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How to Photograph Kids Playing, Running Around and Generally Being Kids

11 Nov

If you’re a people photographer, it’s hard to resist photographing kids as they play, run around and… well, be kids. It’s also a great chance for you to play as a photographer.

Here are seven tips to help you capture photographs of kids at play.

It was a grey hazy day at the beach so I focused on silhouette photos of my kids at play.

1. Use Your Phone Instead of Missing the Moment

I teach people how to use their new DSLR cameras. One of their biggest frustrations is that their friends seem to take better photos with a phone than they can with their complicated DSLR.

If you’re still struggling with your DSLR, don’t be afraid to use your phone as a camera. As long as you keep in mind the most important parts of a photo – light, moment, and composition – your phone will take great photos.

This photo of my daughter running through a puddle was captured with my iPhone 4s. Because it was a bright day, the shutter speed was fast and froze the water as it splashed.

2. Be an Observer Instead of a Boss

If you’re going to photograph kids at play, it’s best to have them acting candidly rather than telling them what to do. Just let them play, and they’ll give you countless moments to photograph. The moment you step in and tell them what to do or how to play, you’ll ruin the moment.

I wanted a nice portrait of my daughter with these fall colors, but I knew I wouldn’t be able to make her stand still for one. So I let her walk on ahead of me. When I called her name she looked back, and I snapped the photo.

3. Angles

While photographing kids at play, consider the angle you’re using. Your photos will look more exciting if you go for low angles or face to face. Get down to their level (if not lower) and into their world.

I achieved this extremely low angle by laying down on the ground and looking straight up.

Before it was hauled away, my kids turned this mattress into a trampoline. A low angle helped to capture how high he was jumping.

4. Get Close

Join in the play, and get as close as you can while using a wide angle. When you look at the photo it will make you feel like you’re right back there in the moment.

This son was wrestling with his dad so I decided to get in as close as I could. The wide-angle helped to exaggerate the moment.

5. Get Behind Them

Photographing people from behind adds a bit of mystery to your photo. It lets the viewer bring a little more of their own imagination to the photo. When we can’t see the person’s face, it makes us imagine what they’re up to.

This over-the-shoulder shot anticipates the action that’s about to happen.

 

This photo was taken in a massive outdoor sandbox. Obviously, he’s been sliding down the dirt hills on his bum.

 

This combines taking a photo from behind with getting in close. (Taken with an iPhone.)

6. Play With Your Shutter Speed

One of the biggest problems you’ll face when capturing action is motion blur. So you’ll need a fast shutter speed.

But you can also play with a slow shutter speed and capture creative motion blur.

Slow shutter speed motion blur

I took advantage of my iPhone’s slow shutter speed to capture this portrait of my daughter. As you can see her face is basically sharp while the background is quite blurry. This was achieved by having her walk toward me while I walked backward. To the camera everything is moving except for her.

7. Tell a Story With Your Photos

You can tell a story with your photos. It might be a ‘before and after’ story using just two photos. Or it could be a beginning, middle and end with three photos. It might even be a longer story that fills a photo book.

Daddy daughter candid moment.

This story begins with a little girl taking her daddy by the hand and leading him.

 

Daddy daughter dancing

Then in the middle of the story, she dances with her daddy.

 

Daddy daughter play

The story ends with her daddy swinging her around wildly.

Final Checklist

Here’s a checklist for photographing kids as they run around and play.

  • Consider this playtime for you as a photographer.
  • Use any camera you’ve got – even your phone.
  • Stand back and let moments happen on their own.
  • Be creative with your angles.
  • Get in close.
  • Add mystery to your photo by photographing kids from behind.
  • Be creative with your shutter speed.
  • Tell stories with multiple photos.

Now go out there and take some great photos of those kids being kids and share them with us in the comments.

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Weekly Challenge – Industrial Photography

10 Nov

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

Weekly Challenge - Industrial by Caz Nowaczyk

View of Steelworks and Port from Christy Drive in Port Kembla NSW Australia by Caz Nowaczyk.

Industrial is quite a broad topic and can consist of industrial landscapes through to close-ups of industrial equipment, textures or their environmental impact.

Think industrial buildings, rusting old silos and equipment, metal industrial pipes, smokestacks, and manufacturing spaces.

Weekly Challenge - Industrial by Caz Nowaczyk 2

Views across the Illawarra from Mt Keira including steel industry by Caz Nowaczyk.

 

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

How to Photograph Industrial Deserts

Working with Textures – 8 Ideas to Get You Started

 

Photography Weekly Challenge – Industrial

Simply upload your shot into the comment field (look for the little camera icon in the Disqus comments section) and they’ll get 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 #DPSINDUSTRIAL 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.

Weekly Challenge - Industrial by Caz Nowaczyk 3

Steelworks in Port Kembla, NSW Australia at night by Caz Nowaczyk.

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5 Tips for Better Road Trip Photos

09 Nov

Are you heading out on a road trip anytime soon? Packing up the car and hitting the road with friends, family, or even running solo can make for a great adventure.

But as photographers, our thoughts aren’t just on the experience itself. Documenting it with your camera adds to the occasion for creative types, but doing it on the road adds another level of challenge!

Here’s a 2-minute video from Tajreen&Co which outlines 5 top tips for getting better road trip photos, that make for better memories and pictures.

5 Top Tips for Getting Better Road Trip Photos

  1. Shoot with the kit you already have – even your phone!
  2. Interact with your environment
  3. Exaggerate your shots – explore angles and backdrops
  4. Capture moments and emotions – it’s all about the experience
  5. Plan your shoots even on a road trip

What are your tips for achieving better road trip photos?

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How to Find the Right Website Platform that Works For You

09 Nov

A while ago, I heard an interesting fact from the former managing editor of dPS. According to their reader survey, less than 18% of dPS readers own photography websites/blogs. So, I assume that the rest of them are posting photos on places like Instagram, Flickr, Facebook, etc.

Rented Land (Social Media) or Permanent Home (Your Website)

There’s nothing inherently wrong with social media, but it’s a little concerning not having a ‘permanent home’ for your photos. Instagram is probably the king of social media today (especially for us photographers), but we don’t know how long the popularity will last. The top places today may be deserted if a better platform comes along (do you remember MySpace!?). You’ll end up having to re-build your online presence all over again.

So, rather than having your photography home on ‘rented land,’ why not set up a website/blog as your ‘permanent home’ to stand the test of time? In this post, I’ll talk about three options to set up your own photography home.

How to Find the Right Website Platform that Works For You 1

My website is specifically for cityscape photography shot at blue hour. It’s a portfolio site with galleries, but I also share my experiences and tips using blog posts.

Free Blogging Platform

A free blogging platform is the easiest and cheapest (free) way. There are more than a handful of platforms, namely WordPress.com (free plan), Tumblr, Google Blogger, Weebly (free plan) to name but a few. If you’ve ever set up your social media account, you shouldn’t have any trouble starting with these platforms, either.

Unlike social media platforms (that give you no control over how your page looks), these platforms have quite a few themes (design templates) available. You should be able to find one that you like.

Wordpress dot com - How to Find the Right Website Platform that Works For You

WordPress.com is one of the most popular platforms today. It has one free and three paid plans.

Tumblr - How to Find the Right Website Platform that Works For You

Tumblr is entirely free and lets you fully edit HTML, CSS, and JavaScript.

Pros:

  1. Free of charge and easy to set up.
  2. Comes with social networking features (e.g., follow others on the same platform) that get you noticed faster.
  3. Possible to outlive you (As long as the service exists, even if you die, your free blog remains hosted).

Cons:

  1. Very little scalability (cannot do much besides blogging).
  2. Their insert their branded ads (e.g., Powered by Weebly). To remove these, you need to upgrade to a paid plan (where applicable).
  3. You have no control over the direction of the blogging platform (it may suddenly decide to compress uploaded photos, and you have no say in their decision).
  4. Themes are not always fully customizable (depending on platforms).
  5. Your default web address includes their brand name (e.g., your-chosen-name.wordpress.com). To remove their brand from the URL, you’ll need to upgrade to a paid plan (where applicable) or buy a custom domain that costs USD$ 10-15 a year.
    If your primary purpose is just photo blogging, these free blogging platforms should be sufficient. If you’re planning to scale up beyond photo blogging (e.g., selling photography prints on your website), I’d recommend one of the next two options.

Self-hosted Website

Self-hosting is how I host my photography website, and probably the case with many of fellow dPS contributors. If you’re aiming to scale up and do much more than photo blogging (e.g., selling eBooks, starting a tutorial site like dPS, running workshops and letting participants book and pay online), a self-hosted website is your go-to platform. I’m using WordPress (.org) which powers 31% of the web today.

Don’t get WordPress.org mixed up with the WordPress.com as mentioned above which is a free blogging platform (I know this always confuses people). Self-hosted WordPress is a content management system that you install on a web server by purchasing a web hosting plan (USD$ 100 or less a year including a domain name) with a hosting company like Bluehost. It’s a little more complicated to set it up, but you don’t have to be very techy to manage a self-hosted WordPress website. Many web hosting companies offer one-click installation with no coding skill required to run the site.

That said, being tech-savvy helps if you’re a control freak like me and you want to customize the look and function of your website down to the finest details by editing HTML, CSS, PHP, and JavaScript. Self-hosted WordPress is the only platform mentioned in this post that allows you full control from beginning to end.

Wordpress dot org - How to Find the Right Website Platform that Works For You

WordPress powers 31% of the web today, and the number is growing every year.

Pros:

  1. You have the freedom to add any functionalities (gallery, contact form, sliders, forum, etc.) by installing plugins. The design is fully customizable by tweaking the code.
  2. As the website is ‘self-hosted,’ you don’t need to rely on anyone to run it, unlike free blogging platforms that may be discontinued anytime.
  3. Being such a popular platform, a ton of resources are available.

Cons:

  1. You’re responsible for your website’s security and maintenance. Although, you can utilize a few plugins and seek help from a hosting company’s support team.
  2. Compared to free blogging platforms with built-in social networking features, it typically takes longer to get noticed and build an audience.
  3. E-commerce doesn’t come equipped. There are very few options available if you want to sell prints directly on your website (try Fotomoto plugin if going this route).
How to Find the Right Website Platform that Works For You

A blog is a perfect place to talk about behind-the-scenes stories of your photos.

Made-For-Photographer Platforms

If selling photography prints on your website is the main criteria, or you’re doing client work (e.g., for event or wedding photography), services like SmugMug and Zenfolio are a good option. They are paid, but they let you host a website with a built-in print and digital download store. It also handles printing and shipping for you.

Their strength lies in the fact that the platform is made solely for photographers and understands their needs very well. Most importantly, it lets you focus on what matters most to photographers: taking photos. You can leave the rest for them to handle.

SmugMug - How to Find the Right Website Platform that Works For You

SmugMug is probably the most significant player among made-for-photographers platforms. It has recently acquired Flickr.

Zenfolio - How to Find the Right Website Platform that Works For You

Zenfolio is another big player that has a strong fan base.

Pros:

  1. Selling made easy with a built-in shopping cart plus payment processing. One of several professional labs automatically fulfills print orders.
  2. Equipped with robust tools like client proofing, boutique packaging, custom coupons for promotions, etc.
  3. Excellent customer support and a thriving community forum.

Cons:

  1. Running cost is higher than a self-hosted website.
  2. Themes are not fully customizable.

Conclusion

Hopefully, this post helps you set up ‘permanent home’ for your photos. What platform to go with is totally up to you and your needs, but I’m sure that your fun will be doubled (photography + your own website). Lastly, let me end this post with a quote by Derek Sivers —

“When you make a company, you make a utopia. It’s where you design your perfect world”.

Replace ‘company’ with ‘website.’ That’s what you get when you have your own website!

If you have any questions or info to share, feel free to do so in the comments below.

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5 Reasons to Use Prime Lenses For Better Photos

08 Nov

The difference between prime lenses and zoom lenses can often be a source of confusion for photographers who are picking up a camera for the first time.

I remember when I first started with photography, wondering why someone would choose a lens with a fixed focal length over one with a whole range of focal lengths built into one.

Surely that would mean creating more work for yourself?!

Fast forward a few years, and I’d stepped into the world of wedding photography with my chunky DSLR and equally chunky 24-70mm zoom lens. Shooting an entire wedding with just that one lens was a piece of cake – I could go from wide-angle shots of the church to a tight, flattering portrait shot with just a twist of the zoom ring.

I’d found the perfect tool for the job… but I had to admit – it wasn’t enjoyable.

Then I started reading more about prime lenses and their various advantages. The only compromise was that I’d have walk closer to my subject, rather than just zooming in with my lens. I looked down and remembered I had two good legs, so I decided to take up the challenge!

I’m not going to tell you that prime lenses are better than zoom lenses, as they aren’t. Neither one is better than the other – it just depends on your needs.

What I’d like to do with this article is to explain why I believe that using prime lenses has helped me to produce better photos. I hope that it gives you some perspective on why you may want to choose a prime lens over a zoom lens too.

1. Composition

5 Reasons to Use Prime Lenses For Better Photos 1

I’m not saying I couldn’t have composed this photo with a zoom lens, but using a lens with a fixed focal length helped me pre-visualise the shot before I took it, making the whole process much faster.

Some might think that being able to change your composition with a zoom lens without even moving your feet would be an advantage.

However, I found it confusing to have an entire range of focal lengths literally at my fingers, and wouldn’t know where to stand before I lifted the lens to my eye. After all, a quick swivel of the barrel would ‘correct’ any distance issues, so standing in just the right spot seemed less critical.

Prepare to spit out your coffee at your screen with my next statement: Zooms can make you a bit lazy with your compositions.

However, using a prime lens encourages you to envisage the composition by the constraints of your focal length. You get set in place to take the shot even before holding the camera to your eye.

The more you get used to using just one focal length, the quicker you’ll be able to visualize your final shot by looking at the scene (with your eyes, sans camera!). In my opinion, zoom lenses with their myriad focal length options don’t encourage you to develop this skill as much.

2. Light

5 Reasons to Use Prime Lenses For Better Photos 2

In the last light of the day, capturing this image without a fast prime lens (shot at f/1.4) could have proven difficult.

Prime lenses, in general, have wider maximum apertures than zooms. More light is let in when the shutter opens, meaning you’ll be able to get the exposure you need in a low light situation without having to increase your ISO or lower your shutter speed.

Being able to shoot with a lower ISO means clearer images. And being able to use a faster shutter speed will help to improve the sharpness of your shot.

If you’ve ever wondered why those indoor shots of your kids taken with your kit lens (I’m guessing it’s a f/3.5-5.6 zoom, or similar) are slightly blurry, there’s a good chance it’s because your lens isn’t letting in enough light. Your camera is slowing down the shutter speed a bit too much to compensate.

By investing in a f/1.8 prime lens, for example, you give your camera more of a fighting chance. You allow it to take advantage of higher shutter speeds to produce sharper images.

3. Depth of Field

5 Reasons to Use Prime Lenses For Better Photos 3

By shooting wide open (f/1.4), brings the viewer’s attention to the bride’s face, despite its unusual positioning in the frame.

Now, depth of field is the main reason most photographers love using prime lenses. Prime lenses have a wider maximum aperture than zooms, enabling you to take advantage of a shallower depth of field.

Depth of Field refers to the range of focus in your image. Shooting at a wide aperture of f/1.4 provides more out-of-focus blurring effect (‘bokeh’) than there would be if you were to shoot at f/2.8. Assuming that all other variables remain constant.

The ability to blur the area both in front and behind your subject using a wide aperture helps to separate your subject from other elements in the photo. The subject stands out more.

You can still produce nice bokeh with a telephoto zoom lens by shooting at the maximum aperture at a longer focal length. In turn, altering perspective and creating a different look to the image.

While shooting with a wide aperture won’t make you a better photographer, it does allow a higher degree of creative control over your image. Being able to fine tune what is and isn’t in focus in your picture using a wider aperture is just one other great way to take your photography to the next level.

4. Size/Weight

5 Reasons to Use Prime Lenses For Better Photos 4

You may require more than one prime lens to allow you to shoot subjects at various distances. The size/weight of each lens is usually much less than a zoom.

Size and weight of your lens is a subjective one. I think that in general, every photographer would prefer to have a lighter lens on their camera, given a choice!

When I switched from using a heavy 24-70mm zoom to a lightweight 35mm prime lens, it was as if I’d bought a whole new camera. The shooting experience just felt so much better.

Now I’m not suggesting that just by having a smaller, lighter camera in your hands, that you’ll be able to produce better photos. However, the shooting experience will undoubtedly be more pleasurable. Having fun with your photography is an excellent catalyst for taking more pictures, which will eventually mean you’ll improve. You see what I’m getting at here?!

One thing to note: a prime lens doesn’t necessarily mean it’ll be small and light. Indeed, many fast (i.e., wide aperture) prime lenses are rather large and heavy. Similarly, there are plenty of small, lightweight zooms.

For the most part, you’ll be able to find a small, lightweight prime lens that offers all the advantages listed in this article. I guarantee it’ll feel better on the end of your camera than a zoom.

5. Image Quality

5 Reasons to Use Prime Lenses For Better Photos 5

Ok, hold your horses for a second. I don’t want to wage a prime versus zoom war here! The difference in sharpness and general image quality between these two types of modern-day lenses is, for the most part, indiscernible.

However, the above statement is only valid for expensive, ‘pro-grade’ zoom lenses – usually the ones with a fixed aperture, i.e., a zoom lens which doesn’t automatically change its aperture when you twist the zoom ring. Or only ones that contain a large amount of high-quality glass.

Fixed aperture zooms are bigger, heavier, more expensive, and usually on par in image quality with even the best prime lenses.

Instead, I’m referring to the difference in image quality between a cheap prime lens and a cheap zoom lens. For around $ 100, you’ll be able to get a much sharper image from a cheap prime lens than you would an equivalent zoom.

All the major camera brands offer a cheap prime lens that ticks the above boxes. It’ll be able to knock the socks off the zoom lens that came with your camera.

Final Comment

I used zoom lenses for the first few months in my career as a wedding photographer, then switched to primes. I’ve never looked back.

I currently shoot with a 35mm lens for 99% of the wedding day. When I can’t get close enough to the action, I use an 85mm lens. Having only two focal lengths to think about is incredibly liberating. Through consistently limiting my focal length options, I’m able to ‘see’ in 35mm or 85mm terms, whether the camera is to my eye or not.

I appreciate zoom lenses have their place and are an excellent choice for many photographers. That said, I encourage you to have a play around with a prime lens to see how it can improve your photography too.

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What I Learned From 30 Days of Black and White Photography

08 Nov

Color is an amazing phenomenon.

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

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

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

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

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

Here’s how it went.

Getting Started

Setting the Camera to Monochrome Mode

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

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

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

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

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

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

Changing Your Quality Settings

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

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

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

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

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

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

Ready, Set, Go

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

Adding a New Layer of Interest

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

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

Minimizing Distraction

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

Learning How Light Behaves

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

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

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

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

Seeing Differently

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

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

Conclusion

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

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

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

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

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Top 5 Tips for Extreme Sports Photography

07 Nov

Top 5 Tips for Extreme Sports Photography 1

Extreme sports photography is a discipline all of its own.

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

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

1. Know The Sport

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

2. Camera Settings

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

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

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

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

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

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

3. Think Don’t Feel

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

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

4. Angles

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

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

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

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

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

5. Be Careful

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

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

 

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Review Tamrac Anvil Pro Series Backpacks

07 Nov

Review Tamrac Anvil Pro Series Backpacks

Camera backpacks are abused, and I mean seriously mistreated.

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

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

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

Why I Switched to the Tamrac Anvil Pro Series Backpacks

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

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

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

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

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

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

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

Adaptability

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

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

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

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

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

Robust Materials

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

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

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

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

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Photo © Andrew Sproule

Comfort

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

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

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

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

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

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

Access

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

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

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

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

Dust

Dust is my camera’s enemy.

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

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

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

In conclusion

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

 

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How to Use Import and Export Presets in Lightroom Classic CC

06 Nov

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

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

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

The Great Power of Presets

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

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

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

Using Import Presets

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

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

How to Create an Import Preset

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

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

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

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

How to Apply an Import Preset

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

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

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

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

Using Export Presets

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

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

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

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

How to Create an Export Preset

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

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

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

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

And now, as promised…

“Knock knock.”

“Who’s there?”

“An interrupting cow”

“An interrupting cow w—”

“MOOOO!” 

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

How to Apply an Export Preset

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

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

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

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

Some Final Thoughts on Import and Export Presets

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

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

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Blur and Creative Photography – Why Your Images Don’t Need To Be 100% Sharp

06 Nov

Blur and creative photography – Why your images don’t need to be 100% sharp all of the time.

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

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

No.

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

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

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

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Beyond Bokeh

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

Some photographers do so to:

  • soften a distracting background
  • bring the subject into prominence
  • make it aesthetically pleasing
  • give depth and 3D feel to the image

But for bokeh to work well, you need to have some specific elements present and happening. Such as decent quality lenses, a lot of distance behind the subject to the background, and good soft light. Not every shoot offers those situations, nor can everyone afford the best lens.

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

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

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

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Learn To Love the Blur

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

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

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

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

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

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

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

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

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Lens Choices

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

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

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

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

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

Have Fun

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

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

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

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

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Ways to Play

1. Bokeh

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

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

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

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2. Selective Focus

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

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

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3. Shoot Through

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

You can use:

  • nylons stretched across the lens
  • gauzy fabric wrapped around the lens
  • plastic film across or wrapped around the lens
  • filters smeared with petroleum jelly
  • hold fabric or flowers in front of part of the lens to add softness (common in flower photography)

4. ICM (Intentional Camera Movement)

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

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

5. Vintage Lenses

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

6. Specialty Lenses

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

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

7. Filters

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

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Conclusion

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

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

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

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

Share your images with us in the comments below.

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