Here, I require a deeper depth of field and pinpoint focus accuracy again (AF-S single). If the light is not plenty, I may need a longer than usual exposure.

Turning ‘on’ long exposure noise reduction and exposure delay, provides better image quality in these scenarios. To further mitigate shake risk, I also engage mirror lock-up. Unfortunately, mirror lock is not pre-configurable in U1/2 or in Memory Banks.

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A Flower close-up taken with the D750

Scenario Four:

On any trip, it is great to take a nice landscape photo. In this case, the macro settings above, more or less apply. If there is plenty of light, shooting handheld is not an issue.

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A landscape taken with the D750

Scenario Five:

Finally, during a town-by-night walk, a nice long exposure is always memorable. Again, the macro scenario settings and my trusty tripod come in handy.

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A long exposure taken with the D500

Based on these realistic hypothetical-shooting scenarios, it is evident that settings vary considerably from auto-focus mode to shutter speed and aperture, to flash or no flash etc. You may also want to give your camera to someone for a quick snap, without having the time or inclination to explain focus, recompose or other settings.

If there is an ‘auto’ option on your modes dial then all is good, if not, then resetting to ‘waiter’ or ‘dumbbell’ mode (as full-auto is also known to some) is not quick nor easy without custom settings.

Now, I will briefly show my settings for both modes and a few tips to further increase their flexibility.

My Settings for U1/2

U1 is my ‘General Shooting Mode’ and the settings are shown in the screen below. If you employed back-button focus, then you would use AF-C instead of AF-S

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My U1 settings in D750

U2 is my ‘Flash Shooting Mode’ and the settings are shown in the screen below.

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My U2 settings in D750

It is important to mention that you have additional options by customizing M/A/S modes.

The Settings I Use For Memory Banks (Extended Banks ‘ON’)

My photo shooting banks are named A=General B=JPG C=Shutter D=Manual

The custom banks are named A=General B=Flash C=Tripod D=Waiter

I have set banks this way to be able to move from my usual working best quality output (e.g. A/A) to basic point and shoot output (e.g. B/D) within just a few seconds by using the ‘info’  button and changing the ‘custom settings’  banks.

Tips to maximize both methods:

  1. Create and rank items in ‘my menu’. This will allow quick access and change of settings that are not pre-programmable in any mode (e.g. mirror lock up).
  2. Especially for Memory Banks, use the ‘save/load settings’ option onto an SD card (one you will not format). Also, store the settings file on any drive for safekeeping. This will give you a quick restore method, in case you forget what your initial Memory Bank settings were after many changes, as banks are not ‘sticky’.
  3. Read on the net for other ways that users have set their U1/2 and banks. Their needs and style may suit yours. 

So Which Method is Best?

After comparing U1/2 with Memory Banks for versatility in the above scenarios, my conclusion is that banks provide me with the highest flexibility thanks to their matrix structure. However, banks demand greater discipline in their set-up and use to remain helpful. This is because U1/2 are ‘sticky’, while banks are not.

Once settings are saved in U1/2, no matter what changes you make while shooting with U1/2 selected, you will not impact the saved settings. Simply reselect U1/2 and you are at your initial settings in a blink, hence ‘sticky’. However, all 8 banks save settings dynamically in real time as you apply them during your shooting. Following is a simplified example to elaborate:

You have U1 set up as A-priority, AF-S at f/5.6 and matrix metering. During your shoot, you move from the matrix to spot and f/8. Do you want to go quickly back to your base settings? Simply turn the dial from U1 to U2 and then back to U1 again, and you are back to f/5.6 and matrix.

In banks (both custom and shooting), if you wanted to keep your selected bank identical to the starting configuration, you would need to manually bring metering and apertures back to their initial values.

Conclusion

So, in the grand scheme of things, I have no complaints from either method in the Nikon Custom Settings. I am glad to have both available. I value the ease of use of U1/2 and I love the greater choice that Memory Banks give me. For example, being tripod-ready for landscape or macro, without having to remember to change many settings makes things easier and quicker.

It would be great to have an option to easily save and restore banks in camera to provide the best of both worlds, or to have the quick recovery of U1/2 with the greater choice of the banks.

Join the discussion and let us know your preferred method and way of programming Nikon Custom Settings on the D750, D500 or any other camera featuring U1/2 or banks.

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How Using the SpiderPro Camera System V2 Changed My Life

27 Nov

As a professional wildlife and adventure photographer, I am accustomed to carting heavy camera equipment from location to location. You’ll know what I mean if you’ve ever used 500mm+ lenses and pro-bodies. Nevertheless, in most situations, these larger-than-normal set-ups are used in conjunction with super-sturdy tripods with gimbal heads and or other supports such as bean bags, which comfortably take the weight and more importantly, the strain.

1 How Using the SpiderPro Camera System V2 Changed My Life

When I set up my UK-based dog photography business a few years ago, I rocked up to my outdoor on-location dog photo sessions with a lot less equipment than I was used to – which was awesome!

So I thought!

Holding Heavy Equipment

On most dog photography shoots there are periods where I’m holding a pro-body, with a 70-200mm f/2.8 or 24-70mm f/2.8 lens attached. I hold this in my right hand while using my left to attract my subject’s attention with squeakers, toys, balls, treats and more. I use my thumb to control the back-button focusing while using my index and middle fingers to control a multitude of features. I am crouched, lying down while looking up, standing while looking down, in water, or snow. You name it; I do it!

Now, I’ve always been a reasonably fit individual and look after myself, so when I started to suffer from a few unusual aches and pains, alarm bells rang.

First off, I experienced chronic muscle twinges and aches in my right shoulder. Then, depending on the demands of the shoot, I frequently suffered from lower back pain. These two issues were bad enough. However, the most painful affliction was in the index and middle fingers on my right hand. I only had to knock these two digits against something and the pain, although momentary, was excruciating.

So, after a couple of x-rays the verdict was in – Repetitive Strain Injury (RSI). After I discussed my experiences with three fellow pet photographers with comparable stories, RSI was confirmation of what I suspected.

However, they are no longer sufferers, and each put their freedom of pain and increased productivity down to a couple of products from the SpiderPro range: the SpiderPro Camera Holster and the SpiderPro Hand Strap.

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Their shared experiences were endorsement and encouragement enough to test-drive the SpiderPro Camera System V2 system and discover the potential benefits for myself.

SpiderPro Single Camera System v2

The Belt and Holster

The SpiderPro Pro 2 Belt features an improved design, over the original that is more optimized for comfort and flexibility and now features a heavy-duty triple-lock buckle. The whole belt and holster system is super-tough and expertly constructed with durable and wear-resistant materials.

My immediate impression, when first wearing the holster, is just how comfortable and secure everything feels. The build quality is excellent with stainless steel and hardened aluminum. The plate and pin system, that screws on to my camera’s base and engages with the Holster feels bulletproof and is not going anywhere.

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The SpiderPro Camera Holster takes the weight of my pro gear away from my upper body relieving the strain on my upper back. The holster relieves strain in my shoulder areas, and distributes it at my waist, which according to Spider is “the most ergonomic place to carry heavy gear – just ask a carpenter with a full tool belt!” Moreover, I have to agree.

The SpiderPro Camera Holster features a two-position lock designed for flexibility – unlocked for quick draw action shots or auto-locking for security in any shooting situation.

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5 How Using the SpiderPro Camera System V2 Changed My Life

The Plate

The improved Pro2 Plate attaches to any professional DSLR and has is redesigned for a more balanced and comfortable carry. The new plate also features an improved and more secure pin and anti-slip rubber grips to keep the plate in place. It can be swapped easily for carrying on the left or right and is compatible with any tripod.

6 How Using the SpiderPro Camera System V2 Changed My Life

If you want a camera on each hip, you can now upgrade the single system instead of purchasing the dual system. The Dual Camera Upgrade v2 requires no tools, which makes adding a second holster extremely easy.

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The SpiderPro Hand Strap

Over the years I’ve experimented with various hand straps and none, and I mean none, have worked for me. They’ve all lacked one or two crucial features such as comfort, performance and or ergonomic functionality.

The SpiderPro Hand Strap, however, is different. It has all of the features that make a good hand strap and has been an absolute game changer for me.

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My hand slides in effortlessly.

The ‘S’ curved leather strap is particularly snug and follows the contour of the back of my hand, ensuring the weight of the camera is evenly distributed and secure. However, more importantly, the straps’ clever design ensures the correct position for shooting while allowing my thumb, index and middle fingers to operate the camera unrestricted.

Trust me – that’s a major coup.

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The Strap is compatible with extended battery packs, vertical grips, and any tripod or Spider plate. There’s also clear access to the memory card slots. It’s available in a variety of colors, which is an extra touch.

10 How Using the SpiderPro Camera System V2 Changed My Life

In Conclusion

I’ve been using the SpiderPro Camera Holster System, v1 and v2, in conjunction with the Hand Strap now for over a year and my strain-related pains have all but gone.

Photography, like many professions, can be physically demanding and you need to look after yourself. So, when a brand, like SpiderPro, takes on the challenge of designing and producing a product that not only enhances our lives but also increases our productivity, then I have to take my hat off to them.

Nowadays, manufacturers can tap into social media and online forums for real-time user feedback on their products. Armed with valuable, in-the-field insight, they’re able to improve each product based on what we, the consumer, would like to have.

The adage of ‘if it ain’t broke, don’t fix it’ very rarely applies to camera systems and camera accessories. SpiderPro’s products are indeed a testament to this.

All images courtesy of Spider Holster.

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7 Tips for Beautiful Photos in Icy Cold Weather

26 Nov

Winter is a beautiful season to take photos. In order to capture the beauty that winter offers you’ll have to overcome cold temperatures for both you and your gear.

Here are seven tips that will help you protect your gear and take beautiful photos during the winter season.

Remember that exciting feeling you had as a kid when the first snow came? If you’ve become a grumpy grown up when it comes to winter, challenge yourself to recapture the wonder of winter this year!

1. If You Hate the Cold, Stay Inside!

When you think of winter photos you might imagine being bundled up outside in the howling cold trying to avoid frostbite while taking photos. I’ve certainly been in that situation a time or two!

Maybe the thought of crazy winter weather keeps you from ever stepping outside to take photos during winter months. But who says you have to go outdoors to take nice winter photos?

Before stepping outdoors, think about what you can accomplish inside.

A few years ago I spent the whole winter indoors studying. I loved the way the icicles looked hanging from our house. Rather than take my camera outdoors, I photographed the icicles from inside my house.

Ever since I was a kid I’ve always had a bedroom that faces the sunrise. I love waking up to golden hour.

These are the icicles during the afternoon.

These are the icicles at sunset. In Ontario, Canada, sunsets often have deep and vibrant colors.

These icicles are being lit by the cool light of the full moon.

2. Preparing Your Batteries

Now suppose you do want to head outdoors to take winter photos; you had better be prepared.

Make sure your batteries are fully charged (including your spare ones). Batteries tend to drain faster in the cold, so find a warm pocket to keep them in. A pocket should allow the batteries to be up against your body; perhaps an inner chest pocket. Also, try keeping a hand warmer or baked potato in the pocket!

While you’re waiting for your batteries to charge, enjoy a hot cup of tea! Steam is a lot of fun to photograph and works best when it is backlit.

3. Metering for the Snow

Most people use some sort of auto setting on their camera such as ‘landscape’ or ‘portrait’ mode. You may even be using aperture or shutter priority. With all of these settings, your camera uses its internal meter to calculate the right exposure or brightness for your photo.

This can be a problem.

When the landscape is covered in bright white snow, your camera will want to darken the exposure. This means that you’ll snap a photo and the snow will turn our looking very gray. The camera doesn’t realize that you want the snow to appear bright white in your photo. Of course, it doesn’t even know it’s looking at snow!

There are two ways to fix this. The first is to use full manual mode so that you have control over the exposure, not your camera.

If you’re not comfortable using manual mode yet, then try using exposure compensation. Set your camera to aperture priority, then use exposure compensation to increase the exposure by a full stop. Keep making adjustments until you’ve got it just right. Consult your camera manual on how to adjust exposure compensation.

Prior to using exposure compensation, I used to have to brighten all my winter photos with Lightroom. Notice how gray the snow is in the photo on the left.

Even though you can brighten your photos later with an editing program, it’s far better to get the exposure correct the moment you take the photo.

4. Look for Contrast

Once you’ve got the hang of exposure and metering it’s time to make some creative photos.

The first thing I look for in a snowy landscape is contrast. Since the snow is bright white, I look for dark objects that will stand out in contrast to the snow.

Contrast is what will help your photo to ‘pop’ and give it more dimension.

In a landscape, this might be trees, buildings, animals or people.

The dark trees in the background help the shape of the snow-covered hill to stand out. The boy sliding down the hill really pops too.

5. Think in Black and White

You’re already looking for high contrast scenes. Bright white snow together with dark objects create a perfect high contrast black and white photo.

Seeing our photos in black and white allows us to appreciate the lines and texture in the photo without being distracted by colors.

The bright snow is contrasted by the dark trees.

There are two options to get a black and white photo. You can change your camera settings to photograph in black in white. Or, you can photograph in JPEG or RAW mode and convert the photos to black and white later.

I recommend using RAW mode and set your camera to black and white. This way your RAW photo will retain its color even though it appears black and white on your camera. Using RAW mode offers you the chance to see your photos in black and white as you take them, but still have the option to keep them in color when you look at them later on your computer.

A silhouette is a perfect choice for a high contrast black and white photo.

6. Slow Shutter Speed

I love to be out in snow storms watching the wind whip the snowflakes around. The constant motion of the snowflakes will allow you to get creative with your shutter speed.

You can set your shutter speed to freeze the movement of the snowflakes, but you can also slow your shutter speed down and capture the movement of the snowflakes.

You can’t see the wind with your eyes, but you can see how it blows the snowflakes around. When you slow down your shutter speed, you’ll capture the blurred movement of the flakes.

You can slow your shutter speed down just a little bit and capture some slight motion blur.

You can slow the shutter speed down to about 1/30 of a second to capture even more motion blur. Just make sure that both your camera and your subject are held very still (consider a tripod).

I recommend using shutter priority. Slow down your shutter speed until you achieve the desired amount of blur in your photo. Remember the third tip I gave you about metering for the bright snow? If you’re having trouble getting the right exposure then try manual mode or exposure compensation.

7. Protect Your Camera Before You Come Inside

People who wear eyeglasses know how annoying it is to come inside from the cold. As soon as they step indoors, their glasses fog up! This is called condensation. It’s moisture from the warm air collecting on a cold surface.

This will happen to your camera too. When you bring it inside from the cold, moisture will collect on it, getting into all the tiny little parts of your camera. Naturally, this can be a problem for the long-term health of your camera.

Here’s what you can do to bring your cold camera into the house without having to worry about condensation:

While you’re still outside, put your camera into a large heavy-duty airtight bag. Seal the bag so that no moisture can get in. Now when you bring your camera into the house no moisture will get into your camera. Allow your camera to return to room temperature before taking it out of the bag. When you do take it out, no moisture will collect on it!

This airtight bag will keep all the condensation off my camera until it returns to room temperature.

Beautiful Photos in Icy Cold Weather

Whether you’re taking winter photos from the warmth of your cozy home, or you’re going to brave the winter chill, remember these simple tips:

  • Charge your batteries and keep them warm.
  • Get perfectly exposed photos through manual mode or exposure compensation.
  • Make your winter photos look creative by finding contrast, converting them to black and white, or using a slow shutter speed.
  • Keep your camera safe from moisture by sealing it in an airtight bag before coming back inside.
  • Be ready for your next adventure by recharging your batteries as soon as they are warm!

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Essential Portrait Photography Gear You Need When Starting Out

26 Nov

My last post was on equipment to have when starting out as a wedding photographer.

I am not reiterating what I have touched on in that article, although there are some slight overlaps. Still, I recommend that you read that first.

dps-equipment-portrait-photography.

In this article, I touch on the differences between wedding and portrait photography which I have not covered in the previous post. I also follow that with equipment you need for portrait photography.

Differences

1. Weddings are fast-paced. Portrait photography is slower in comparison.

2. Weddings require photojournalistic shots and a documentary style to the coverage. Portraits most often include must have looking photos or a well-composed artful photo.

3. Weddings can involve countless lighting conditions, many of which you have no control over. Portraits are more manageable than weddings, and you have more control and options.

4. Weddings require dealing with large numbers of people but with less personal face-to-face interaction. Portraits are the opposite – especially involving children.

Given the above differences, this is the equipment I suggest you have in your bag as a portrait photographer.

dps-equipment-portrait-photography

1. Zoom Lens – Wide and Long

An excellent example of a wide zoom lens is the 24-70mm f/2.8 or if you have a kit lens, the 18-55mm. While this lens is versatile for wedding photography, in a small studio, this helps when shooting portraits with many people in them. There is no need to change lenses every time you go from photographing one person to three or five. The important thing to remember here is the distortion you get when shooting with a wide focal length at close range to your subject. 35mm for a full body length is good, but you start getting distortions wider than that, especially shooting 24mm at close range.

However, if you have a big studio, then you could do with a prime lens like a 35mm for a crop-sensor or a 50mm/85mm for a full-frame camera.

The 70-200mm f/2.8 (Nikon also has an f/4 option) is an excellent zoom lens. I used this lens for the cherry blossom photos above. An inexpensive alternative is the 55-200mm f/3.5. Using long focal lenses are fantastic for separating the subject from the background.

2. Fixed Lens

Also called prime lenses, those with longer focal lengths, such as the 85mm, 105mm, and 200mm, are great for portraits. You get amazing compression and depth of field. If you only have a small studio, using these lenses may be tricky because you need to have enough space between you and the subject. However, if you are shooting outdoors, results can be dramatic and beautiful.

If you are a natural light photographer, having a prime lens with a wide aperture is your best friend. For example, you can shoot between f/1.4 – f/2.2 and still get sharp images. However, a word of caution, there are other factors to consider to get sharp images at these apertures. Including: how you hold the camera, your ISO and shutter speed settings, and the use of a steady surface or tripod/monopod where needed. Because you have more control over the time you spend on portraits, and it’s not fast-paced, you can afford to use a tripod. Slowing things down may help you to nail your focus or achieve the compositions you are after.

Here is an article I have written comparing natural light and the use of flash.

3. Tripod or Monopod

As mentioned above, using a tripod or monopod is helpful when photographing subjects using natural light – especially if you have a static set-up/backdrop. You don’t have to keep moving your camera, and you get the same frame and composition every time.

If you take the majority of your portraits in your studio, there’s no need to shell out for an expensive portable tripod. These tripods are generally expensive because they are sturdy and made from lightweight materials, and they are a small size. As long as your tripod is strong and stable, even if it is super heavy, it can do the job.

dps-equipment-portrait-photography

4. Artificial Light Source

If you don’t purely rely on natural light, consider other light sources such as continuous lights, LED lights, flashguns, and electronic flashes/strobes. With these, you can shoot at any time of day under any lighting conditions. You are then not dependent on sunlight, the weather or the season. This article on a portable started kit may help with how artificial light sources can look.

You may need remote triggers and receivers to work these with your camera. Unless, for example, you are using the built-in creative lighting system of your flashgun unit in the case of Nikon.

5. Light Modifiers

With the use of artificial light sources, it is crucial to pair them with modifiers to take the edge off and soften the light. There are many types you can go for and this article could help you decide.

dps-equipment-portrait-photography

6. Reflector

Reflectors are a handy tool for portrait photography, especially when using in a studio environment. Using the correct reflector has an undeniable impact on the image before applying any editing in post-production. Read this article for a side-by-side comparison of various reflectors. If you have space, it is a good idea to have one large reflector propped up on a stand in your studio (lockable castor wheels are handy).

As this is to do with portrait photography, this article on setting up a home portrait studio might help give you more of an idea of the basics.

I hope you found this article helpful. If there is any equipment you wish to add, share your thoughts in the comments below.

Top feature image by:

Alexander Dummer

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Essential Family Photo Session Preflight Checklist

26 Nov

Essential Family Photo Session Preflight Checklist 1

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

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

2 Essential Family Photo Session Preflight Checklist

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

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

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

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

3 Essential Family Photo Session Preflight Checklist

Checklist items

1. Format Your Memory Cards

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

2. Charge All Batteries

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

4 Essential Family Photo Session Preflight Checklist

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

3. List the Camera Gear You Need

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

4. List the Accessories You Need

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

5 Essential Family Photo Session Preflight Checklist

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

5. Edible Items

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

6. Specific Types of Shots

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

6 Essential Family Photo Session Preflight Checklist

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

7. Specific Poses

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

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

8. Clear the Pockets

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

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

7 Essential Family Photo Session Preflight Checklist

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

9. Clothing Check

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

10. Names

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

8 Essential Family Photo Session Preflight Checklist

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

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

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

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

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How to Use Complementary Colors for Color Correction of Your Images

25 Nov

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

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

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

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

“Is that green powder?”

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

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

Using Complementary Colors for Color Correction

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

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

Lightroom White Balance Slider at Default Settings

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

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

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

Original RAW file

And after minor corrections in LR

Tint Slider

My import screen filled with heavily tinted green photos.

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

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

And after color correction.

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

Split Toning

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

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

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

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

Conclusion

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

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

 

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Using Photoshop Filters During Post-Processing to Correct and Enhance Images

24 Nov

When you think of filters in photography, your first thought might be those specialized glass pieces you affix to the end of your lens. Most of these filters serve a specific purpose (e.g. a polarizing filter to reduce glare), although some are for artistic effects (e.g. colored filters).

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

Recommendation

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

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

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

Filter Gallery

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

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

The Filter Gallery showing the options that can be applied.

Adaptive Wide Angle Filter

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

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

An image taken with a fish-eye lens

This filter has a number of correction types:

  • Fisheye corrects those extreme curves made with a fisheye lens
  • Perspective corrects converging lines resulting from your angle of view or camera tilt
  • Full Spherical corrects 360-degree panoramas with a 1:2 aspect ratio
  • Auto applies what Photoshop deems an appropriate correction

Image adjusted using Adaptive Wide Angle filter

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

Lens Correction

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

Angled image.

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

Edited with the Lens Correction filter.

Liquify

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

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

The Liquify Tool used to reshape a piece of fruit.

Vanishing Point

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

Third-Party Filters

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

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

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

Conclusion

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

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

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Weekly Photography Challenge – Abandoned

24 Nov

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

Abandoned truck NZ by Caz Nowaczyk

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

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

Burnt out abandoned vehicle by Caz Nowaczyk

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

How to Photograph Abandoned Places

25 Dilapidated Images of Urban Decay and Grunge

Urban Exploration Photography – Urbex

Photography Weekly Challenge – Abandoned

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

Share in the dPS Facebook Group

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

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

Dumped mattress in floodwaters by Caz Nowaczyk

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

23 Nov

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

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

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

You may also find these articles helpful:

Shooting Portraits Like a Pro on a Tight Budget

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

10 Tips for Creating a Photography Kit on a Budget

Small Budget Photography: Lenses

Beginners Guide to Different Types of Digital Cameras

 

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

 

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


Digital Photography School

 
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