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Create a Theme to Step Up Your Travel Photography

23 Oct

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

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

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

surfers create a travel photography theme

Coming Up With Your Photography Theme

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

Genre

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

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

noah create a travel photography theme

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

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

Subject

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

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

jetty create a travel photography theme

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

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

Style

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

sand create a travel photography theme

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

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

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

create a travel photography theme

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

Color

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

shipwreck create a travel photography theme

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

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

palm create a travel photography theme

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

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

create a travel photography theme

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

Summary

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

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

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How to photograph family and bridal party portraits quickly at weddings

22 Oct

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

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

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

Family portraits

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

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

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

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

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

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Both family portraits in the same location.

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

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

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Build portraits by adding people gradually.

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

Keep the portraits of the extended family until the end.

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

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

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

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

The family portrait formula

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To do this and all of the family portraits quickly, follow this formula:

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

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

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

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

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Connect family with hands to arms or on shoulders.

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

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

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

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Bridal party portraits

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

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Begin with photographing the entire bridal party together.

A few quick tips for bridal party portraits

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

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

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Take the following series of photos for the entire bridal party portraits:

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

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Bridal party portraits should be fun and keeping the mood light always helps.

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

This usually motivates them to cooperate faster.

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

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

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

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Have fun during bridal party portraits.

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Take individual photos with each person in the bridal party.

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

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

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

Sometimes this can save time as well.

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Extended family bridal party portraits

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

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

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

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

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Photos during the reception for extended family is very ideal.

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

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Keep a checklist

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

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

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

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

Put a family member or someone close in charge

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

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

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

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

Keep the portraits moving 

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

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

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

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Allow the bridal party to have fun.

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

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

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

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

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In conclusion

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

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

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

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

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

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Two Ways to Transform Old Photography Magazines Into Coasters

22 Oct

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

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

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

The cut and paste method

You will need

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

Method

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

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

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

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

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

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

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

The coiling method

You will need

  • A magazine.
  • A ruler and scalpel (or a paper shredder).
  • Glue. (Mod Podge works well for this project too.)
  • A paintbrush.

Method

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

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

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

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

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

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

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

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Why We Have Such a Love-Hate Relationship with Mirrorless Cameras

21 Oct

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

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

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

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

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

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

The Allure of Mirrorless Camera Tech

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

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

Size

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

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

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

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

Resolution for Days

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

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

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

The Good, the Bad, and the Mirrorless

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

Battery Life

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

A Diminishing Size Gap

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

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

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

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

An Undeniable Shift in Mentality

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

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

The times really are a changin’.

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How to Customize and Use the Photoshop Gradient Tool

21 Oct

Despite its straightforward name, the gradient tool is incredibly flexible. You can customize practically every settings, and use it in many different ways.

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

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

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

With the Gradient tool active, you’ll see a sample on the left-hand side of the options bar. Clicking the small arrow next to it will reveal the gradient picker that includes a number of preset gradients. And clicking the gear icon to the right of that will bring up the settings menu where you can:

  • load more presets
  • add new presets
  • customize the display window.

If none of the presets suit your needs, you can customize a new gradient by double-clicking the sample to bring up the Gradient Editor window. Here you’ll see a bar with the current gradient, along with a set of sliders you can use to create the gradient you want. The top sliders control the opacity, while the bottom sliders control the color. If you need more colors, simply click on the gradient where you’d like them to go.

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

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

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

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

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

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

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

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

Finally, you have three checkboxes:

  • Reverse, which reverses the color order of your gradient
  • Dither, which will make the transition smoother
  • Transparency, which will apply the opacity from the gradient.

In this example, the top half has the transparency option checked while the bottom half does not:

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

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

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

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

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

Finally, set the Blending Mode to Screen.

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

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5 Reasons to Consider Concert Photography with a Wide Open Aperture (and the Secret to Perfecting it)

21 Oct

Concert photography is arguably one of the most adrenaline-filled niches you can engage in as an image maker. Musicians, magazines, fans, and record labels alike turn to skilled concert photographers to tell a story for the momentous performance. For most music photographers (due to venue constraints) there is less than ten minutes to capture enough great images to populate a full gallery. Partner this with tumultuous circumstances such as sporadic lighting and an excitable audience and you have effectively created a photographic situation that is unlike any other.

As such, shooting with a very wide open aperture might appear to be too daunting of a task! There are common misunderstandings of how to use and work with a wide open aperture! If your inner aesthete drools over soft, dreamy photographs and creamy bokeh, then you better get ready to play with some low, low, low numbers. We are here to tell you how to photograph concerts at f/1.2, f/1.4, and f/1.8!

Wide aperture concert photography tips

Why Use an Ultra Wide Aperture?

Here are 5 reasons you may want to consider shooting concert photography with a wide open aperture.

1. Aesthetic and Style

To preface, a lot of the quality and final image look is based on the type of lens used. In the past several years, photography fans are gravitating towards the shallow depth of field aesthetic. If you’re in the business of producing commercial music photography (like myself), you’re going to want to keep following the trends and adapting to what is sought after in the industry.

Aesthetic and Style with Wide Aperture Concert Photography

An added bonus is being able to niche yourself a bit in an industry that has a lot of competition, many photographers are wary of shooting fast paced events with a wide aperture due to potential focusing issues. If you can master this art, you have something that will separate you from others.

 

2. Low Light Capability

Low light concert photography with wide aperture

Unless you’re shooting a big name at an amphitheater, a lot of smaller venues will have very poor lighting. You’ll need to use equipment that will illuminate the frame with whatever limited lighting is available. In these low light scenarios you need a lens with a wide enough aperture to let in more light. Using a lens that goes down to f/1.2, for example, is a great way to let enough light in and make the frame bright. Remember, the aperture is the hole the light passes through in your lens. The wider the aperture, the more light that enters the camera.

 

3. Shallow Depth of Field

Shoot concert photography with shallow depth of field

The wider the aperture, the shallower the depth of field. Shallow depth of field is great for live concerts because the stage can be rather cluttered compositionally. From instruments to cables, background props, and other band members, there can be a lot going on in the frame at once. Only having one subject in focus with the rest blending into a creamy bokeh makes for a much more visually pleasing and simplified image. With the depth-of-field being so shallow, whatever troubles you about the background can easily melt into a beautiful creamy bokeh.

 

4. Detail Shots

Capture detail in your concert photography with wide aperture

On the topic of shallow depth of field, if you are photographing for an instrument company, an aperture of f/1.8 will likely become your best friend. This is because photographs taken with a large aperture allow all of the focus to lie on the subject, and the background ceases to remain a distraction. Many instrument companies love to have their products captured in a natural usable setting, such as musicians at a live show.A shallow depth of field will keep the interest solely on your single subject.

 

5. Sharpness

How to achieve sharpness in your concert photography with wide aperture

Due to technological constraints, lenses that open their aperture below f/2.8 are fixed millimeter lenses (they do not zoom). As a general rule, fixed millimeter lenses tend to be sharper than lenses with a range.

 

Let’s Talk About the Elephant in the Room: Focusing with a Wide Open Aperture

Right where all of the benefits of an f-stop of 1.2 start to break down is the focusing. The wider the aperture and the shallower the depth of field, the more difficult it can be to focus on what you want. Pair that with a live show in which the lighting is a bit of a mess, and the subjects move spontaneously in various directions, and it sounds like the perfect recipe for a photographer migraine. However, focusing with a wider aperture doesn’t have to be so difficult- it’s just a different thought process.

The Concept of Sharpness

Sharp concert photography through composition

Really, the focus stems from a desire to have an image that is sharp. But what is sharpness? Sharpness is an interesting concept. How sharp a subject appears is a matter of two things: the focus the camera captures and the amount of contrast on your subject. The term “sharpness” is, in fact, an illusion. You see, for an image to be considered sharp, it needs to have contrast. If the there is little contrast in the image, the subject will not look three-dimensional regardless of whether the focus is perfect or not. Biologically, the way that our eyes work, our vision naturally detects edges to register sharpness, and shadows and highlights in order to record the depth in a subject. This is a very important concept to understand when answering the question of how to make images look sharp. When editing your concert photography images, be attentive to the shadows and highlights. And add contrast to define your subject.

 

Perfect Focus

Sharp concert photography through perfect focus and wide aperture

In terms of getting your image to actually be sharp (from being in perfect focus), here is the basic concept of how focus works in a camera. When you focus your camera on a subject, it establishes a focal plane. To get your subject in focus, it has to be on the focal plane. Focal planes happen on an x (horizontal) and y (vertical) axis. This means anything along either of those axes will be in focus, and anything not on them will be out of focus. The concern with a wide open aperture is that your focal plane is quite small. As you decrease your aperture number and make the opening wider, the invisible area in front and behind the plane of focus will get smaller and smaller, leaving you with much less wiggle-room. As such, distance from the subject plays a key role in your focus.

When shooting wide open, even the smallest diversion from either of the focal plane axes will cause your subject to be out-of-focus. You cannot take a step forward or back without the need to refocus when shooting at a wide aperture. But by keeping this in mind, you can adjust your photography technique to better accommodate the small focal plane.

Single Point Autofocus

Using single point focus and wide aperture in concert photography

A trick to help make sure that what you want in focus is indeed sharp, is to use single point autofocus. By default, your camera will probably select either the object that’s closest to the camera or what’s in the center of the frame. By using single point autofocus, you tell the camera exactly where to focus, which is extremely helpful with low aperture numbers. Refer to your camera model’s manual to find how to change the focus setting!

The Real Secret

The real secret to wide aperture concert photography

Keeping in mind how the focal plane works, this is the big trick to shooting wide open at a concert: The farther away you are from the subject, the easier it is to get the subject in focus. You can get the subject in focus and still maintain and extremely creamy depth of field.

Whether you’re in a photo pit or just in the main venue floor, your position to begin the concert shoot can significantly affect your success for the rest of the shoot. Keeping in mind that for most general photography passes your time is limited, you need to be ready to jump right into the shoot the very second the music hits your ears. My suggestion is to start on the outer edges of the pit or venue and work your way to the middle. Many concert photographers all flock to the center of the shooting zone, and begin shoving to claim their dead center spot. When you start from the edge, while the other photographers are all congregating and fighting for the center, you have much more room to move freely on the outer edge. This is where you will have an advantage to be able to move a bit further away from your subject in order to expand your plane and get that perfect focus.

Shooting concert photography in wide aperture

Now that you’ve been let in to the secret, go out there and capture some awesome concert shots!

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Weekly Photography Challenge – Silhouettes

20 Oct

Photograph Fisher man by Saravut Whanset on 500px

Fisher man by Saravut Whanset on 500px

Silhouettes are a wonderful way to convey drama, mystery, emotion and mood to the viewers of your photos and often stand out in an album because of the combination of their simplicity but also the story that they convey. I love them because they don’t give the viewer of a clear picture of everything but leave part of the image up to their imagination to wonder about.

That’s an excerpt from a post I wrote quite some time ago, but remains one of our more popular posts on how to photograph silhouettes. Your challenge this week is to take a photograph of a silhouette and see if you can create a story that evokes imagination in the viewer. Here’s some tips to get you started:

How to Photograph Silhouettes in 8 Easy Steps

Silhouette Photography Technique

Photograph worlds appart by Carlos Canales on 500px
worlds appart by Carlos Canales on 500px

Photograph Breakup by Michael Valjak on 500px
Breakup by Michael Valjak on 500px

Looking for more inspiration? Check out these great shots:

12 Stunning Silhouette Shots

A Collection of Great Silhouette Photos

Or this post on how to use your silhouettes to tell a story will help you for this week’s challenge:

How to Create Powerful Silhouettes by Telling a Story

Weekly Photography Challenge – Silhouettes

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 #DPSSILHOUETTES 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.

 

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How to Take Better Photos of Festivals and Celebrations

19 Oct

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Mitchell K is not only a brilliant photographer, but also creates the most engaging videos of his travels. This one is no exception, and whilst a little longer than the videos we normally share, it’s an engaging, informative and inspiring lesson from Mitchell on how to get better photos at festivals and celebrations.

The video was filmed in a few locations in Peru. I’ll share parts of my adventure. You’ll even see how I almost killed myself driving over a high mountain pass at night. The main focus, though – is on the travel photography tips and advice. When you finish watching this video, you’ll have a much better idea about photographing festivals, celebrations and gatherings of people. It is almost 30 minutes long, but, I do really believe that it’s worth your time.
– Mitchell Kanashkevich

Mitchell has authored 3 great books for dPS – if you love his style, grab this quick offer to get 50% off these titles. Just use the code MITCHELLK50 (expires 31 October 2018):

Transcending Travel

 

Captivating Color

Natural Light

You can also check out more free tips on the blog:

Photographing Festivals and Events – Tips for Travel Photographers

Beginner’s Guide to Photographing Festivals

20 Tips for Photographing Historical Reenactments and Festivals

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5 Adobe Lightroom Plugins That Will Make Your Life Easier

19 Oct

5 Lightroom plugins that will make your life easier

We all love Lightroom.

There’s a reason it became an essential part of a photographer’s workflow. It’s powerful, easy to use, and helps make your photos come alive.

But what if I said you could make it even easier to use while adding a new dynamic to your editing process?

Well, plugins can do just that.

Being able to extend Lightroom’s capabilities with third-party plugins is one of the things I love most about it. And it’s something most people overlook.

In this article, I’ll introduce you to five Lightroom plugins I use and couldn’t live without.

But first…

 

How to install Lightroom plugins

Installing Lightroom plugins is pretty straightforward. They all use the same six-step installation process.

  1. Unzip the ZIP file for the plugin, and move the unzipped file to a folder on your computer. Note: The unzipped files can’t be moved or deleted after installation, or the plugin will stop working.
  2. From Lightroom’s File menu, select ‘Plug-in Manager’.

How to install Lightroom plugins

  1. Click the ‘Add’ button near the bottom of the dialog box.

How to install Lightroom plugins - Plugin Manager

  1. Navigate to folder you chose in step 1.

How to install Lightroom plugins - Folder selection

  1. Open the folder and highlight the file with the ‘.lrplugin’ extension, then click ‘Add Plug-in’.

How to install Lightroom plugins - selecting the plugin

  1. Restart Lightroom to complete the installation of your new plugin.

Note: with the 7.5 release of Adobe Lightroom, some newer plugins now have the extension of .xmp rather than .lrtemplate or .lrplugin. This is so they can be used in both Lightroom and Photoshop.

In this case, go to Lightroom->Preferences and select ‘Show Lightroom Develop Presets’. This will open the Presets window. Select the ‘Settings’ folder, and simply drag and drop your unzipped file into the Settings Folder and restart Lightroom.

If you don’t have the ‘Show Lightroom Develop Presets’ link select the ‘Show Lightroom Presets Folder’. This will open the Presets window. Select the ‘Lightroom’ then ‘Develop Presets’ folder, and simply drag and drop your unzipped file into the folder and restart Lightroom.

Now that you know how to install Lightroom plugins, let me show you five that will save you time and effort during your next mammoth editing session.

 

The Fader

The Fader is probably the plugin I use the most. Its main advantage becomes clear when you’re using presets.

It works as a master slider that controls all the different tools within Lightroom. Moving the slider will adjust all the edits a particular preset makes at the same time and in equal measures.

If you’re working on an edit and haven’t applied a preset, but you still want to use The Fader, simply create a new preset using the image you’re working on as a template and adjust it from there.

To create a new preset, click either a filter tool (graduated or radial) or the brush tool, and from the drop-down menu select ‘Save Current Settings as New Preset’.

Lightroom plugins - The Fader

Whether you create your own presets or download other people’s, chances are you’ve experienced this situation: You apply a preset to one photo and it looks great, but when you apply it to another, it’s completely over the top and looks terrible.

Normally you’d have to reduce each tool individually. But with The Fader you can reduce them all at once using the slider. Just open The Fader (File -> Plug-in Extras -> The Fader), select the preset you want to apply, and then use the opacity slider to increase or decrease the preset’s overall strength.

Lightroom plugins - The Fader 2

 

LR Backup

LR Backup does exactly what it says it does – back up your Lightroom catalog. But it gives you a few extra features the standard backup tool doesn’t provide.

Why is it important to back up your catalog? Because it contains a record of every edit you’ve made to your images. You might have backups of your RAW files, but without a backup of your Lightroom catalog they’ll be just that: RAW images with no editing applied.

LR Backup lets you make manual backups of the Lightroom catalog without having to exit the program, which you need to do when using the built-in backup tool. But what makes this plugin really useful is its ability to schedule backups.

Lightroom plugins - LR Backup

It also compresses the backup to almost 10% of its original size, which is particularly useful when you have a large database of edited images.

While a free version of LR Backup is available, you need to make a donation to the creator to unlock its full functionality. But the donation can be as small or as large as you like. It’s totally up to you.

 

LRTimelapse

If you create time-lapse videos using your camera’s intervalometer, you’ll need an easy way to batch edit the images so you don’t have to do them one by one.

LRTimelapse makes time-lapse videos easy. It comes in both free and paid-for versions as either a standalone product or a Lightroom plugin. And what I really love about it is how the plugin integrates with Lightroom.

Lightroom plugins - LR Timelapse

By integrating LRTimelapse with Lightroom, you can create a few keyframes that you’ll edit in Lightroom and then export back into LRTimelapse. It then uses these edited keyframes to automatically and seamlessly edit the other time-lapse photos into a video that transitions smoothly and gradually from the first frame to the last.

It’s a great way to incorporate the power of editing in Lightroom into your next time-lapse video.

 

Focus Mask

The Focus Mask plugin by Capture Monkey (the same people who make The Fader) is a simple plugin. It does only one thing, but it does it very well.

The plugin works the same way focus masking or focus peaking does in your camera. It highlights the parts of the image that are in focus.

Lightroom plugins - Focus Mask

This helps you to choose the best shot between two or more similar images at a glance.

We’ve all taken a handful of photos of the same subject because we weren’t sure we nailed the focus. This plugin will help you quickly pick a winner.

Photolemur

The last plugin on the list might not be for everyone. In fact, some people might be totally against it.

Photolemur automatically edits your photos with one click. It uses artificial intelligence to create the best edit possible so you can focus your time on other aspects of photography.

Now, some of you might think letting a bunch of computer code edit your photos takes away part of the artistic process. And you’d be right.

I wouldn’t use it on every image, especially client images. But if I want to quickly upload something to Instagram without having to process the image first, I’ll use Photolemur.

Photolemur is a standalone product, but can also be set up as a Lightroom plugin. Unfortunately, there isn’t a free version you can try before you buy. It’s only available as a paid product.

 

Which Lightroom plugin will you try?

I’ve used all the plugins I just mentioned. But if I had to pick one, I’d choose The Fader because I love using my own presets. It makes my editing style consistent across all of my work.

But they’re all great plugins. Which one are you going to try?

Image Credit: Joseph Pearson

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How to Use Shutter Speed and Aperture Together When Using Manual Mode

18 Oct

When you’re just starting out as a photographer, one of the biggest challenges can be using the correct shutter speed and aperture values. Shooting a correctly exposed photo in manual mode is an amazing feeling. But unless you know the relationship between shutter speed and aperture it may not happen very often.

In this article I’ll talk about how to use the shutter speed and aperture values efficiently to get properly exposed photos.

Note: To get full control of your camera’s shutter speed and aperture values you need to put it in Manual Mode.

What happens when you adjust the aperture value

When you increase the aperture value the aperture opening inside the lens gets smaller, reducing the amount of light that can enter the camera. Similarly, when you decrease the aperture value the opening gets bigger, allowing more more light to enter the camera.

Here’s an example to help you understand how changing the aperture value affects the shutter speed.

Let’s say you’re using a 24-70mm f/2.8 lens with a default aperture value of f/8. At a shutter speed of 1/200th of a second your camera will give you the correct exposure.

EXIF: f/8, 1/200th sec, ISO 100

Now you want a shallower depth of field (more blur effect), so you reduce the aperture value to f/2.8. Because you’ve reduced the aperture value by three stops, the aperture opening is now letting three stops more of light into the camera. The result? An overexposed image.

If you reduce the aperture value, you must increase the shutter speed by the same number of f-stops to compensate. Similarly, if you increase the aperture value, you must slow down the shutter speed by the same number of f-stops.

In this example, you’ve reduced the aperture value by three stops. So to get the correct exposure at f/2.8 you must increase the shutter speed by three stops to 1/1600th of a second.

EXIF: f/2.8, 1/1600th sec, ISO 100

Another example might be if you’re shooting a landscape. This time you want a deep depth of field, so you choose an aperture value of f/16. You’ve increased the aperture value by two stops (from f/8 to f/16), so you’re letting two stops less of light inside the camera. At a shutter speed of 1/200th sec this give you an underexposed photo.

Underexposed image at f/16, 1/200th sec, ISO 100

To get the correct exposure, you need to slow down the shutter speed by two stops to 1/50th of a second. With the aperture value two stops higher (f/16) and the shutter speed two stops lower (1/50th sec) your photo will be perfectly exposed just as it was at f/8 and 1/200th sec.

What happens when you adjust the shutter speed

When you increase the shutter speed the camera shutter opens and closes more quickly, reducing the amount of light that enters the camera. Similarly, when you reduce the shutter speed more light enters the camera.

Starting with the same base camera setting as before (f/8 at 1/200th sec), let’s see how changing the shutter speed affects the aperture value.

Let’s say you’re a wildlife photography, and you want to take photos of a flying bird. To avoid any blurring you’d need to increase to 1/800 sec. You’ve increased the shutter speed by two stops, and so you have two stops less of light entering the camera sensor. At f/8 this would give you an underexposed image.

Because you’ve increase the shutter speed by two stops to 1/800th sec, you must also reduce the aperture value by two stops to f/4 to get the same correct exposure you had at the f/8 and 1/200th of a second you started with.

Or perhaps you intentionally want to capture a panning shot, and s reduce the shutter speed to 1/50 sec to get the effect you want. Reducing the shutter speed by four stops (from 1/800 sec to 1/50 sec) means you’re letting in four stops more of light into the camera. And at f/8, that would give you an overexposed image.

To get the correct exposure you’d need to increase the aperture value by four stops to f/32.

By remembering these examples when you’re shooting in manual mode, you should end up with far more photos that are correctly exposed.

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