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How to Photograph Your Family Vacation

14 Jun

In this article, I’ll show you how to photograph your family vacation starting with simple gear, creative photography tips, and the most important part – managing personalities and emotions.

“I tend to think of the act of photographing, generally speaking, as an adventure. My favorite thing is to go where I’ve never been.” – Diane Arbus

A grumpy moment on a family vacation. - How to Photograph Your Family Vacation

Not every photo has to have a great big smile in it. My little girl was pretty grumpy at this moment. But I found something humorous about her expression as well as something artistic about the colors and the distance between her and her shoes.

I was 9 years old on a family vacation when I first fell in love with photography. My parents let me snap some photos with their camera. From that moment on, all I could think about was photography!

In spite of how much I loved photography, I grew up taking terrible photos of our family trips, mainly because I didn’t know how to take good photos. But thanks to places like Digital Photography School, I’ve finally learned to take good photos of family adventures with my kids.

#1 – Itinerary and Gear

“By failing to prepare, you are preparing to fail.” – Benjamin Franklin

Your family vacation has a destination; you’re not wandering aimlessly. Your trip has a goal; perhaps adventure or relaxation. So too, should you also have a goal for your photos.

Why is a goal so important? Many families come home from a trip discouraged that they don’t have better photos of their journey. It’s easy to be distracted, lazy, or burnt out and just forget to take photos. But having a goal will keep you on track.

First step of the road trip is to wash the windshield! - How to Photograph Your Family Vacation

When my family took our first long road trip together I was determined to document the entire journey. This would also be my first big photography project.

Anticipation is one of the best parts of a trip. During the weeks of pre-trip excitement, consider what excites you most about your destination. Jot down some notes about things you’d like to photograph. Keep those notes in your camera bag and check them off as you travel.

Write the list when you feel most inspired and then it will guide you in the midst of vacation chaos when you are feeling rushed and less inspired.

Pack Lightly

Try to bring along as little photography gear as possible. Your kids will be asking you to hold their coats and hats, you’ll be carrying souvenirs, the last thing you want on top of that is a mountain of gear in an extra large camera bag.

Just a camera and rubber boots. - How to Photograph Your Family Vacation

This was my main gear for a trip to the Canadian East Coast; a camera and rubber boots! I also had a tripod but almost never used it. It was a pain to carry around and set up. I’d rather be free to move and have fun with the kids than being loaded down with camera gear I won’t even use.

Here is a list of my favorite gear for traveling light on day trips and longer vacations.

  • Wide-angle lens
  • Telephoto lens
  • Underwater camera housing
  • Spare batteries
  • No tripod

The wide angle lens is perfect for landscapes, the telephoto lens for those far-off sights, and the underwater camera housing is perfect for beaches and oceans.

Remember, traveling light allows you to be free in the moment, instead of wrestling with gear. Some photographers constrain themselves to only one camera body with 1-2 lenses. This forces them to think more creatively about the scenes and moments in front of them rather than fussing over gear decisions.

Kids on a rock in the ocean. - How to Photograph Your Family Vacation

This photo was taken with my underwater camera housing. The ocean was so cold I was numb from the waist down!

#2 – Creative Ideas

“For me, the camera is a sketchbook, an instrument of intuition and spontaneity.” – Henri Cartier-Bresson

There is a lot that can be photographed on your family vacation. Always keep your camera handy rather than having it packed away in a hard to reach spot. There will be so many little moments to capture and you’ll get pretty discouraged if you miss them because your camera is packed away.

These 5 creative tips will guide you as you photograph your family vacation.

1. Photograph from inside the vehicle or plane

Mugs of hot chocolate on the dashboard. - How to Photograph Your Family Vacation

My wife and I journeyed to the south-west for one last trip before becoming parents. The desert was hot but the mountains were cold! We brought a tiny stove with us to make hot chocolate along the way.

Depending on the nature of your trip, you may spend a lot of time inside a vehicle. Don’t waste the chance for some unique photos.

A view from inside the vehicle adds a different perspective to your photos. If every photo is shot from the same perspective or angle they will be boring. You want your friends and family to be excited as they flip through your photo book.

Mountain road view from inside the car. - How to Photograph Your Family Vacation

Driving mountain roads is my favorite part of every trip. I’m always torn between being the driver or being the passenger and taking photos.

View of a storm on the plains from inside the car. How to Photograph Your Family Vacation

Storms can be a beautiful part of the journey. Especially when you’re nice and snug inside the car!

A view of houses from a plane. How to Photograph Your Family Vacation

We had a friend who was training to be a pilot and took us to breakfast on a plane!

One dark cloud hangs over the road ahead. How to Photograph Your Family Vacation

Driving toward the Midwest United States, one black cloud hung over an otherwise cheerful sky. Maybe it was warning us that the next time we took a trip like this there would be two screaming toddlers in the back seat!

2. Locations and Landscapes

You’ll likely visit many beautiful landscapes during the day. But how would that same landscape look during beautiful evening light? Revisit some locations to take photos at different times of the day.

Monument Valley in Harsh Light - How to Photograph Your Family Vacation

This is Monument Valley during the harsh light of midday.

This is Monument Valley during the beautiful evening light.

Hall’s Harbour in the evening light. - How to Photograph Your Family Vacation

This is Hall’s Harbour in the evening light.

Hall’s Harbour in the harsh light of the day. - How to Photograph Your Family Vacation

This is Hall’s Harbour in the harsh light of the day.

Many of us take pictures of family members simply standing beside landmarks or landscapes. But there has got to be a more creative way of documenting the places and things you see.

Try photographing candid or natural moments while working landmarks and landscapes into the background.

Family photo at Peggy's Cove - How to Photograph Your Family Vacation

Here we are as a family. Do you know where this is? It could be any body of water in the world. I’m glad we have this photo, but I had to get more creative with my backgrounds.

Colorful East Coast homes. How to Photograph Your Family Vacation

I loved the charm of these colorful East Coast homes, but I didn’t want photos of random houses. So I made these homes part of the background instead of being the focal point of the photo. The bigger story is about my kids having a blast throwing rocks into the bay and the homes are part of the beautiful scenery.

Photographing Niagara Falls - How to Photograph Your Family Vacation

I have many photos of my kids looking at the camera on vacation. But I wanted something more creative. How about a silhouette with interesting framing?

Here is a simple question that will help you take better photos of the places you visit. Ask yourself, what is the essence of that place? Why do you love it so much?

Skipping stones at Hall's Harbour - How to Photograph Your Family Vacation

I had many beautiful (and not so beautiful) photos of Hall’s Harbour. I wasn’t satisfied with any of them and I wasn’t sure why. One evening I saw this couple come walking along and start skipping stones. That was it! That was the essence of this place; peace, solitude, skipping stones. This is a far more personal photograph to me.

Lighthouse at Summerside PEI - How to Photograph Your Family Vacation

In Summerside, Prince Edward Island, the vastness of the ocean overwhelmed me. That was the essence of the place to me. No matter where you go on PEI, you are surrounded by the ocean. I composed this photo to portray that vastness. A tiny lone lighthouse in the distance.

When you’re among the massive rock formations in Utah, you feel very small and vulnerable.

Black and white photo of Niagara Falls - How to Photograph Your Family Vacation

Niagara Falls is one of the most nostalgic places on earth for me. It’s where I first came to love photography as a child. The viewfinder is an icon for travelers, and Niagara Falls is one of the most recognizable sights in the world. The slight misfocus, the grain, the black and white, all work toward capturing the essence of Niagara Falls for me; memories.

This is Monument Valley during the beautiful evening light.

Visit locations at different times of the day, think creatively rather than making your family stand beside things, and consider the essence of the place you’re in.

3. Moments

You’ll be busy photographing the obvious landscapes and big moments of your trip. But you will experience many little unexpected moments in those places. Photograph these odd moments too. You’ll find them to be very meaningful moments and love talking about them when you look back at your photos over the years.

Kids riding an escalator - How to Photograph Your Family Vacation

My kids loved their first trip to Niagara Falls and I loved sharing that place with them. It was also their first time using an escalator (a moving set of stairs). They rode it over and over. I love this low angle perspective and how the main lines converge in the center of the photo.

A toddler making a mess of sunscreen. How to Photograph Your Family Vacation

My two-year-old daughter was being so quiet in the backseat. But you know when a toddler is being quiet they might be up to no good! She had discovered the tube of sunscreen and applied it liberally! Needless to say, she did not get a sunburn that day. If this had happened earlier in the trip I would have freaked out. But by this point, I had learned to relax no matter what happened.

4. Food

Often you will experience new foods on your journey. Whether you like the food or not, photograph some of it. Viewing the photos of food will instantly trigger memories of the meals you shared.

A lobster on a plate. How to Photograph Your Family Vacation

We tried lobster for the first time! The sun was shining directly on it, giving such deep color to the photo.

An empty plate of fish and chips.

Fish and chips is a must on the East Coast. The dinner was so good I forgot to take a picture until it was too late!

5. Hotels, campsites

Hotels and campsites are a blast for kids to explore! Make sure to capture some photos during downtime at the places you sleep.

A boy jumping across motel beds. How to Photograph Your Family Vacation

After a 10 hour day on the road, my son discovered just how fun beds in a hotel room can be. He was just barely able to leap the chasm between the two beds. He may forget the boring scenery, but he’ll love this memory.

A little girl with her face pressed up to the window screen. How to Photograph Your Family Vacation

Bathed and changed into fresh jammies, my daughter sits at the window with her nose pressed against the screen.

Kids playing with their parents shoes. How to Photograph Your Family Vacation

Kids being crazy with our shoes while we pack for the next part of our journey.

At this point, if you’ve packed light (including your photo inspiration list) and taken note of some creative ideas, you’ll be set to take some great photos along the way.

But one thing threatens to ruin your photos and your trip – emotions.

#3 – Managing Personalities and Emotions

“Tears and sweat often bring out the best in us.” – Mister Rogers

Every family is different, but most families deal with a certain amount of drama on their trips. Learning how to deal with drama and negative emotions is critical for having a better time with your family and taking better photos.

Consider the fact that you won’t be in the mood to take photos if you are grumpy and your family won’t want to be in photos or do anything fun if they are grumpy. My family learned this lesson the hard way.

Little girl happy in the car. How to Photograph Your Family Vacation

Everything started out fine on our trip to the East Coast. Filled with the anticipation of the journey, we had books and snacks and things to do in the car.

Crying girl in car. How to Photograph Your Family Vacation

But my goal of a family adventure and a beautiful photography project is quickly met with a reality check. Our kids are 2 and 4 years old and we’re crammed into a little car – more often than not, it feels like a disaster.

Two toddlers sleeping in the car. How to Photograph Your Family Vacation

My wife and I thought that we could easily relive the adventurous trips we took before we had kids. But the reality was now very different. We had to plan for shorter days of driving, more motel stops, earlier bedtimes and lots of relaxed downtime.

A little girl with sand in her eyes. How to Photograph Your Family Vacation

But no matter what we tried, the first half of our trip was just a disaster. Not even a relaxed day at the beach was any fun. The ocean winds blasted us with sand. We couldn’t enjoy ourselves for a moment. Even I couldn’t keep pretending to have fun. At one point our little girl ran into mama’s arms with eyes full of sand from the relentless ocean winds.

A mom and boy playing in the mud. How to Photograph Your Family Vacation

The ocean tide was always leaving behind a shoreline of muck. Normally kids love mucking about in the mud. But not on our miserable road trip. You know you’re in trouble when nothing makes your kids happy anymore. By this point in the trip, I was sure I’d have nothing but tear-filled photos for my project.

A sleeping girl. How to Photograph Your Family Vacation

A week into the trip we were at our wit’s end. Finally, one Sunday, we collapsed in anger and exhaustion and slept the day away. We woke up to the realization that this trip was a disastrous idea. At this point, I didn’t even care if I got photos or not. I just wanted my family to survive without hating each other.

A family at a harbor. How to Photograph Your Family Vacation

Something happened when we let go of chasing new locations and perfect photos. We admitted defeat and just stayed in one place for a while. We actually fell in love with a nearby harbor tucked away from other tourists. Halls Harbor was our refuge from the crowds – and ourselves.

Slide at the playground. How to Photograph Your Family Vacation

For the first time, I finally understood what it was really going to take to make our first family vacation a good one. We put the tourist life on hold and did the things that our kids really wanted to do – go to playgrounds and throw rocks in the water!

A boy playing in dirt. How to Photograph Your Family Vacation

Frankly, when we gave up, that’s when everything changed. We even met up with friends who had also journeyed out east. We could talk and unload our weakness as parents, confess the disaster we had made of this trip, and hear words of encouragement from our friends.

Family vacations are rarely the times of rest and relaxation that we hope them to be. Between kids fighting in the backseat and parents getting more stressed every day – sometimes I wonder why we ever go on trips!

But we can turn these challenges into a chance to grow as people. I learned a lot about our kids and myself on our first family road trip together. There were sweaty, tear-filled moments but we learned to embrace them and grow as a family.

Editing Life

Long after your trip has ended, you can relive the moments – and the lessons learned along the way.

Don’t forget about your photos. Print them, hang them, let them bring you joy until your next family adventure.

I sat at the kitchen table late one night reliving our trip through all the photos I had taken. The tears in the car. The tears on the beach. The tears in the mud. I thought about how naive we had been about traveling with toddlers. How we tried everything and failed. But also how the trip had been redeemed.

A photobook and a camera - How to Photograph Your Family Vacation

Just a couple weeks after that I was unwrapping a brand new photo book I made of our trip – my first finished photography project.

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Nikon D850 Review

14 Jun

  The long awaited Nikon D850 is here, so is it worth the price tag?  There are the features we have been expecting along with more than a few surprises. Let’s dive in and discuss the pros and cons of this 46- megapixel full frame shooting machine… The Nikon D850 replaces Nikon’s D810, but it does much more than that. Continue Reading

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Three Ways to Apply Tonal Effects in Photoshop

13 Jun

We are used to thinking about photography in terms of color or black and white, but before we arrived here, though, there were a series of processes that resulted in images being monochrome. In this tutorial, I’ll show you how to get those looks so you can think outside the box and achieve different tonal effects that will make your photos unique.

Intro Tonal Effects Photoshop Tutorial

Adding a tonal effect can give your photos from different collections a unified look. It can also help to set the atmosphere of a scene, or simply give a nostalgic and antique look. Before photography became as we know it to be today, there were many experiments and formulas chemists used that became popular throughout history.

Many of them had a particular color. The most popular are sepia and cyan and now it’s possible to achieve these and any other tonal effect with just a few clicks. I’ll show you three different ways to achieve it so you can choose which method suits you best.

#1 – SOLID COLORS

First of all, you need to work with a black and white image. There are many different ways to achieve this in Photoshop. The one I’m choosing is Menu > Image > Adjustments > Black and White because it gives you a lot of control.

Three Ways to Apply Tonal Effects in Photoshop

Once you have your starting image as black and white, you need to add a solid color adjustment layer. To do this go to the Layers palette and click the adjustment layers button on the bottom and choose the Solid Color option from there.

A pop-up window will open where you can choose the color you want for that layer. There’s no right or wrong here, it’s a matter of taste but for a sepia tone go somewhere in between the yellow and the red and when you’re happy just click OK.

Solid Color Tonal Effects Photoshop Tutorial

Now the color should have covered the entire image, which is normal as you added a solid color. But you still need to merge it with the image, so open the blending options menu from the top of the Layers palette and choose Soft Light.

Solid Color Soft Light Tonal Effects Photoshop Tutorial

You can also check out the other blending possibilities to see if there’s something that suits you better, but Soft Light usually works best for me. You can make a final adjustment on the layer opacity if you think it needs tweaking and that’s it!

Sepia Tonal Effects Photoshop Tutorial

#2 – ADJUSTMENT LAYERS

To achieve a cyan tone on your photo you need to start with a black and white image the same as the previous process, so I’ll use the opportunity to show you another way of converting your color photo into black and white.

Go to the Layers palette, add an adjustment layer. and from the drop-down menu choose Black and White. On the Properties window, you’ll have the same adjustments as the previous method as I used above.

The difference is that now you’ll have the black and white adjustment on a different layer so you can come back and tweak it or change the opacity at any time.

Adjustments Layer BlackandWhite Tonal Effects Photoshop Tutorial

Next add another adjustment layer, this time choosing Levels from the menu. In the Properties window, you can see a histogram of your image that shows you the blacks, whites, and mid-tones in your image and a corresponding slider to each of them for you to adjust.

Start moving the sliders to increase the contrast of your image as this will give a better result when you apply the cyan color to it.

Adjustments Layer Levels Histogram Tonal Effects Photoshop Tutorial

The final step you need to do is to add a third adjustment layer, this time using the Hue/Saturation option. On the Properties window move the Hue slider towards the blue end until you find a tone that you like, around the 215 is usually pretty good. If you feel the blue is too intense just decrease the saturation value a little until you are satisfied with the result.

Adjustments Layer Hue Saturation Tonal Effects Photoshop Tutorial

Now you have a snowy photo with a nice cold tone to boost the mood!

Cyan Tonal Effects Photoshop Tutorial

#3 – DUOTONE

If you are thinking that sepia or cyan are very nice effects but it would be even better if you apply both or even more, you don’t have to worry. Photoshop has thought about that too.

First, you have to open your black and white image (or convert your image to black and white as we did above). Then go to Menu > Image > Mode and choose the Duotone option. This is correct even if you want three or four tones, you will modify that later.

Duotone Tonal Effects Photoshop Tutorial

A pop-up window will open where you can choose the number of inks (tones) that you want in your image just by clicking on the drop-down menu. For this example, I’m choosing Tritone so three fields will be available to choose the inks.

Triotone Tonal Effects Photoshop Tutorial

You can set the color of each ink by clicking in the second square which will open a pop-up window with a color picker. So just click on the tone you like and hit OK. Then name it in the field to the right of the ink. Repeat this process for each ink color.

Duotone Color Picker Tonal Effects Photoshop Tutorial

Now the colors you selected are all covering the image in the same way. But you can modify that by choosing which ink will affect more which tones. For example, I choose the magenta for the darkest tones and the yellow for the lighter tones, but you can choose any tone and any adjustment you want.

Just click on the first square which will open the Curves window. By default, it will have a diagonal straight line that goes from 0 (black) to 255 (whites) you can experiment moving it all you like until you get the look of your image right.

Duotone Curves Tonal Effects Photoshop Tutorial

Because of all the possibilities, this is the hardest technique but also the more personalized one that will give you a very unique result. Try it out and let me know in the comments how it goes!

Duotone Tonal Effects Photoshop Tutorial jpg

Your turn

So there you have three methods for applying tonal effects using Photoshop. Do you use any of these for your images? Which method do you prefer? Do you have another technique you like? Please share your tonal effects images and ideas in the comment area below.

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6 Quick Tips for Doing Summer Photography

13 Jun

For many of us in the Northern Hemisphere, it is finally here – sunshine – the time of year most synonymous with new beginnings, transition and growth all thanks to the powerful rays of the sun. After months of dark dreary weather and perhaps a mood that matches staying indoors, we are finally ready to shed those winter blues and head outside with our gear. So in the spirit of getting you out of the house and into the outdoors, here are a few tips to help you do summer photography and revel in all its glory!

6 Quick Tips for Doing Summer Photography - purple flowers

#1 No more excuses period!

Shake off that hibernation mentality and get yourself out the door. Often times, some of the first signs of spring can be spotted right outside your front door so you maybe don’t need to go far. Or better yet, take a walk around your neighborhood and start noticing the transition as spring works its way into summer.

It is amazing how leaves, color, and budding florals can make an old place feel like new again.

white flowers - 6 Quick Tips for Doing Summer Photography

#2 Seasons and change can be a good thing

I know the whole time change thing that happens here in the US is debatable to many. But personally, I wait for spring forward. Yes, I lose an extra hour of sleep but it also means that the days start getting longer and that magical golden light at the end of the day is more within my reach.

With each and every day that passes, we are given more daylight, which provides greater opportunity to grab that camera and capture the golden hues. So head to a nearby park or even an open prairie and take in the whole scene. Use your wide angle lens to capture the big picture in your summer photography.

Karthika Gupta Photography - Memorable Jaunts DPS Article 6 ways to photograph spring-7
Karthika Gupta Photography - Memorable Jaunts DPS Article 6 ways to photograph spring-3

 

patio - 6 Quick Tips for Doing Summer Photography

#3 Embrace pattern play

As you’re taking in your surroundings, notice unique patterns and textures that are created by plants, water, and trees. Summer has this amazing ability to make everything colorful, so go ahead and use all that color to add a little punch to your photos.

Color, patterns, and textures add so much more interest in photos so use that to your advantage.

plants on shelves - 6 Quick Tips for Doing Summer Photography

flower in the garden - 6 Quick Tips for Doing Summer Photography

#4 The light and shadow dance

Mother nature really is a wonder. As winter changed into spring, the whole world seems to get lighter and transition into a new phase. You can almost sense that change in the air again.

The quality of light also changes and with that the play of light and shadows is quite spectacular.  Use this time as an opportunity to experiment with light and shadows and use these elements to create drama and interest using different subjects.

peony - 6 Quick Tips for Doing Summer Photography

#5 Capture those blooms

When the flowers and trees start blooming all around us it really feels like a breath of fresh air. Capture those blooms and see how vibrant they make everything else appear. Look for a neutral background like white siding or pastel walls to bring highlight to the florals.

Karthika Gupta Photography - Memorable Jaunts DPS Article-8

#6 Work around the weather

Rain showers and sunshine seem to go hand-in-hand with summer. I suggest you embrace all of Mother Nature’s tantrums and photograph around it. Use that rain cover to step out into the rain to photograph the scene. If you don’t have a rain cover for your gear, maybe stay indoors and photograph the outside from your window. Or even get in the car, go for a drive and photograph from the comfort of your car!

Notice how rain changes the light completely and embrace that softness for a very different look to a normally sunny scene.

I hope these tips help get you in the mood to pick up that camera more often and get back into the swing of photography if you have been suffering from the winter blues.

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Why I’m Downsizing from a Nikon 70-200mm f/2.8 Lens to the f/4 Version

13 Jun

The Nikon 70-200mm f/2.8 lens has been one of my most used since purchasing it several years ago. It’s a perfect lens for photographing either abstract, intimate or obviously, zoomed in landscapes. However, after borrowing the f/4 version from a local camera store during a trip to the Faroe Islands, I’ve decided to sell my current lens and replace it with the smaller and less expensive (almost $ 1000 less) f/4 version.

Before we get into why I’m replacing it, let’s look at why I went for the f/2.8 lens, to begin with:

Why I Purchased the Nikon 70-200mm f/2.8

When I purchased my first full-frame camera several years ago (the Nikon D800), I started out with only one lens: the 16-35mm f/4. At the time, that was all I could afford and it was my main setup for close to a year.

By that time I had saved enough money to add another lens to my backpack (only having the 16-35mm was quite limiting so I wanted to add more range before heading out on a two-week journey to the US).

Why I'm Replacing my Nikon 70-200mm f/2.8 Lens with the f/4 Version

Though there are several other brands to choose between, I had already made up my mind that I’d go for Nikon’s 70-200mm. The harder choice, however, was whether I should go for the f/2.8 or f/4.

After much back and forth, and long discussions with other photographers, I ended up with the f/2.8. Despite it being heavier and more expensive, it seemed like the right choice as it has a wider maximum aperture. Even though I’m a landscape photographer (I don’t do much wildlife or portraits, etc), I figured the wider aperture might come in handy and be more important than the weight.

I’d say this is the perfect lens if you’re photographing:

  • Wildlife
  • Portraits
  • Macro
  • Concerts/events
  • Under low light
Why I'm Replacing my Nikon 70-200mm f/2.8 Lens with the f/4 Version

Captured with my 70-200mm f/2.8 lens.

Why I’m Changing to the f/4

When looking through the images I’ve shot with my 70-200mm, only a fraction of them were captured at f/2.8. In fact, the majority of those are images I captured at concerts or other events for a local magazine, which I very rarely do anymore.

The fact that I rarely use an aperture of f/2.8 on this lens, combined with the fact that I’m spending more time hiking and need a lighter backpack, made it an easy decision to replace my current lens with the lighter 70-200mm f/4 lens.

Why I'm Replacing my Nikon 70-200mm f/2.8 Lens with the f/4 Version

Captured with the 70-200mm f/4 lens.

As a landscape photographer, it’s rare that you need f/2.8, especially for the type of images I tend to capture.  It’s more important for me to save weight (1540 gm/3.2 lbs versus 850 gm/1.9 lbs) since my backpack gets quite heavy when carrying all my lenses and cameras, a tripod, and other accessories.

Though I only tested the lens for 10 days, I found it’s not a sacrifice of much image quality by choosing the f/4 over the f/2.8. Both the sharpness and autofocus are just as good in the former.

These are the main benefits I’ve found with the 70-200mm f/4 lens:

  • It’s almost half the weight of the f/2.8.
  • It’s smaller in size and takes less space in the camera bag.
  • Autofocus is just as good (in fact it’s better than on my old f/2.8).
  • Sharpness is just as good.
  • It’s nearly half the price of the f/2.8 ($ 2800 versus $ 1400 roughly).

The Consequences of Changing

Of course, sacrificing one stop of light is something worth mentioning, as this does come with a few consequences. While it might not be a big difference between f/4 and f/5.6, there is a significant difference between f/2.8 and f/4, especially in low light situations.

Why I'm Replacing my Nikon 70-200mm f/2.8 Lens with the f/4 Version

If you use a tripod for all of your photography and you avoid photographing wildlife and other scenarios with a shallow depth of field, the sacrifice is minimal and most likely not even notable. However, if you tend to photograph handheld in low light situations and enjoy photographing with a shallow DoF, you might want to reconsider replacing the f/2.8.

Here are some of the sacrifices you’ll make when changing from f/2.8 to f/4:

  • You won’t get as good of a “bokeh” effect nor achieve as much of a shallow depth of field.
  • You’ll need to increase the ISO instead of opening the aperture in low light situations.
  • You will be more dependant on a tripod in low light situations.

That being said,  this was an easy decision and one that I wish I’d made many years ago. Do you have a 70-200mm lens? Which version do you have and why?

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The Power of Shooting Simply with One Light and a Reflector

12 Jun

In this article, I’ll give the virtues and benefits of shooting simply, with only one light and a reflector.

Lighting is often perceived as a complicated beast, but does it have to be? Sure, in terms of technical aspects, there’s an awful lot to learn before you can truly master lighting. There are also plenty of techniques that involve numerous light sources at various power outputs, rigged together with any number of modifiers.

But are these necessary? If you want to learn every aspect of lighting inside and out, then the answer is yes. However, when you are a beginner, I would argue that it’s far too easy to get bogged down in those complications when in reality, you could conceivably go an entire photographic career without touching them.

One light

The Power of Shooting Simply with One Light and a Reflector - b/w portrait of a lady

With a single light source and a reflector for fill, you have enough creative options in terms of lighting that you could go an entire lifetime with nothing more and still fill a diverse and varied portfolio. Technically the reflector is a second light source if you want to get into that, but it’ll be referred to as a reflector for our purposes here.

You may not want to and it’s more than likely that once you’ve got the basics of lighting down, you’ll want to dive deeper and deeper until you get to those ultra complicated set-ups, but it is possible. One light set-ups can give you both dramatic, shadowy photos which ooze mood as well as bright, cleanly lit images with plenty of detail throughout.

The Power of Shooting Simply with One Light and a Reflector - 6 images of portraits of ladies

On top of that, there’s only one light to set up, only one light to modify and only one light to meter. If you’re working with limited time, say 20 minutes to set up, take a few shots and get out of there.

Four, five and six light set-ups just aren’t going to be an option. Of course, it’s also a whole lot easier to lug around one light then it is to take five.

Terms you need to know

This article will cover examples that are based in a studio where all ambient light is cut out (with one exception) and bounce is controlled through light placement or flags. As such, the light and the reflector are the only things lighting the images and each has its own respective role.

Key Light – The key light is your main light source. In these instances, it’s the actual strobe. It could just as easily be any other type of light source such as a window or a street light. This is the main light that you will be shaping your subject with.

Fill Light – In these examples, the fill light is the job of the reflector. When placed opposite the key light, the reflector bounces light back onto your subject and fills in the shadows. This helps to reduce contrast and also tends to lead to more flattering images of human subjects. A fill light does not have to be a reflector. Again, it could be any light source that acts independently of your key light to fill in shadows on your subject.

Reflector

The Power of Shooting Simply with One Light and a Reflector - studio setup with one light and a reflection

In all of these examples (except one that’s annotated), the reflector used is a large, cheap 5-in-1 reflector. You can buy one of these from just about anywhere that sells photo equipment for around $ 20 or less. Sure, there are expensive versions, but in my experience, they’re not worth the extra money. Get a good sized (32″ or 42″) cheap one and take it everywhere. Don’t be too precious with it and let it get dirty, battered and warped through use. They’re easily replaced.

If you don’t want to buy one, reflectors are pretty easy to make. White foamcore, posterboard, cardboard painted white, or a styrofoam insulation are all easily turned into reflectors.

Modifiers

Since the specific focus of this article is portraits, all of the modifiers used range from fairly big to huge. This is so that the light was as soft and flattering as possible. You can absolutely use a single hard light source with a reflector, so don’t consider the absence of examples of hard light here to be some kind of rule against it.

Example 1

The Power of Shooting Simply with One Light and a Reflector - color portrait of a lady

This shot is about as simple as it gets. The subject was placed a few feet from the background. The light source was a 5-foot octabox which was placed at forty-five degrees from the subject. The distance of the light was determined by watching how the modeling light fell on the subject and where the catchlights were in her eyes. It ended up about five feet away.

The Power of Shooting Simply with One Light and a Reflector - studio setup behind the scenes shot

Because the octabox is quite a big modifier, it would have been possible to get away without using a reflector. The soft light the large modifier produces would wrap around the subject in a pleasing way. It also means that the subject could turn and face any direction she wanted for posing.

Regardless, I still chose to add a reflector to bring up the shadow side. It was placed as close to the subject as possible so as not to interfere with composition.

Example 2

The Power of Shooting Simply with One Light and a Reflector - dark moody portrait

Much like the first example, this image was created with the light source at a 45-degree angle to the subject. This time, the modifier was a mid-sized 2×3′ softbox.

To get the softest quality of light, it was placed as close as possible to the model without interfering with image composition. There are few things as annoying as having to retouch the corner of a softbox or a beauty dish out of every frame.

The Power of Shooting Simply with One Light and a Reflector- lighting setup

This time, the reflector was turned slightly away from the light source. This was because I didn’t want the full surface area of the reflector to be filling in the scene as I wanted to retain some of the dramatic lighting that the single smallish light source provided.

Example 3

The Power of Shooting Simply with One Light and a Reflector - two images of a girl in studio

This is exactly the same set up as the previous example, all that changed here was the modifier.

The softbox was exchanged for a beauty dish to increase contrast and add drama. The reflector was turned slightly so that it had maximum impact on the shadow side.

The Power of Shooting Simply with One Light and a Reflector - lighting setup in the studio

Example 4

The Power of Shooting Simply with One Light and a Reflector - b/w images in the studio

To really take advantage of the contrasty lighting possible with one light, I opted for a large, gridded beauty dish in this example. Again, placed at forty-five degrees (notice a pattern here?), the light fall-off is much more abrupt than here, as compared with the bigger softboxes.

The Power of Shooting Simply with One Light and a Reflector - dramatic studio setup

At 120 cm, this particular beauty dish is quite a bit larger than normal. As such, it is still quite soft, with a bit more wraparound than its smaller, more normal sized siblings.

A silver reflector was added to bring up the shadow side of the subject in order to ensure separation from the background and to keep the shadows from becoming pure black.

Example 5

The Power of Shooting Simply with One Light and a Reflector - lighter portrait of a girl

In a previous article, I wrote that you may very well never use a gold reflector. I’ve been thinking about that a lot since I wrote it and endeavoured to do exactly that. Instead of using the gold side of a normal 5-in-1 reflector, I used a Westcott Omega reflector, on which the gold is far subtler and less intrusive, making it much, much more flattering for portraits.

The key light in this image was a five foot octobox. If you look at the catchlights, you will see two other light sources. To camera left, there was a wall of windows which was underexposed by a stop to act as fill. To camera right is the gold reflector.

By adding a single light source to the ambient light, you get an incredible amount of versatility of what you can achieve.

Example 6

The Power of Shooting Simply with One Light and a Reflector - studio portrait

This image was created exactly the same way as the previous one with the same octabox and the same gold reflector. This time, however, the power output of the flash was turned up so that it killed the ambient light from the windows. The reflector was also placed slightly to the rear of the subject in order to bring detail back into her hair.

The Power of Shooting Simply with One Light and a Reflector

Example 7

The Power of Shooting Simply with One Light and a Reflector

One technique that I really love is to place the light source directly in front of the model (it’s okay to move it to the side a bit so that you can shoot past it) and as close as possible. With a single light, this can create some lovely, dramatic images. This was done with a large beauty dish.

The Power of Shooting Simply with One Light and a Reflector

The white reflector was placed flat and rested on the subject’s knees. This results in a makeshift clamshell technique, but instead of two lights, you’re only using one.

Wrap-up

I could go on and on and on about this. The point here is to remind you to never forsake the power of simplicity when it comes to lighting techniques.

Sure, those set-ups with half a dozen lights, three reflectors, nine flags, your neighbor’s dog and a Swiss passport are great and you should absolutely explore them. Just be mindful that not every job has to rely on such complexities. Stripping things back to basics can, and does yield wonderful results.

Tips

Here are a few tips and trick to help you get the most out of your single one light source set-ups:

  • For portraiture, get the light in close. The larger the apparent light source, the softer the light. The softer the light, the more flattering it is for the subject.
  • Don’t just introduce a reflector blind and leave it there. Watch what it’s doing. Use modeling lights and learn to see the subtle differences the reflector creates. It’s hard at first, but with practice, you’ll start seeing the changes.
  • Meter with and without the reflector. As the reflector is acting as an independent light source, you can meter its exposure. If you want a specific ratio, or you know you want your fill two stops underexposed, meter it.
  • Don’t be afraid to turn the reflector at funny angles. If it’s a large reflector, in particular, you probably don’t want or need the whole surface area in use. Turn it any which way that provides the effect that you’re looking for.
  • You don’t shoot with off-camera lighting. So what? All of this applies to window light as well. A light source is a light source.
  • Don’t have a reflector? Buy one right now. Seriously. Stop what you’re doing and order one right now. They’re important and they’re not expensive. Godox sells one for less than $ 15.
  • Use these techniques on anything. I’m a portrait photographer, so the focus here has been portraits. But every single aspect covered here can be used when lighting any subject at all. Flowers? Check. Animals? Check. Food? Check.

Conclusion

In terms of variations on these techniques, this article hasn’t been anywhere near comprehensive. Honestly, using a single light and a reflector will give you an infinite variety of techniques to use in your photography.

When you’re starting out, I strongly encourage you to explore these as much as possible before moving on to more complicated set-ups as you may find, that most situations would benefit from the simplicity.

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Why You Need to Manage Expectations – Both Yours and Your Client’s

11 Jun

As you prepare for a photo session with clients you probably run through a checklist to make sure you don’t forget anything. Cameras? Check. Lenses? Check. Lighting modifiers? Good to go. Props, stepstools, spare batteries? Got ’em.

But one thing that often gets left behind, so to speak, is a set of expectations that you and your client might have for the photo session. You might have something in mind for the session based on your experience, your work with previous clients, or the particular set of gear you are bringing along. But if your clients have a different set of expectations it can spell big trouble and will require a lot more than a few batteries and extra memory cards to fix.

 Why You Need to Manage Expectations - Both Yours and Your Client's - maternity photo

These clients hired me for a maternity session and it went smoothly thanks to a very clear set of expectations that we discussed beforehand.

Expectations are important

Think of the many ways in which your expectations influence your perception of the services and products you buy. When you go out to eat you will expect a certain level of service based on previous visits. If you go on vacation you will probably look for reviews online and base your satisfaction of the accommodations on how well those expectations were met.

If you hire a contractor to remodel your kitchen you will make sure to have lengthy discussions with them to make sure the work they perform is precisely what you want. It’s fair to say that as a consumer you probably base many of your buying decisions on expectations that have been set for you.

And yet, as a photographer, how often have you worked to set expectations for potential clients? Your website might proudly proclaim that you do weddings and formal events, but there are probably two dozen other photographers in your area who offer similar services. The same goes for most types of photography: families, youth sports, products, high school seniors, or even aerial drone images.

You’re good at what you do but what makes you stand out from the rest, and what can your clients expect when you show up to take pictures?

 Why You Need to Manage Expectations - Both Yours and Your Client's - baby in a basket

What can clients expect from you?

One of the first things I learned when I started doing portraits for clients was that the things which I thought were the most important were not at the top of my clients’ priority lists. I spent so much time thinking about pricing and choosing a template for my website that I neglected to properly craft a message letting clients know what they could really expect out of me.

A few dozen sample images of portraits in parks along with a testimonial or two are a great way to market yourself. But these don’t really tell clients much about your approach to a photo session or what you will do to get the shots they are looking for.

Set expectations early

Think about the many ways in which you can set expectations in advance to let clients know how things will go. This goes well beyond simply telling your clients how much you charge, how many prints or images you will deliver, and whether you take checks or credit cards.

For a session to go smoothly think about the more esoteric expectations and do your best to manage them before a single click of your camera shutter. Some items to ponder would be…

  • Your shooting style: Are you easygoing, flexible, and open to improvisation or do you have a more strict and pre-planned approach to photo sessions?
  • Accepting input: Do you incorporate input from clients in terms of poses, locations, or picture ideas?
  • Who can attend the session: Will you let clients bring friends, family, or even pets to a photo session? (Not to get their pictures taken, but just for help, encouragement, or comfort.)
  • Where you draw the line: Are you willing to engage in illegal or semi-legal activity to get photos? Some clients might want to shoot in areas that prohibit trespassing or are otherwise off-limits which might be beyond the scope of your services. “But my friend got photos taken at this abandoned warehouse last year.” they might say, in which case you might advise your client to solicit the help of another photographer.
  • What types of pictures are off limits? Your clients might want to do pictures on train tracks or recreate some risqué images they saw on Instagram. If that’s not your cup of tea, your clients need to know about it. And in the case of train tracks, the answer should always be NO!
 Why You Need to Manage Expectations - Both Yours and Your Client's - family photo of hands

This picture was not my idea; my clients suggested it on the day of the shoot, and we made it happen. I told them that I was open to their ideas so they offered some, and the results were great.

More expectation examples

  • Posing: Are you the type of photographer who likes to use specific formal poses or do you take a more casual hands-off approach? This is especially important if you are doing wedding and other types of events that are not easy to replicate.
  • What’s your approach to social media? Will you share pictures of the session online, talk about the session before or afterward, or snap behind-the-scenes photos to ingratiate yourself to other potential clients? Some people might be fine with this but other clients may prefer more privacy. If so you would need to adjust your approach for those clients, or let them know so they can make an informed decision about whether or not to use your services.
  • Photography locations: Do your clients want to shoot in locations that just won’t work (or the wrong time of day), or you simply can’t get to with your gear? Discuss what your clients expect beforehand so you won’t be caught off guard during the session if they ask you to shoot in a dimly-lit alley, behind a waterfall, or in the middle of a crowded mall.
  • Photography assistant: Do you use a second shooter and if so, what will his or her role be during the session?
  • Turn-around times: How long will your clients have to wait to get prints or digital files after the session?
 Why You Need to Manage Expectations - Both Yours and Your Client's - cards from a funeral

I was asked by some friends to take pictures at a funeral for their loved one. The key to the whole experience was a crystal-clear understanding of what the clients wanted and what my role was as the photographer.

This is just a starting point. You are going to have other things that are unique to yourself and your photography. And even though some of these might be clearly spelled out in your contract, it’s a good idea to set and manage expectations clearly and without room for misinterpretation. A contract may cover you in legal terms, but don’t assume your clients have meticulously read and understand every single word.

 Why You Need to Manage Expectations - Both Yours and Your Client's - graduation photo PhD

Open communication is key

In my experience, one of the best ways to set these expectations is to have some kind of real-time back-and-forth dialog with your clients. Exchanging information over email and social media is fine, but when it comes to hashing out the details of a photo session nothing beats a phone call or in-person meeting.

If the latter isn’t all that practical, then, by all means, talk with your clients on the phone or via video chat. This can help you set a positive tone for the session, ease their minds about any concerns they might have, and give you a chance to explain what they can expect. Reassure them that you have their best interests in mind.

What do you expect from your clients?

There’s a flip side to setting expectations and it’s one that sometimes gets overlooked when planning or executing a photo session. You might have bent over backward to let your clients know what to expect from you, but what have you done to let your clients know what you expect from them?

Just as every photographer is different, each client is also unique. They have an attitude and approach that separates them from everyone else. In order to make sure things run smoothly, think about ways to communicate your expectations of them with your clients. Otherwise you, and they could end up knee-deep in frustration with no easy way out.

  • Punctuality: Do you value punctuality and expect your clients to be on time for a photo shoot? This might seem obvious but not all clients take the same disciplined approach as you might when it comes to arriving when they are supposed to.
  • Cell phone usage during a session: Will you ask your clients to put their phones away during the session? For some photographers, this isn’t an issue, but others get irked if clients are constantly snapping, tweeting, and texting during a photo session. If you expect them to be focused and attentive, let them know in advance.
 Why You Need to Manage Expectations - Both Yours and Your Client's - family photo of people walking

When this family arrived I spent a few minutes explaining how I was going to conduct the session and listened to their ideas as well. It set a positive tone that resulted in some images that they really liked.

More examples of your potential expectations:

  • Transportation on-site: Do you expect your clients to be able to walk around or transport themselves to different locations? If you are doing high school senior photos do you plan on taking them to different locations in your vehicle? If so, do the seniors and their parents know that this might be a possibility? Iron out these details beforehand or you could find yourself in an uncomfortable situation the day of the shoot.
  • Other photographers at the session: If you are doing a wedding, will you be the only photographer or will the groom’s uncle (who just got a new DSLR for his birthday) be hanging out taking photos also? Some photographers don’t mind this sort of thing, but most would rather the clients tell Uncle Bob to leave his camera at home and let you do your job. Communicate your expectations well in advance to avoid hurt feelings the day of the ceremony.
 Why You Need to Manage Expectations - Both Yours and Your Client's - 2 kids

When working with kids, especially infants, things are never going to go how you expect! But discussing things with the parents beforehand is a good way to help deal with issues as they crop up.

As before, these are only some of the things to consider when setting client expectations and the best way to go about doing that is with a phone call or other type of back-and-forth conversation. This information might be on your website, but it’s incumbent on you as the photographer to do everything you can to make sure your clients know what you expect of them. Don’t simply just assume they have read through every page of your site.

 Why You Need to Manage Expectations - Both Yours and Your Client's - family photo

This family was a joy to work with, largely because of clear expectations from both parties (the family and myself).

Conclusion

Finally, one tip that might be useful to you is to make a checklist of these items so you have it handy during conversations with the client. This way you can update it over time as new issues come to light, and you can make sure to properly address all the most pressing expectation issues that could come into play before, during, and after a session.

The goal here is to make every session a positive experience for your clients as well as yourself, and the more work you do to manage expectations for all parties involved, the happier everyone will be.

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How and Why to Use the Canon Camera Connect Application

11 Jun

If you own a Canon camera, chances are it comes with a built-in WIFI connection. This wireless connection can be a real game changer when it comes to photographing and sharing your photographs instantly. This versatility can really up your game during sessions and create more buzz when you share your photos after a session with the use of the Canon Camera Connect application.

In this article, I was using a Samsung Galaxy Prime smartphone and Canon EOS 6D camera with a Canon EF USM 85 mm f/1.4 lens.

What is the Canon Camera Connect application?

Canon Camera Connect is an application that you can download from the app store on your smartphone. It is used to wirelessly connect your DSLR to your phone so that you can photograph remotely, view images on the camera that you’ve already taken, and edit those images as well.

If your camera has built-in Bluetooth, it can also function by connecting your camera to your smartphone via that method as well.

Canon Camera Connect Application

This is what the Canon Camera Connect application icon looks like in the Google Play Store on Android.

How to use the application

There are a couple of ways you can connect your camera and smartphone in order to use the application. The first is connecting via an existing internet connection and using the information for user ID and password on both devices and then opening the application. The biggest drawback with the application, however, is that when the internet is faulty or patchy, your devices can disconnect and not allow you to use the app.

The second is the best option, in my opinion, because it connects to the camera directly and unless you are out of range or your phone goes to “sleep” you are always connected. Setting up the connection is easy. Go to menu on your camera, where you see the option to “Enable” the wifi connection, below, you’ll see the options for connecting.

Canon Camera Connect Application

In the Menu, go to the wifi settings to set the SSID that you will use to connect to your smartphone.

Choose to “connect smartphone”.  Within that menu, you are going to be able to set up your connection with a personalized name. I chose to name mine SET1 with the SSID which is the name of the wifi as “jl”. The encryption key is the password you’ll have to enter when you connect your phone to the camera’s wifi connection.

Canon Camera Connect Application

Choose Connect Smartphone to choose the settings to connect directly to your smartphone.

SET1 is the name I gave it in my camera’s menu. If you go into change/review settings you can set and change the name of the wifi that your smartphone will connect to.

Once you have the settings configured and enabled to connect, on your smartphone, go to the wifi networks and choose the one that you have named for your camera. Enter the encryption key and you will be connected. The application also has an easy to follow connection guide that can help you in case you forget the steps.

Canon Camera Connect Application

Here, using Easy Connection will help you to set the name and see the encryption key that you will need for your smartphone to connect to the camera’s wifi.

Canon Camera Connect Application

Here, you can see that the wifi network my camera has available so that my smartphone can connect. On the right, you see the main menu of the application.

You can add more Sets/Connections and can name them inside of your camera’s Wifi settings menu. This can save time if you use different devices with the application and camera.

View images and share instantly

In the Canon Camera Connect application, you have the option to view the images from camera instantly.

There is nothing more exciting than connecting your camera to the application after a session, transferring the images you believe to be great, and sharing them instantly onto social media. Clients love to see to see “sneak previews” of their session! This will also cause more excitement to see the final photographs.

Canon Camera Connect Application

Once you’re connected, you can view the images that are on your camera from your smartphone.

Connect your camera to the application, choose VIEW IMAGES, and select the ones you’d like to download. You can choose to resize or to leave them in original size. You can also edit the images in the application. They can be sorted by date in descending or ascending order which can make finding specific images faster.

Remote Live View mode

The other option that you have from the Camera Connect application home screen is to use the Live View Shooting mode. This feature is extremely helpful during sessions where you have your camera on a tripod and need to move around your subject, which could be a person or still life.

Canon Camera Connect Application

Here you can see the remote live view shooting mode. In the center photo, you can see that you can change your settings while photographing your subject. On the right, it’s the photograph that I just took.

From the live view shooting mode, you can see what you’re photographing, and change settings like aperture, shutter speed, and ISO. The live view mode feature is fantastic because you don’t have to be stuck behind your camera or go back and forth between the subject and the camera.

Moving around your set, making adjustments to the set and to the camera, and “seeing” your photograph before even hitting the shutter can save you time. You can make sure you have everything just right before triggering the remote, all from your smartphone.

Using multiple devices

The Canon Camera Connect application can be set up on various devices as long as you download it, which is free in the app store on both Android and iPhone. Download the application and set up your camera to connect directly to the device you are going to be using.

Being able to use the application on multiple devices allows for more versatility when you’re photographing in different locations. All without having to use cords or tethering your camera to one specific device.

Canon Camera Connect Application

Choose Connect Smartphone to choose the settings to connect directly to your smartphone. You can also choose to connect to multiple devices.

Drawbacks

While the Canon Camera Connect application is very useful and functional, like all applications, it has certain drawbacks. The major drawback in using Camera Connect, and it’s not so much the application but the camera, is the wireless connection can drain the camera battery. I’ve noticed that it doesn’t matter if it is via an internet connection or directly to your smartphone, the battery life is cut significantly. Make sure you carry more than one camera battery if you attempt to use the application on location.

If you are connected directly to the camera’s own “wifi” you won’t be able to use any other wireless internet. However, connecting directly to the camera does secure the connection and you won’t be disconnected due to a patchy network. Just be mindful to not distance yourself too much or the application will disconnect since you won’t be in range of the camera.

Lastly, if your phone or camera go to sleep, then it disconnects the wifi connection automatically and you have to go through the entire process of choosing the camera’s wifi and connect again. It can become tedious, so my suggestion is that you set both your phone and your camera to not to to “sleep”  so that you don’t encounter this issue.

Conclusion

In the end, the Canon Camera Connect App is highly recommended for both remote live shooting and for downloading your photographs instantly so that you can share them with clients or on social media. The pros out weigh the cons. T

his application can truly give you more options when you are photographing both on location and in a studio. Download the application and test drive it, it will not disappoint.

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REVIEW and Thoughts on the Sony RX100 V Compact Camera

11 Jun

Sony’s RX100 is a storied line of compact cameras that have always packed a powerhouse of features into small but sturdy frames. This fifth iteration (the Sony RX100 V also know as the DSC-RX100M5) builds on that history with a wealth of features for a modern photographer’s needs.

REVIEW: Sony RX100 V Compact Camera

Who the Sony RX100V is for

The RX100 Mark 5 is, in my mind, the perfect camera for family travel, street shooting, and as a secondary landscape camera when your main camera is occupied. The 24-70mm equivalent zoom lens lends enough useful range while the 24mm end of the lens works well for landscapes, group shots, and even the occasional selfie.

I bought the RX100 V specifically for its high frame rate for video but have grown to love the high-quality 4K video in such a compact body. With a frame rate up to 1000 frames per second (fps), it is amazing what can be captured with this small package. The 20MP sensor makes for excellent image quality with some room to crop to your liking.

This camera will appeal to landscape photographers who might want some freedom for unique compositions while their heavy DSLR is stuck to a tripod. Street photographers will love its compactness and flip out screen. I don’t see it getting a lot of use as a portrait camera, although it does have a nice f/1.8 – f/2.8 starting aperture range.

Small Package – Big Stats

Let’s take a look at some key stats from Sony’s website:

  • 20.1MP 1″ sensor
  • 2.9X optical zoom – 24-70mm equivalent
  • 11 – 44x at digital zoom
  • 2.95″ 1.2MP rear screen with 100% coverage
  • Active Optical SteadyShot
  • Four focus modes including Manual
  • 315 point wide phase detection autofocus, 25 point contrast detection plus four other modes
  • Exposure Compensation from -3EV to +3 EV in 1/3 stop increments
  • Full expanded ISO range from 80-25,600 for stills and 125-12,800 for video
  • Shutter Speeds from Bulb/30 seconds to 1/2000th maximum
  • Auto High Dynamic Range and ND Filter capabilities
  • Exposure and White Balance Auto Bracketing feature
  • 4 x 2 3/8 × 1 5/8 inch (101.6 x 58.1 x 41.0 mm) physical size
  • Approximate weight of 10.5 oz (299 g)
  • All kinds of picture effects, creative styles, and picture profiles
  • US $ 999 suggested retail price

Camera Controls

The controls are a mixed bag. On the one hand, there are few of them and most photographers will be familiar with how to change ISO, adjust the Exposure Compensation and zoom the lens. On the other hand, after a year of testing, I have found the main rotating dial for mode selection is getting a little sticky. It’s not as smooth as it was when new.

REVIEW: Sony RX100 V Compact Camera

I do like the ease with which you can shoot 4K video (see 4K video section later in this article for my impressions on that). The video button is right by your thumb when holding the camera and makes for ease of use. I would say it’s even easier to use than most smartphones. You use your pointer finger for shooting still images and your thumb for shooting video.

As is typical with Sony cameras, the menu screens are arranged over and then down and there are a lot of them. As I mention later in the Apps section below, this can make things a little cumbersome, but with all the features manufacturers pack into their software these days, it’s to be expected.

The flash is activated with a manual catch release and must be manually pushed down, leaving it a bit exposed for possible damage.

Flip Screen

The flip screen is a handy feature which I love. If you take anything off-angle, especially low shots, this feature will save your back and help you better compose your images. It flips both up and down as well as options in between.

REVIEW: Sony RX100 V Compact Camera - flip screen

It’s not a touchscreen, which is a little disappointing, and it doesn’t rotate to the side and front like some screens. But the simple versatility of flipping up and down is a bonus. Those looking for help composing selfies need only flip the screen all the way up and the image will correct for front viewing and composition.

Focus/Aperture Ring

For those of us who learned manual focus and are familiar with the use of a manual aperture ring, this feature is a great throwback which feels natural to me. Using the big ring around the lens feels like a natural way to change the aperture and it is a lot smoother than lenses from the 80s and earlier.

REVIEW: Sony RX100 V Compact Camera - aperture and focus ring

It’s also a great way to tighten focus when getting in close or shooting video. While not perfect, it can be used to rack and control focus on video shoots to a finer, smoother degree than with buttons or knobs. I find myself using this feature often.

ISO Performance

DXOMark gave the sensor a rating of 70 on its 0-100 (or 102 if you count the Hasselblad X1D-50c) scale. This puts the Sony RX100 V in the middle of the pack for its peer group and I tend to agree. You can comfortably shoot up to ISO 1000 without much noise encroaching on image quality, but after that, you’ll start to notice a difference.

The ability to shoot as low as ISO 80 is a nice touch for landscape photographers. While it is an expanded option (meaning it is not true ISO 80 according to the standard) the smoothness is a delight.

REVIEW: Sony RX100 V Compact Camera - Landscape ISO 80

100% crop - REVIEW: Sony RX100 V Compact Camera

A 100% crop of the ISO 80 image above.

Going to the other extreme, ISO 6400 will show a lot of noise but can be cleaned to an acceptable degree in post-processing. Below are images with no noise reduction applied, shot at ISO 6400.

REVIEW: Sony RX100 V Compact Camera - ISO 6400

Viewfinder

I’m not too sure why the Sony RX100 V has a viewfinder. Maybe I’m an old curmudgeon, but looking through a viewfinder only to find a smaller screen always seems weird to me. Also, accssing it requires the flick of a small catch on the side of the camera and then you have to manually pull out the viewfinder.

REVIEW: Sony RX100 V Compact Camera

This is clunky and more than once I have pulled that eyepiece all the way off.

REVIEW: Sony RX100 V Compact Camera

Oops!

It does have a diopter for those who need that. But the viewfinder requires manual pushing to put it back in place. It seems antiquated.

Autofocus Speed

Sony’s hybrid phase/contrast-detection autofocus system will delight most parents. It’s not DLSR super-fast, but with 315 focus points and quality action tracking, the camera can keep up with most children. What does that mean for people without kids?

REVIEW: Sony RX100 V Compact Camera

While the maximum focal length of 70mm won’t make this camera a secondary in sports photographers’ camera bags, the autofocus speed and lock-on capabilities make it no slouch for everyday action. I found the camera quick to latch on to main subjects and tracking was accurate while following things like swinging pocket watches that were on fire.

One downside I found was having to use the four-way directional controller (via your thumb) to slowly move the focus point while in Flexible Spot mode. It’s slow, but there isn’t another option. Having the flexibility is great, but don’t expect to use it for fast moving subjects.

REVIEW: Sony RX100 V Compact Camera

One note on manual focus: Having the zoom assist for manual focus is awesome when shooting the small things in life and for checking to ensure what you want really is in focus.

Burst Mode – High-Speed Stills

The high-speed continuous shooting mode is awesome. It shoots up to 24fps while autofocusing and can shoot in either JPEG or RAW, which is impressive. It takes a while for the memory to dump to your card but this feature is superior to most DSLRs.

The burst mode is great for any kind of close (remember the 70mm limit) action. It is especially useful when the camera is coupled with an underwater housing and you are trying to snap photos of turtles or fish that are much agiler than you.

REVIEW: Sony RX100 V Compact Camera - seat turtle

REVIEW: Sony RX100 V Compact Camera - b/w sea turtle

It does, however, mean you will have a lot more images to delete. 30 minutes of shooting various subjects at 24fps can easily lead to over 1000 images to cull.

Flash Performance

Average. Let’s just put that out there.

A flash this big, with an index rating of 1.31 ft to 33.46 ft (0.4 m to 10.2 m) in Auto shouldn’t be expected to outperform a dedicated strobe with its own battery pack. It’s good up to about 10 feet in/3m in real-world use and does the job.

But you don’t buy this camera to use the flash all the time. The is no dedicated hotshoe either, so adding a speedlight isn’t an option.

REVIEW: Sony RX100 V Compact Camera

High-Speed Video

This is one area I find the RX-100 V stands above its competition. I love the high frame rate shooting, with speeds up to 1000 frames per second (FPS). The video is shot in a maximum size of 1040p, or standard HD, so don’t expect 4K at 1000 fps (that will run you maybe $ 50,000).

The clips are at a maximum of 2 seconds long, but with NTSC rate of 960 fps, that’s 80 seconds of video when played at 24 fps. Using the high-frame-rate is fairly easy and you can choose to activate recording either before or after pressing the record button. Meaning, it will buffer video once activated so you can move through the action and then stop recording when finished. Or, hit record and then move through the action.

For instance, I shot some burning hourglasses for Andy Suzuki and the Method for a music video of theirs called Overtime. Not knowing how long it would actually take to (quickly) move with and through the flames and capture the hourglass on fire, I chose to freely buffer and stop recording after I knew I tracked through the shot. It worked quite well as you can see below.

4K Video

To be sure, not all 4K videos are equal. Comparing the Sony RX100 V to a $ 5000 video camera would not be fair, so I chose to grade the Sony against expectations for a dual-purpose camera. Most importantly, I wanted to see good video quality (great was not required at this price point and form factor) and decent audio.

With those parameters, the Sony did not disappoint and did better than expected. I would label it a quality 4K video that fits into the middle ground between consumer grade and semi-pro grade. It’s already blissfully far ahead of my other Canon gear (which sadly lack 4K in cameras that cost five times the Sony).

The SteadyShot capabilities should be taken with a grain of salt, in my opinion. While it does help, the camera’s small size makes it difficult to get truly steady shots while shooting handheld at 4K.

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Panorama Mode

I was first introduced to Sony’s panoramic mode while teaching a student. It was intriguing then and still works today. It’s a lot like most smartphones now, in that you pan the camera over a limited range (about 180 degrees) and the camera will work its magic for you.

panoramic shot - REVIEW: Sony RX100 V Compact Camera

pano shot - REVIEW: Sony RX100 V Compact Camera

REVIEW: Sony RX100 V Compact Camera

REVIEW: Sony RX100 V Compact Camera

I had some trouble recently after not using the camera for a while.

My family was visiting Grand Canyon National Park, which just begs for panoramas. It had been about 5 months since I used the feature and it took me five tries before I was successful. When you fail, the camera usually doesn’t tell you what you did wrong, just that things didn’t work (sometimes it will tell you to move faster or slower, but other than that, you’re in the dark).

This frustration took away from the enjoyment of the scene in front of me.

I’ve been shooting panoramas since the days of masking 35mm film and feel I understand how it works in smartphones and other digital devices. Why the camera was not cooperating with me that day is still unknown to me. My advice is to practice before you need to use it.

Apps

I’m not used to a camera that has additional apps available and it looked like a cool idea at first. Then I realized I needed to pay to upgrade the camera to do things others already do, like time-lapse shooting.

REVIEW: Sony RX100 V Compact Camera

The apps are a little clunky to get into, requiring navigation through the directory of menus just to switch mode, essentially. I wish there was an easier way to access them.

That being said, the time-lapse app is very useful and has some pre-baked settings to help with sunrise, sunset, passing clouds and other common situations. That helps a lot.

REVIEW: Sony RX100 V Compact Camera

Connectivity

This camera comes packed with the modern convenience of wifi. It can connect to your phone if you have the Sony PlayMemories Mobile app. For those that love the instantness of transferring images to their phone, you’ll enjoy it. It’s not the simplest setup, but once activated, transfers are pretty easy (but buried in the menus).

REVIEW: Sony RX100 V Compact Camera - Sony PlayMemories app

REVIEW: Sony RX100 V Compact Camera

After a year of use, I eventually removed the app from my phone. I wasn’t using it that often as I found it just as easy to wait and plop the SD card into my laptop when back at home. The zoom on the camera wasn’t much more than simple zooms with my phone and considering my viewer would see the image on a phone, most likely, the 20MP were wasted for this.

In the Field

I remember buying the Canon Powershot G-1 back when it first came out in 2001, just before my daughter was born. I was frustrated then with the startup speed and those memories came flashing back when I start the RX100 M5. It’s just not quick to come into play. I ran some tests to find that it takes 2-3 seconds realistically to start up. It seems like an odd slowness and I had to adjust or be disappointed about missing quick shots.

The weight of the camera is just right in the hand. It feels solid, even though I worry about breaking the flash and viewfinder because they are a little less robust.

It’s not truly compact enough to fit in your pocket comfortably unless you have tight pants, but it’s also comfortable enough to carry in your hand most of the time when exploring a new city. It also fits perfectly in a coat pocket or purse.

Westminster Abby – Great Britain ISO 125, f/5.6, 1/50th.

What Could Be Improved

First, it seems everyone expects a touchscreen on a camera of this size these days. They even want them on DLSRs. It’s helpful when focusing and choosing exposure settings and it would be a huge help the Sony RX100 series.

Second, battery life is not that great. Sony says it’s good for 220 shots or 110 minutes of video. While shooting 4K video out the plane window from LA to Seattle, I changed the battery three times during a two-hour flight. No flash, not a lot of focus adjusting, just video shots out the window and about 40 stills. It seemed subpar.

Lastly, they need to add or assign some programmable hot-keys so photographers can pick and choose the features to have at hand. Having to go into and out of an app to shoot time-lapse is cumbersome (after I paid $ 9.99 for it as well). Maybe they could make it assignable to one of the Scene modes available from the top dial.

Wait! One more pet peeve about cameras of this size – no external charger. Charging is in-camera via micro-USB, which is easy enough, but shipping the unit with a charger would be much appreciated considering how quickly it can go through batteries while shooting video.

Two Great Accessories

REVIEW: Sony RX100 V Compact Camera

This camera is thankfully small enough to hide in most coat pockets (not so much with jeans, unless you have fairly loose ones) but I eventually wanted to take the camera backpacking. Worried about the danger of scratches and dents (or worse), I looked around and found that Lowepro makes a perfectly sized case for it.

It’s called the Tahoe 25 II and has room for the camera plus a memory card or two in the zippered pouch in front. A belt loop makes it ideal for hiking and I used it often during an attempted climb of Mt. Whitney.

The second accessory is an underwater case from Ikelite. There is a more expensive version of this case and it offers full control of the camera. But I found the action case to cover what I needed without shelling out too much (it retails for about $ 300 US).

Conclusion

My conclusion is the Sony RX100 V is a winner of a compact camera. It’s packed full of feature and has the ability, with apps, to expand as new software is created. The 4K video is excellent and the high-speed video is a lot of fun.

This camera is perfect for family trips (while reviewing images for this article, I noted I had previously rented the Sony RX100 IV for a family trip to Europe and enjoyed that version as well). It can fit the family in for a group selfie while not breaking your shoulder carrying it around all day. Compact enough for a purse or coat pocket, it is always at hand when your phone just won’t give you a quality image.

With a dynamic range around 12 stops, it can already deliver a wide range exposure latitude. Couple that with the user-adjustable bracketing and there is almost no scene you can’t capture.

Lastly, this camera is slowly but surely turning me into a Sony convert.

Sample Photos

Skógafoss – Iceland ISO 80, f/6.3, 1/80th.

Seljalandsfoss – Iceland ISO 125, f/8, 1/200th.

Underwater sea urchin – Costa Rica ISO 125, f/4, 1/60th high-speed burst mode was used

Panama canal locomotive and the moon – Panama ISO 6400, f/4, 1/13th.

Ground cover – Costa Rica ISO 80, f/5.6, 1/40th.

Mt. Whitney and The Milky Way – California, USA ISO 1000, f/2.2, 25 seconds.

Mt. Whitney – USA ISO 80, f/2.2, 1/1000th.

Mt. Dickerman – Washington, USA ISO 80, f/3.5, 1/400th.

San Gabriel Mountains – California, USA ISO 80, f/5, 1/800th.

Downtown Juneau – Alaska, USA ISO 12,5 f/6.3, 1/250th.

Ducati ISO 640, f/1.8, 1/1000th.

Seattle and Elliot Bay – USA ISO 80, f/5, 1/320th.

Tide Flats – Alaska, USA ISO 125, f/18, 1/400th.

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5 Questions Professional Photographers Hate and What You Can Ask Instead

10 Jun

You probably know a few professional photographers, and you’ve undoubtedly found them to be an invaluable fount of information. However, there are a few questions that beginners commonly ask that they secretly despise. Let’s take a look at five of those questions, and what you can ask instead.

#1 – Which camera should I get?

5 Questions Professional Photographers Hate and What You Can Ask Instead - small Sony camera

You’re just starting out with photography. You’ve discovered your creative eye through your phone, and you’re looking to get serious. Photography sounds like a fun hobby – it gets you outside and allows you to share your unique view of the world with others.

Perhaps you have some friends who are also photographers, and you don’t want to be left out when they start getting excited about apertures and bokeh. So where do you begin? You ask which camera you should buy, right? Wrong!

Why pros hate this question

Pros hate this question because it’s too vague. There are so many cameras out there, and they’re all designed to cater to specific needs. A camera is a very personal thing – much like a car – so others may find it difficult to advise your purchase.

A pigeon judges the tourist with a camera in a city park.

Do you want to shoot stunning stars at night (which would benefit from a full-frame camera), or do you want to build your fashion Instagram account? Are you looking to photograph wildlife (where a cropped sensor might come in handy), or are you interested in portraiture?  Will you be traveling a lot and need something small and portable (mirrorless)?  What is your budget? These all come into play choosing a camera.

It also depends greatly on your experience. If you’ve never played with f-stops, ISO, and shutter speeds, then any entry-level camera that teaches you these things will serve you well. Practice with the fundamentals of photography, learn what you enjoy shooting, and get more familiar with what all the features actually mean.  Then you can make a much more informed decision or ask more directed questions.

5 Questions Professional Photographers Hate and What You Can Ask Instead - photo of a bunch of cameras and lenses

What to ask instead

Do a little research first in order to understand your own needs. Narrow down the type of photography that interests you, and identify the features that are most important to you. Use Google! Armed with this knowledge, you can then confidently approach a pro (preferably one who does the kind of photography what you’d like to shoot, as they’ll be more knowledgeable and helpful to you) and ask specifics to help narrow your choices.

Here are some examples of good questions to ask:

  • I really want to shoot the Milky Way, but I can’t afford a full-frame camera. Do you know of a less-expensive model that does well in low light?
  • I want a super compact camera for my vacations that can take better snapshots than my phone. It would be great if it also has built-in wireless so I can upload photos on the go. What would you recommend?
  • I get a lot of beautiful birds in my backyard. I’d love a better camera to capture them and perhaps some of the flowers in my garden. Can you suggest a basic camera, hopefully, one with a flip-out LCD screen?

5 Questions Professional Photographers Hate and What You Can Ask Instead - red leaves

Bonus tip

Rent! Just like a test drive, you can easily rent cameras, lenses, and accessories from your local camera shop to try out equipment and find what you really like before you invest the big bucks. Many shops even have weekend deals (pick up on Friday, return on Monday) at very affordable prices ($ 20-100 range).

#2 – Which is better: Canon or Nikon?

So now you’ve narrowed down the type of photography you wish to pursue, and you even have a few ideas of camera models that might be good for that. As you continue to research, however, you see options from Canon and Nikon. But which is better?

Why pros hate this question

Pros hate this question because it’s a silly competition the really needn’t exist. Which is better, Toyota or Honda? Marvel or DC? Deep dish or thin crust?

“Better” is such a subjective term, and asking this question really won’t give you a good answer. If you ask this of several photographers, you’re likely to get divided opinions, and this won’t help you in your final decision. Many photographers started with one brand, and they’ve simply stuck with it as it’s too expensive to switch (most brands are also deliberately not cross-compatible).

5 Questions Professional Photographers Hate and What You Can Ask Instead - a Canon camera

The truth is, these are competing camera makers. One will pull ahead with some fancy technology, and the other will jump up to match, adding its own new feature to gain an edge. And guess what? There are other brands, too – gasp!

Sony has been making amazing headway in its mirrorless department, and even Fuji has become popular with some photographers for their compact system. Just like camera models, they each offer different things, and it depends on the features most important to you.

Do you want to take low light pictures with little noise? Do you care about good dynamic range? Is superb multi-point autofocus important to you? Do you like using knobs and buttons over a digital menu? Brands are more about the specific features, and while pros can sometimes be polarized on which is “better,” they’ll generally agree that certain ones will perform better with regards to a given feature.

5 Questions Professional Photographers Hate and What You Can Ask Instead

Shot with a Canon camera.

5 Questions Professional Photographers Hate and What You Can Ask Instead

Shot with a Fuji camera.

What to ask instead

Just like the cameras above, figure out what you want most out of the camera you’re looking to buy, and ask about specifics. This will help you steer toward the camera that would be best for you, and it will be more than just an opportunity for the photographer you’re asking to sell you on their favorite brand.

  • I want to shoot landscapes at sunset, but I worry about the sky being too bright while the foreground is all in shadow.  Which cameras perform better in these situations?
  • I find all of these menus far too complicated. Is there a camera that lets me adjust the settings more naturally?
  • Which brand generally has cleaner pictures at a high ISO?

Bonus tip

Be sure to ask your questions of multiple people (preferably using various brands) to get a balanced viewpoint. Even with more specific questions, “best” can still be subjective.

#3 – What settings/camera/lens are you using?

5 Questions Professional Photographers Hate and What You Can Ask Instead

Okay, so now you have a good idea of what camera you want, and you’re excited to start shooting. You’re observing your pro photographer friends, and you want to emulate their setup.

But what camera settings are they using?

Why pros hate this question

Pros hate these questions mostly because of context. While these can certainly be legitimate questions under the right circumstances, most pros are asked these under less-than-flattering implications.

“Wow, that’s a great picture! What camera are you using?” This implies that the art of the photograph is completely removed from the photographer and can be accomplished through mere equipment alone. This will irritate a photographer faster than asking a chef if his food is so good because he uses expensive spoons and knives.

Asking about settings is arguably better, as this provides insight as to how a waterfall was blurred into silky smoothness, or how a hummingbird was completely frozen in the shot. When pros receive this question, though, they often get the impression that beginners are looking for a silver bullet for how to take good pictures.

Settings are very specific to the photograph. This question will only be useful to you if you’re looking to shoot the same kinds of things under the same conditions. And they are only helpful if you understand what the settings mean – and how to make adjustments for your specific situation.

As well, megapixels has become this magic number that consumers have come to equate with quality. 24-megapixels is worth the extra $ 300 because it’s so much better than the 20-megapixel model, right? While more megapixels does mean slightly better quality, this number really doesn’t matter to the average photographer. Many pros don’t even pay much attention to this number (unless they’re in the business of fine art prints).

Typical photographs are printed at 300 dpi (dots per inch). Even an 8×10 print (2400 x 3000 pixels = 7.2 million pixels) requires only 7.2 megapixels. 20+ megapixels don’t come into play until you’re talking poster prints. If you’re only looking to print a few images at home or share them on social media, you needn’t worry about spending more for a higher number; most modern cameras will easily have you covered.

5 Questions Professional Photographers Hate and What You Can Ask Instead

What you can ask instead

The camera never makes the photographer. Incredible images can be produced from the most elementary equipment. Know that a camera is a tool that only allows you to perform your job more effectively, but the art is still created by your vision. Know what you want to create, and ask informed questions of the tools – without the implication that the art wouldn’t be possible without them.

Understand what the settings mean before asking about them so you know how best to apply them to your own work.

  • I admire your macro shots. I’ve been trying to accomplish something similar with my flowers, but I can’t seem to get mine as sharp as yours. What shutter speed are you using?
  • I know you do a lot of night photography. Which wide-angle lens do you prefer to use for those shots?
  • I’d like to start printing larger images for my wall at home. Your prints turn out really well. How many megapixels does your camera have?

5 Questions Professional Photographers Hate and What You Can Ask Instead

Bonus tip

A wise person once told me to never buy any equipment until you feel limited by what you own. Before you go drooling over someone else’s camera or lenses, ask yourself if an upgrade would afford you shooting opportunities you cannot already do (and that you’d actually want to do – that’s the hard bit!).

And know that just because a pro has more megapixels than you (or a newer model camera, or a more expensive lens) they aren’t necessarily able to take pictures that you can’t. It’s your experience that separates you, not your equipment.

#4 – How can I make money with photography?

You have your camera. You more-or-less understand the settings, and you’ve gotten pretty good. Now, you want to see if you can turn these pixels into profit.

So you ask a professional photographer you know how you can make some money with your photography.

5 Questions Professional Photographers Hate and What You Can Ask Instead

Why pros hate this question

Pros hate this question because many don’t know the answer themselves. Or they do, but they don’t want to disappoint you.

The truth is that photography is a very difficult industry to break into, and it is seldom lucrative. With better cameras being more affordable to the average user, anyone can fairly easily take high-quality photos. In short, few want to pay you for pictures they could take themselves.

It’s a troublesome question to answer because so many are struggling to find just the right path to that elusive pay check.

Additionally, much like the above topics, there is no single perfect answer. There are specific types of photography that are more successful at earning a living wage than others (hint: they directly involve people), but a new photographer will find it challenging to see money out of their photography without a lot of hard work, effective self-marketing, and a niche business model.

5 Questions Professional Photographers Hate and What You Can Ask Instead

Most pros have several sources of income. It’s rare that a single tactic will prove sufficiently effective.

What you can ask instead

Take a look at your local market to see what’s popular and where a need exists. Spend some time identifying what sets you apart from everyone else and build a portfolio with which to market yourself. Then you can approach those pros with specifics to help you develop your business plan.

  • I love photographing people at conventions in all of their colorful costumes. What do you typically charge for a single session?
  • I’d like to upload some of my photos to a stock photography site. Which ones give the best payouts to photographers?
  • How much do you charge for travel to wedding locations? Do you think I should offer free engagement sessions?

5 Questions Professional Photographers Hate and What You Can Ask Instead

Bonus tip

This day and age, the money is with people. If you have a fear of working with people, you’re unlikely to make a living at photography. Portraits, events, and weddings are far more likely to see income streams than landscapes, abstracts, and macro images.

That doesn’t mean the latter isn’t possible, it’s just more difficult. And even those areas require marketing yourself to galleries, travel and tourism companies, and individuals. So get used to interacting with people!

#5 – Thoughts?

5 Questions Professional Photographers Hate and What You Can Ask Instead

You have some experience under your belt now, and maybe you’re even making a few bucks on the side. You have a general understanding of what makes a good photograph, but you want to take it to the next level.

How can you improve?

Why pros hate this question

Pros hate this question because it’s also vague. You post an image on a photography forum with just the single word, “Thoughts?” While it’s great to request feedback on your images, this question puts a lot of work on the responder to generate a viable conversation about your photograph.

This is also likely to garner some less-than-helpful (and possibly less than desired) responses, as it’s so open-ended. What type of feedback are you looking for, exactly? Are you displeased with the composition and you’re looking for pointers? Do you want some tips on ways you can make a person’s eyes stand out more? Gain more sharpness to that mountain landscape?

In many instances, this is not actually an invitation for critique but rather praise. Therefore, you might receive criticism you’re unprepared to receive. Being clearer with your request can spare you and others some angst.

What you can ask instead

When seeking feedback, figure out what you actually want to know about your photo and direct your questions in that manner. Specifics help guide people answering you, and you’re more likely to get more and better responses.

5 Questions Professional Photographers Hate and What You Can Ask Instead

It’s also perfectly acceptable if you just want to share your pictures without constructive criticism. Just make that clear so you don’t get any undesired feedback.

  • I really don’t like how this picture seems a bit fuzzy. Is there anything I can do to sharpen it, or should I do something different when taking the picture?
  • This was my first time shooting waterfalls. I’m not looking for criticisms at this time, I just wanted to share.
  • I tried doing an HDR with this sunset, but it looks a little fake. How can I make it look more natural?

Bonus tip

Feedback is a wonderful way to improve. However, be prepared to hear it if you put the request out there. Even the most thick-skinned of photographers can find criticism difficult to take. Listen to the feedback you receive, take each with a grain of salt (in the end, it’s your art), and try to not be defensive (it’s a natural reaction).

It will doubtless be painful at first, but you will be a better photographer for it.

Conclusion

Questions pros hate 15

Those more experienced in your field are generally happy to help, and they welcome your questions. But they want to make sure you’ve done a little research on your own first so you understand what you’re asking. Assess what you enjoy shooting, experiment a bit, and possibly check out renting some gear.

In the right context, and with the proper information on what your needs are, pros can be an excellent resource for improving your own skills in photography.

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