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Tips for Doing a Summer Project 92 to Get You Out Shooting

22 May

You’ve heard of the fabled Project 365, right? A photo a day for a year. We’ve even posted theme ideas here on dPS for those interested in a long-term project. But what about if you know that you aren’t going to make it all year, especially when the weather turns ugly and you love shooting outdoors? Enter, the Summer Project92.

What is it?

The idea is the same as the Project 365 but with a larger emphasis on getting outside and exploring your world with a camera. Keeping this project short and simple will hopefully encourage you to pick up that dusty camera and head outside. Smartphone, drone, underwater…it doesn’t matter the type of camera you are using, the point is to use it!

If you sometimes get stuck when looking for subjects, I have a list of weekly themes that should help give you some motivation. There are 13 weeks and one day to summer with the first day being June 21. So I’m going to follow the sun on this one and make all weeks start on a Thursday, just to mix it up.

Some Ideas

Week 1 – June 21st – Blooming – There are tons of flowers out there, just begging for a portrait.
Week 2 – June 28th – Endless Sunshine – I know it seems like the days last forever, but they are actually getting shorter, so get out there and shoot how it feels.
Week 3 – July 5th – It’s the Small Things – Time to get up close and personal with the little things that make nature and summer unique.
Week 4 – July 12th – Daydreams – Most of us don’t get the entire summer off work, but that shouldn’t stop you from daydreaming.
Week 5 – July 19th – Sunsets – A whole week of sunsets? Why not! You can throw in some sunrises too if you like.
Week 6 – July 26th – Patterns – Look for the repetitions in life.

Week 7 – August 2nd – Playfulness – Get playful with your shots, either of people and/or animals at play or create a playful scene.
Week 8 – August 9th – Heat – Oh my, is it ever hot out there!
Week 9 – August 16th – Bring on the Night – Yes, a whole week of night photography! It’s a good way to avoid the heat sometimes.
Week 10 – August 23rd – Summers of the Past – This is a chance to dig up some memories and archive those prints from your past. Find seven favorite photos from summers of the past and share them digitally.
Week 11 – August 30th – Roadtrip – All things cars or camping or hotels/motels or the open road.
Week 12 – September 6th – Family and Friends – What’s summer without good people around you to enjoy it with?
Week 13 – September 13th – Foods of Summer – Plan ahead as you might want to shoot this one on food as the summer progresses (yes, I allow that kind of cheating in my photo projects).
That Extra Day – September 20th – Transitions – All good things come to an end unless you are already thinking about doing a fall project?

If you don’t want to follow the schedule above, that’s just fine. There are no hard and fast rules about what to shoot and when. Although might I suggest that if you post your photos on social media, that you use the hashtag #SummerProject92? That way those of us who want to feel inspired (me!) will be able to find and comment on your work more easily.

Results

A blog, Tumblr, Instagram…the format doesn’t matter. What matters is to get out there and start shooting and sharing. And enjoy your summer! Psst, might I suggest posting some results in the dPS Facebook Group?

Forgive me for those of you in the Southern Hemisphere as I realize you are about to head into winter. You can start a #WinterProject92 and we’ll catch up with you in about six months.

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How to Take Amazing Photos Using the MIOPS Splash Water Drop Kit

22 May

Water droplet photography is a dream for almost every creative photographer. When a water drop collides with another drop, it creates beautiful crowns and other shapes that look fabulous. Capturing those moments is a very satisfying experience for a photographer.

Taken by Andrea Laybauer using MIOPS Splash Water Drop Kit

Until now it was not easy to create such shots, but thanks to the advancement of technology, now we have some gadgets that could make this process almost effortless for us. One such gadget is the MIOPS Splash Water Drop Kit which is the world’s first water drop photography gear that can be controlled by your smartphone.

It not only controls the size and timing of drops with great precision, but it also controls your camera or flashes so that you can focus on other creative tasks like lighting, background, and different settings to create unique pieces of art.

So, let’s find out how you can create extraordinary splash photographs using this amazing device.

Photo credits: In this article, we are featuring examples done by myself, as well as three photographers and MIOPS Splash Water Drop Kit customers; Andrea Laybauer (a specialist who shoots drops and splashes), Jos Daanen (a primarily wildlife photographer), and Paul Lindqvist (a specialist in food, stop-motion products, and portraits).

MIOPS Splash Water Drop Kit - blue drops

Taken by Ramakant Sharda using MIOPS Splash Water Drop Kit

What you need:

A Quiet Room:

First, you’ll need a room that can be darkened where you can create a lot of mess in that room. It’s better to choose a spare room as you may need to keep your equipment setup for a few days.

Camera and Lens:

You can use any DSLR camera for water droplet photography, or any other camera that has manual controls. Lens choice is important as you need one with a longer focal length and shorter minimum focusing distance so your camera is safe from water splashes but you can still fill the frame with splashes. I found that a 100mm macro lens is the best option for this project.

Flashes/Speedlights:

Next, you need flashes with manual control over power. You are going to use the flashes at the lowest power setting so you need a minimum of two flashes. If you have more, that is even better.

Taken by Andrea Laybauer using MIOPS Splash Water Drop Kit

Tripod:

A steady tripod is a must for the camera so you can focus on other aspects of the shoot. You also need an extra tripod for attaching the MIOPS Splash Water Drop Kit device.

Water Containers:

You may use a glass bowl, wine glass, or a designer cup. But if you don’t want to show the container in the picture you need around an 8×12″ glass tray with two-inch depth. You can get it from your local aquarium shop (or a similar baking dish).

Taken by Jos Dannen using MIOPS Splash Water Drop Kit

Taken by Jos Daanen using MIOPS Splash Water Drop Kit

Backgrounds:

You also need some colorful background images. Go to Google and search for “blur abstract background” and you’ll get an idea about what type of images you require. You can buy similar images from stock sites or there are some sites that provide images at no cost. You now have two options, you can print these images on paper or transparencies.

MIOPS Splash Water Drop Kit:

Finally, you need a MIOPS Splash Water Drop Kit to control the water drops and your camera. It comes with a holder kit so you can easily fix it on a tripod.

MIOPS splash dark

Other than these items, you need a few more things like a milky white acrylic sheet (Plexiglass) to attach backgrounds. Something to hold the acrylic sheet, a dry cloth, some clamps or clips and a shutter release cable.

Setup:

Now you have everything ready, so let’s start. First, place the acrylic sheet as the background, making sure to leave at least two feet at the back for placing the flashes. Now place a tripod at the front of this and attach the MIOPS Splash Water Drop Kit on it. The distance between the background and the point where your drop will fall should be around 12-15 inches.

Now put your water container below it and ensure that the drop falls in the center of this container. Also, align your background with it.

Next place your flashes. If you are using transparencies for the background, place the flashes behind the glass, at a distance of around 12 inches. If you are using a paper background, place the flashes at a 45-degree angle on both sides. Make sure to cover your flashes with a plastic bag.

Setup using a transparent background with the flashes behind it.

Setup using a paper background with the flashes in front of it. Notice the flashes are being protected from any water drops that might splash and land on them, potentially damaging your delicate electronic equipment.

One flash will be the master and it’ll attach with MIOPS Splash Water Drop Kit and the other flashes will be in slave mode so they fire automatically when the master flash fires.

Lastly, fix your camera on a tripod and attach a shutter release cable. It’s better to create this setup on a table because you need to work for a long time and if this setup is on the ground, you’ll get tired quickly.

Settings:

At this point, you may want to take a break and have coffee but if you are like me, you probably dying to see your first image. So, let’s talk about all the settings.

First, set your flashes at 1/32 power. If you are using four flashes, you may need to lower the power to 1/64 or 1/128. The lowest power setting will give you shortest flash duration and your photos won’t have any motion blur.

Next set your camera to Bulb Mode, set ISO to 100, choose an aperture between f/11-f/16 and attach the shutter release cable. Now put a pencil or something else where your drop will fall and focus manually on that spot, and leave the camera.

Taken by Andrea Laybuarer using MIOPS Splash Water Drop Kit

You can also control your camera using the MIOPS Splash Water Drop Kit, but it’s always better to set your camera to Bulb Mode and fire flashes instead. It will give you accurate results as there will be no shutter lag.

Lastly, you need to do the MIOPS Splash Water Drop Kit settings. You are going to set the size of the first drop, the delay between two drops, size of the second drop and finally the flash firing time. Open the MIOPS Mobile app on your phone and you’ll find some settings. Set the first drop size to 25 milliseconds, the second drop size to 50 milliseconds and delay to 100 milliseconds. Finally set Trigger to 350 milliseconds and set mode to flash.

These settings are just a starting point and you need to do some fine-tuning. If your nozzle is too high or low, you need to change delay time according to that. For the above settings, the distance between nozzle and water container is around two feet.

Workflow:

Now you need to open the shutter using the shutter release cable and tap on the Start button in the app and close the shutter when flashes are fired. Since your room is dark and you are using a narrow aperture, the ambient light won’t affect the shot.

Taken by Andrea Laybauer using MIOPS Splash Water Drop Kit

Taken by Jos Daanen using MIOPS Splash Water Drop Kit

So, take a shot and check if the lighting is good or not. If your picture is too dark, increase the ISO or move the flashes a little bit closer. Keep in mind that you should not increase the power of your flashes above 1/32 or you’ll start getting motion blur. If your picture is too bright, lower the flash power to 1/64 or 1/128 or move them back.

Once the light is okay, take another shot and see if it’s properly focused. If not, focus again.

When everything is set and you get your first shot, it’s time to do some experiments to create different masterpieces. Change the size of drops to see what difference it makes. Remember that first drop size won’t make any major difference, it’s the size of the second drop what will create different shapes. Now change the delay time, every time you change it, you’ll get different shapes.

Now experiment with both drop size and delay between drops. Each change will give you different results. Just keep in mind that you should make small changes like 5-10 milliseconds.

Taken by Andrea Laybauer using MIOPS Splash Water Drop Kit

Once you understand the process and take enough shots, experiment with different backgrounds and light positions. You can place the flashes at the back and front or you can use gels on them to get different results.

Taken by Paul Lindqvist using MIOPS Splash Water Drop Kit

At last, I am going to tell you a little secret to get outstanding photos. If you add a few drops of liquid soap in the water, you’ll start getting some totally unique shapes.

So, let’s get started, please share your masterpieces in the comment area below.

More about the photographers:

Andrea Laybauer started to photograph in 2001. However, since 2009, she has dedicated herself to shooting drops and splashes. View her website here and Instagram to see more of her work.

Jos Daanen is primarily a wildlife photographer. He did his utmost best to get some collisions of droplets… For these featured photos, he ordered the MIOPS Splash Water Drop Kit unit which was released at the beginning of 2018.

Paul Lindqvist is a commercial photographer who specializes in food, stop-motion, product photography, and portraits. He loves using technology to create his images, and always find new ways to use it to his advantage. View his website and Instagram

Disclaimer: MIOPS is a paid partner of dPS.

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How Much is an Image Worth? Tips for Pricing Your Photography

21 May

One of the questions that a lot of photographers ask, is how much I should charge for my images? It is very hard to do, and hence a lot of artists struggle with it. There is so much more involved, and many don’t quite understand. So, how do you go about pricing your photography?

How Much is an Image Worth? Tips for Pricing Your Photography

Flinders Street Station, this image took me about 3 years to get and I spent hours processing it. Hence it would have a high price on it.

Learn from the masters

There is a great story about Pablo Picasso, the famous artist. It goes like this.

Picasso was sitting in a Paris Café when an admirer approached and asked if he would do a quick sketch on a paper napkin. Picasso politely agreed, swiftly executed the work, and handed back the napkin – but not before asking a rather significant amount of money. The admirer was shocked and asked, “How can you ask for so much? It only took you a minute to draw this.” Picasso replied, “No, it took me 40 years.”

Whether this story is true or not is hard to know for sure, but it has a very good point. Most people do not consider the experience of the artist. Along with that are many other factors, like your education, the cost of equipment, and not to mention the time you spend creating the photo.

How much to charge, as you are going to see, is a complicated question and does depend on many of those factors. They are often things that people don’t really think about. Many photographers just pluck a price out of thin air and go with it. If I’m telling the truth, I have to say I was the same. I would constantly give different prices for my images.

Now I have a system in place and it is all based on the following.

How Much is an Image Worth? Tips for Pricing Your Photography - yellow flowers

I do macro for fun, so this was shot in my garden one morning and processed quickly. The price wouldn’t be high for this image.

Education

You have to take into consideration any education you have done to learn or improve your photography. It doesn’t have to be formal education, like a university degree, but if you have paid money for it, then you need to consider the cost.

Something like a Bachelor of Fine Arts will cost you thousands of dollars. You will never recover your money if you are only charging people $ 20 an image, for instance. How many will you have to sell to pay off the degree at that price?

What about other short courses you may have done? Ones that are just a few weeks long, or those that are done online. You need to think about how much they cost and the time you spend doing the classes and learning to do all those new skills. There are so many online courses, from learning how to use your camera, to how to edit your photos.

dock with blurry clouds - How Much is an Image Worth? Tips for Pricing Your Photography

While I enjoy this kind of photography, it isn’t part of my main body of work. Therefore, it would never be editioned as it isn’t worth as much.

Gear

If you are anything like me, you have spent a great deal of money on your photography gear. Though you also need to think about what you have bought in the past and what you have now. For instance, how many cameras have you had? How many lenses have you had over time?

Consider all your accessories as well. Think about your camera bags, tripods, filters, memory cards, camera straps, etc. These are often forgotten, but they all add up and should be considered when pricing your photography work.

purple flower - How Much is an Image Worth? Tips for Pricing Your Photography

This was taken with a good macro lens and an expensive camera so those factors should be taken into consideration when pricing the image.

Time

Every time you go out to take photos, how much time do you spend in the field? Don’t think just about the length of time it takes to take a photo. You need to think about how far you traveled to get there and back. Did you have to drive around quite a bit?

When I go out shooting I can be gone all day. I might leave early in the morning and not get back until late that night. During that time, I may have traveled over 250 miles or 400 km, and used a tank of fuel. Not to mention having to buy two to three meals. It all adds up and if you are selling your images you need to consider these things as well.

Then what happens when you get home? The images are put onto your computer and then processed. It is going to be different for everyone, but you will likely spend anywhere from 15 minutes to several hours on each image. All this time should be considered when you are pricing your photography.

You should be giving yourself an hourly rate so you can add that up at the end to add to the price. While you may have gotten several images to sell in that one trip, you can divide it up and spread it out over the series.

How Much is an Image Worth? Tips for Pricing Your Photography - dark moody image

This image is a combination of two and I spent many, many hours on it. I would ask for a high price for this one.

Editions

If you plan on selling your work as limited editions, then it will be worth more as you can only sell so many. When you do a limited run of an image they must all be identical and numbered, according to where in the edition they are, for example, 1/10, or 4/10, etc.

An edition is where you decide how many of that image you will sell. The number is up to you, 10, 20 or 100, maybe more if you think the image will be in high demand. However, the more there are in the edition the lower the value will be.

You have to be very organized to edition work and keep very good records. Once the edition is sold, you cannot sell anymore. There is some debate as to whether you can rework the image so that it looks different, but that is perhaps for another article.

dark image of a city skyline - How Much is an Image Worth? Tips for Pricing Your Photography -

This image would be part of my body of work and would definitely be put into an edition, perhaps with a limited run of 10.

Printing

Most know that you have to include the cost of printing. If you are selling the image you need to make sure the print is a good quality. Printing it yourself with a cheap printer and ink is never a good idea. Most of those will fade with time and you will be selling someone a print that won’t last a lifetime or more.

Make sure that wherever you get the work printed that it is archival. There is nothing worse than buying a piece of art from someone and then in 10 years it is gone because it was printed badly.

When you are preparing your work for sale, make sure you get the cost of a professional printing job and include that in the price.

- How Much is an Image Worth? Tips for Pricing Your Photography - lighthouse at night

An image that was done for fun. It would still be printed well, but the price would be lower than others.

Working for free

This may seem like a good idea, it gets your foot in the door, but the reality is that it rarely works. Once people know they can get images from you for free then they will continue to expect that. When you stop, they will just go to the next person. You should always charge for your images and your work.

You should also not sell your images for next to nothing. Think about how you are harming the industry by doing so. If it were any other industry and people were selling their services or products for much less than others it would be considered wrong, or cheap would mean not good. You need to consider every aspect when pricing your photography

sunset lighthouse - - How Much is an Image Worth? Tips for Pricing Your Photography -

This is a bit of a throwaway image, taken during a time-lapse with a few hundred others. Still, it would never be given away for free.

Next time

So when someone asks you how much is your image worth, think about all the things that have been mentioned here. Of course, you are not going to charge thousands, but you want to get some of what you have spent back. Each time you sell one photo you have to work out how you can start to recoup the costs you have outlaid for your photography.

Please share your thoughts, if you have anything to add, on pricing your photography tips in the comments section below.

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Making Sense of Lens Optics for Crop Sensor Cameras

20 May

If you have been considering getting a new camera or have been considering upgrading a camera, you have probably heard all about crop sensor cameras but what does it mean? How does crop factor affect lens selections? When you are considering systems, often it is not just the camera bodies you must consider, but the selection of lenses for that system as well.

Sensor Optics and Equivalences

Crop Sensor Optics

Most new photographers often start out with crop sensor cameras because they are usually less expensive. But as you become more advanced does it make sense to upgrade to a full frame system? If you are thinking about upgrading is there a reasonable upgrade path?

For example, should you buy full frame lenses to use with your crop sensor body? It seems so confusing and to be fair, it is a little complicated and the simple rules of thumb don’t tell the whole story. Rather than look at the differences in camera sensors themselves (they are all pretty good), let’s try to make sense of the lenses themselves.

Making Sense of Lens Optics for Crop Sensor Cameras - different lenses

Similar focal length lenses – the Olympus micro 4/3rds 40-150mm f/2.8 (80-300mm equivalent) and Canon’s 100-400mm f/4.5-5.6 (for full frame).

Lens sizes

If you are looking at lenses you will see many different focal lengths and apertures. Even from the same manufacturer for the same camera body, there are often different aperture and focal length combinations. Since an important part of photography is optics, how can you begin to compare lenses for different size sensors? How do the lenses relate to the camera body you are looking at?

Making Sense of Lens Optics for Crop Sensor Cameras - two lenses for comparison

Nifty 50mm (full frame on the left) and micro 4/3rds 25mm (50mm equivalent) on right.

Going further, how do different size crop sensors affect lens optics? Is an f/2.8 lens on a crop sensor camera actually f/2.8 lens or is it something else? What about bigger format cameras? Why do the smaller apertures (f-stops) seem so big but the images so gorgeous with great background separation and bokeh?

This all relates to lens optics and crop sensor equivalences, one of the great mysteries of photography that most photographers don’t really understand.

Lens Optics Basics

To understand lens optics you need to understand what a lens does to the light coming into it. The light coming through a lens actually inverts, flipping the image upside down. The light then projects onto the digital sensor after passing through the lens.

Making Sense of Lens Optics for Crop Sensor Cameras - diagram of lens focal length

Focal length and image flip onto the sensor.

Most lenses are defined by the focal length and maximum aperture. The higher the focal length, the closer distant objects seem. So, for example, sports and bird watchers typically want much larger focal lengths to get in close.

Lower numbers widen the field of view to make more things fit within the image (wide angle lenses) and are often the tools of the trade for landscape photographers. In 35mm equivalents, a 200mm lens is a long lens and a 20mm lens is a very wide lens.

Making Sense of Lens Optics for Crop Sensor Cameras - aperture diagram

Relative aperture size illustration.

The aperture f-stop number represents the size of the iris or hole in the lens. A lens will be rated based upon the largest aperture the iris can open. The more light you let in, the slower the shutter speed you will need. Because of this property, larger maximum aperture lenses are called faster lenses. For example, an f/2.8 lens is considered pretty fast and an f/5.6 lens (think kit lens) would be considered pretty slow.

Optical Math

Let’s keep the geeky math minimal, but it really helps understand lens optics.

Focal length is not a measurement of the actual length of a lens, but a calculation of an optical distance from the point where light converges to form a sharp image on the digital sensor at the focal plane in the camera. Aperture, on the other hand, is the size of the hole created by the iris in the lens. Aperture is geometrically related to the focal length of the lens. For example, an f/2.8 lens on a 100 mm focal length lens is 100 divided by 2.8 = 35.7 mm. As the lens focal length dictates the size of the aperture, it is independent of the size of the sensor but dependent on the focal length.

Making Sense of Lens Optics for Crop Sensor Cameras - similar lenses

Utility lenses covering a similar range – the Canon 24-105mm f/4, and the Olympus 12-40mm Making Sense of Lens Optics for Crop Sensor Cameras f/2.8 (24-80mm equivalent).

Zoom lenses may have more than one aperture because the iris doesn’t get bigger as the lens gets longer. Since it is a math relationship, the longer focal length with the same iris opening makes the aperture smaller. More expensive zoom lenses have the same aperture for the entire range but that is a bit of an engineering feat as the iris must get larger as the lens zooms to a longer focal length.

Camera Sensor Format Refresher

In the golden age of film photography, there were multiple formats dictated by film stock. One of the more common sizes was 35mm film dictated by sprocket film stock that was 34.98 ±0.03mm (1.377 ±0.001 inches) wide. Back in the film days, there were multiple formats too, with larger and smaller film stock available that also affected lens sizes and performance.

When digital sensors were originally developed for still cameras, larger sensors were prohibitively expensive, so smaller sensors were used. There is a wide range of sensor sizes and this variety of sensor sizes affects the mechanics of how lenses on cameras operate.

When a sensor is close to the size of 35mm film stock, it is called full frame. Anything smaller is called a crop sensor. Anything bigger is generally called medium format although there is a lot of variability in sizes larger than full frame. Sensors not only vary in size but also geometry.

Crop sensor relative sizes

Sensor sizes

Generally speaking, a full frame sensor is in the shape of a rectangle that is roughly 36mm x 24mm which is a length to width ratio of 3:2 covering an area of 862mm sq. Conversely, a micro 4/3rds crop sensor is 17.3mm x 13mm (ratio of 4:3) covering an area of 224.9mm sq. A Nikon/Pentax APS-C crop sensor is 23.6mm x 15.7mm (ratio of 3:2) covering an area of 370mm sq, whereas a Canon APS-C sensor is 22.2mm x 14.8mm (ratio of 3:2) but only 328.5mm sq. Larger formats (bigger than full frame) tend to be square.

Many times the crop factors are calculated by the size of the diagonal distance from corner to corner of the sensor. For example, a full frame sensor is twice the diagonal as a micro 4/3rds sensor, therefore the crop ratio is 2x. For a Nikon APS-C crop sensor the ratio is 1.5x and for a Canon APS-C crop sensor, it is 1.6x.

Making Sense of Lens Optics for Crop Sensor Cameras - sensor footprints and sizes

Comparison of the sensor footprints

Square versus Round

Lenses are round whereas sensors are rectangular or square. So, all cameras cut off part of the image because the round lenses project a circular image on the sensor which is a rectangle. This means that the edges of the image circle are cut off.

Camera manufacturers design their lens/camera combinations so that the entire sensor gets great coverage from the image circle (this is called covering power). This can create problems when you have a mismatch between the sensor size and the size of the sensor for which the lens was made.

Making Sense of Lens Optics for Crop Sensor Cameras -

Image circle with full frame and micro 4/3 frame overlaid

So, How Does Crop Factor Affect Images?

There are lots of factors that affect your images. The sensor size does affect images, but so does focal length and aperture size but those are physical properties of the lens and are not affected by the crop factor. At least not directly.

To illustrate the effect of crop sensors on light gathering and focal length, a series of test images were set up (these are not overly scientific but more illustrative). Using an Olympus EM1 Mark II (Micro 4/3rds sensor – 2 times crop factor) and a Canon 5D Mark IV (full frame).

Making Sense of Lens Optics for Crop Sensor Cameras - Olympus camera

Olympus EM1 Mark II, micro 4/3rds camera

Making Sense of Lens Optics for Crop Sensor Cameras - Canon camera

Canon 5D Mark IV full frame camera.

To illustrate the focal difference conversion and the light gathering conversion, the cameras were set up side by side using only the focal length conversion. The geometry of the sensors is not exactly the same so they have been cropped to match each other (8×10 ratio).

Making Sense of Lens Optics for Crop Sensor Cameras - two cameras shooting the same scene

Camera size comparison (full frame on the left, micro 4/3 on the right)

Both cameras were targeted at the same vista.

Making Sense of Lens Optics for Crop Sensor Cameras - side by side cameras

Test setup side by side cameras.

Rules of Thumb Versus Reality

Focal lengths are commonly converted into equivalents for full frame sensors to give the same the field of view by multiplying the focal length by the sensor’s diagonal ratio. For example, a 25mm lens on a micro 4/3rd sensor is the equivalent of a 50mm lens on a full frame camera (crop factor is 2:1).

A Canon EFS (crop sensor) lens to match a 50mm lens is 31mm. This works in reverse too. If you put a full frame lens on a crop sensor camera body, the focal length is multiplied (the same 50mm lens becomes like a 75mm lens on a crop sensor). This rule of thumb works.

Editor’s note: The optics are not the same, but this is a generally accepted method of understanding crop sensors.

Making Sense of Lens Optics for Crop Sensor Cameras - two photos of a bridge

At 24mm equivalents – same shutter speed and ISO, full frame on left and Micro 4/3 on the right (both at f/4, ISO200, 1/160th).

Aperture and Depth of Field

Another rule of thumb that doesn’t work so great is to add a stop or two for the aperture (depending upon the crop). Why doesn’t it work? Well, there is more at play here.

The aperture affects the light gathering ability of a lens but with a crop sensor camera, the smaller sensor causes the depth of field (area in focus) to be larger. What that means is that an f/2.8 lens at 200 ISO sensitivity should have very close to the same shutter speed on any camera body (there are variations in light meters from one camera body to another). So an f/2.8 lens is always an f/2.8 for light gathering.

Making Sense of Lens Optics for Crop Sensor Cameras - two bridge photos side by side

At 70mm equivalents – same shutter speed and ISO, full frame on the left and Micro 4/3 on the right (both at f/4, ISO200, 1/80th).

To make things more complex is the look of an image. The bokeh on a crop sensor will never be quite as good as a full-frame sensor because the extra area of a full frame sensor changes the depth of field (the amount of the image in focus) relative to a crop sensor. This is not a function of the lens as much as the sensor size. This can be pretty subtle but it is a factor, particularly for portraits.

At 200mm equivalents – same shutter speed and ISO, full frame on the left and Micro 4/3 on right (f/4, ISO 200, 1/30th).

At 200mm equivalents – same shutter speed and ISO, full frame on the left and Micro 4/3 on right (f/4, ISO 200, 1/40th).

Full Frame Lenses on Crop Sensor Cameras

Lenses tend to last much longer than cameras with good lenses lasting as long as two or three camera body iterations. So many people go by the adage of investing in glass. So if you are using a crop sensor body that will accept full frame lenses, why not buy full frame lenses until you are ready to buy the full frame body? The answer is not necessarily because it may not be as sharp as your crop lenses even if the lens seems nominally the same size.

Full frame lenses are more expensive than crop lenses but you are often paying for other features including weather sealing and better more durable construction. Because of large differences in sensor sizes, getting full frame lenses on a crop sensor means you are only using the very center portion of the lens but the detail is more concentrated on that area. This can challenge the optical quality of the full frame lenses.

They are often better quality but not enough better to account for the size differences between the sensors. So unless you know you are upgrading your camera imminently, you may not want to use the full frame lenses on crop bodies.

Another consideration is that you have to use the crop factor in reverse. On a Canon crop body (1.6 crop factor) a 24mm lens becomes a 38.4mm lens. This means that you can’t get as wide of an angle of view on a crop body with wide lenses.

A full frame lens on a crop body will increase the focal length by the crop factor

Conclusion

There are lots of misconceptions regarding lenses when comparing them across sensor sizes. Understanding the basic function, light gathering capabilities, and geometric relationships can help you compare lenses within camera systems and across sensor sizes.

There are great lenses available for all camera systems that can produce fantastic results. Lenses are as important at the camera body. So when choosing a system, make sure you have the lens selection you need for your particular style of photography.

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12 Good Reasons Why You Should Start a Photography Blog

20 May

Starting a photography blog was one of the best decisions I have ever made. I never would’ve guessed when I pulled the trigger on my first blog post how much good would come from it.

Hiking trails in the hills of Castlepoint

I talked briefly about starting a blog in this article, 10 Photography Lessons I’ve Learned Over 10 Years, and I decided it would be worth going deeper. The benefits of sharing your photos on your own blog are many, and I’m going to talk about 12 of them here.

This is by no means an exhaustive list, but hopefully, it will inspire you to start a photography blog of your own.

1. Having a photography blog will help you grow

It’s easy to get stale in your photography sometimes. You tend to shoot the same things the same way and post-process using the same presets.

A blog can help inspire you to get out of that stale rut and grow as a photographer because you will naturally want to share something new and exciting. Knowing that people are viewing your photography blog is a great motivator to post a better photo today than you did last week.

Lighthouse on the California Coast - 12 Good Reasons Why You Should Start a Photography Blog

2. You’ll build your own platform

Your blog is yours to do what you want with, and that means you’re building something that is 100% your own. If you only ever post your photos to social media then you’re dependent on those services, and your photography is not their priority.

Building a photography blog that is all about you and your photos will be there as long as you want it to, and it can become a platform that grows over time.

3. Display your photos your way

All blogging services will come with some form of customization, which means you can show off your photography however you want. You can use anything from simple, free themes that look great right out of the box to paid premium themes that give you more features and options.

If you really want full control over how it looks and feels, get a self-hosted blog on your own domain. They’re cheap and easy to set up, and you will own your blog forever. You can even have it double as your photography portfolio website.

Thunderstorm off the coast of Cuba - 12 Good Reasons Why You Should Start a Photography Blog

4. Share more of your photography

Your photography blog can be a great place to share your images that might not be your best work. There are a number of reasons you might want to do this.

You might want to share a collection of photos of a location or subject. You could share your before-and-after photos to illustrate a new post-processing technique. There are many reasons why you might want to share some photos that aren’t good enough for your main photography portfolio, and a blog is a great place to do that.

5. You’ll become a better storyteller

Learning to tell stories with your photos is one of the best ways to improve your photography. A good storyteller will capture people’s interest and emotions. Blogging will help you to become a better storyteller because the images you share come with a story.

The great part about a photography blog is that you can write as much as you want, and it adds to the story of the photo. The process of telling the story about the photo will develop your creative muscles and you will naturally get better at storytelling with your photography.

Friends riding bikes in Tulum - 12 Good Reasons Why You Should Start a Photography Blog

6. People will get to know you better

I like to think of my own blog as not only somewhere to teach travel photography, but where people can get to know me as a real human. I love to write travel stories on my blog, sharing not just my photos, but the stories and experiences that go along with them.

People who find and read your photography blog will see more of who you are than they will on Instagram or Facebook. It can be a place to let people get to know the person behind the camera.

7. You’ll see your growth over time

There’s nothing quite as confronting as looking back through old photos and reading old posts on your blog. It can make you cringe sometimes, but that’s a good thing.

Your blog can be a place where you document your photography journey. You will be able to see your growth over time, which can be incredibly encouraging, especially on those days when you feel like your photography sucks (we all have those days).

hiking trail in the mountains - 12 Good Reasons Why You Should Start a Photography Blog

8. It helps you critically analyze your photos

As you grow as a photographer you get better at looking at your photos more critically and curating them. A photography blog can help a lot with this as well. The process of writing a post about a photo will help you to analyze it better because you spend more time thinking about the whys, hows, whats, and ifs of the photo.

Why did I take that photo? How could I have improved it? What story does it tell? If I used a different lens, how would it have changed it? You’ll be surprised how many more questions you’ll find yourself asking as you write.

9. It can open up new opportunities

Sharing your photos is really putting yourself out there, which can be scary. One of the advantages of that is that it makes it easier for people to find you. Google loves blogs, so you’re far more likely to show up if somebody searches for something you’ve shared on your blog than if you’d just shared it on social media.

Over time, the more you share on your photography blog, the more likely you are to show up in searches. More visibility means greater potential to be discovered by photo buyers or other sites.

sunset reflection in rock pools - 12 Good Reasons Why You Should Start a Photography Blog

10. Writing exercises your creativity

You may not think of it this way, but writing can be an incredibly creative outlet. Your previous classroom experiences may be contrary to this, but it’s true.

Creative writing exercises similar parts of the brain as photography, so it makes sense that they strengthen each other. You may not think that sitting down and tapping away at a computer can help your photography, but it can. A blog is a great place to exercise your creative muscles regularly.

11. You will inspire others

I’ve lost count of how many emails or comments I’ve had from people who have read my blog and felt encouraged or inspired. This relates to my previous point about people getting to know you better.

When people read your blog and begin to get to know you it shows them that you’re just another human with a camera who’s on a journey too. A photo blog makes you more relatable, and people are more likely to be inspired by you if they feel they can relate to you.

silhouette of a tree and the night sky - 12 Good Reasons Why You Should Start a Photography Blog

12. Blogging itself can become another hobby

If you’re anything like me, you probably don’t need another hobby, but hear me out. Blogging just may not be for you. That’s fine.

On the other hand, you might absolutely love it and it may grow from an outlet for sharing your photography, into something that you do for pleasure. You won’t know unless you try.

What are you waiting for?

These are only 12 of dozens of reasons to start a photography blog. I strongly encourage you to give it a go. If you’re one of the many photographers who has a blog but has let it slip, why don’t you to pick it up again? Maybe you’ve been on the fence about it and this article will give you a push.

There are countless blogging platforms to choose from, but I strongly recommend WordPress. I also recommend the free Start a Blog course over at Problogger (another site by dPS creator Darren Rowse).

Do you have a photography blog already? What benefits have come from it? Still on the fence? I would love to hear your experiences or questions in the comments area below.

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How to Choose Your Lightroom Export Settings for Printing

19 May

If you haven’t yet printed some of your favorite photos, trust me you are missing out on a lot. The joy and pleasure that you get by looking at the prints cannot be matched by the digital copies. This article might excite those photographers who have gotten their photos printed at least once. But if you haven’t yet, this might be the beginning, give it a try!

The majority of you may already be using Adobe Lightroom to post-process and color correct your photos. But did you know that you might be saving your final digital copy to be sent to the printer using the wrong export settings? Do not panic, this article will help you cross-check some of the key export settings that you want to follow.

Getting the Dimensions Correct

Trust me, this is one of the most basic and silliest mistakes that you might make while exporting the final copy to be sent for printing. To make sure that you get the dimensions correct, simply crop the image (if needed) using the desired aspect ratio the moment you import the photo to Lightroom. This will make sure that the final prints are in the perfect dimensions and you do not have to pay the printer extra to correct the ratio.

Note: You can use a Virtual Copy to crop for print and leave the original for online.

crop sizes and ratios in Lightroom

Select the Correct Color Space

A good quality print is one which has the most accurate color representation. If you have been getting a difference in colors between what you see on your screen and what you get on your prints, something might be wrong with the color space.

The color space of a digital image is the most important aspect of accurate color representation in a print. You need to make sure that you are selecting the AdobeRGB or any other color space as advised by your printer. AdobeRGB is a larger color space as compared to the sRGB, which is the default color space in the export setting. To know more about the color space, read: AdobeRGB vs sRGB Color Space.

Some printers may have their own custom color profiles, which they may or may not share with you. So, in that case, they would ask you for AdobeRGB color space file and later export the file as per their custom profile. If you are unsure about the printer, simply export the photo as AdobeRGB color space.

Note: Many labs and printers in the USA use the smaller sRGB space, so if you send AdobeRGB files for printing you will get unexpected color in your prints when they come back. Be sure and ask the lab what they use and prefer beforehand.

Once you have selected the color space, make sure to keep the Bit Depth as 16 bits/component. This will make sure that the color transition and falloff is gradual.

Select the Correct Image Format

Once you are done with selecting the required color space, it is important to choose the correct image format. You can go with the JPEG format but if you are opting for high-quality or a big print, save it as a TIFF. This file format has much more information as compared to a JPEG and is vastly accepted by the printers.

Note: Again check with your lab first. Some will not accept a TIFF file.

Select the Correct PPI (Pixel Per Inch)

PPI in a photo print means the number of pixels that are there per inch of the photo. The ideal and the best possible quality is 300ppi, but you can also choose 240ppi if required. Basically, the more the PPI the better print quality you would get. If you are getting bigger prints and do not want the photo to look pixelated, try saving the photo with maximum possible PPI (ideally 300ppi in the case of prints).

Note: Once again ask your lab. Some may have a standard PPI that they use and prefer. Canvas prints, for example, are often at 150ppi.

Finish up

Once you are done selecting these four major export settings, you shall be good to export the file for prints. You can always experiment with these settings as there are no hard and fast rules. These were just some tips and suggestions I wanted to share as per my experience.

One other thing to make note of is whether or not you are enlarging the image. Be careful when upsizing files as there are good and bad ways to do that, but that is beyond the scope of this article. Read more here: Image Size and Resolution Explained for Print and Onscreen

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How to Make a Composite Wine Bottle Image using Photoshop Layers

19 May

A wine bottle is always a tricky subject to photograph. The highly reflective nature of the glass makes it hard to use frontal lighting, while backlighting will not reach the label.

In short, the perfect light for the glass will usually not work for the label and vice-versa, often leading to the capture of various images that are later on composited in post-production, creating the final image in this manner.

Photograph wine bottle composite

In this article, I will show you step-by-step, how this image was photographed and composited using Photoshop.

Image capture

This image was photographed with a full frame DSLR, a 100mm macro lens, and two speedlights.

wine bottle photograph seen in the camera - How to Make a Composite Wine Bottle Image using Photoshop

One of the speedlights was fitted with a yellow filter, this provided the background light. The other speedlight was fitted on a stripbox and provided the light on the bottle in different positions for different shots.

Light areas

Planning ahead and deciding which areas to light are key factors for the success of the final image composite.
In this particular image, the areas that were lit for each image were as follows:

The label
Gold logo
The embossed letters
Light side light
The background

Photograph wine bottle composite 03

None of these images look good by themselves, but each adds its own contribution for the final result.

Raw image development

This is the stage where the Raw images are processed and the basic adjustments are applied. I start by adjusting the “background” image which will be the base for the composite.

Even though the yellow filter used on the speedlight created a nice warm tone on the image background, I decided to make that tone even warmer, adjusting the yellow and green hue to orange, giving it a vintage ambiance.

Photograph wine bottle composite 04

The compositing process

After developing the RAW images, it’s now time to start merging all of the different images.

I start by opening the “Background” image and giving it some basic corrections, like completing the right edge reflection with the clone stamp.

Photograph wine bottle composite 05

Next, I load the “Embossed Letters” image as a new layer that will stay on top of the “Background” layer and start the compositing process. For this process to work, it is imperative that all the images have the same framing and neither the camera or the object is displaced between shots.

Layers and masking

Even though there are many ways to create a composite in Adobe Photoshop, my favorite, and the one that allows more control, is the layer mask function.

This masking process hides parts of the image while revealing the information that exists on the underlying layer. Just click on the layer mask icon in the layer panel, and a mask will be added to the selected layer. It might look complicated but it is, in fact, a simple process.

White areas of the mask show what is on that layer, black areas show what is on the underlying layer (think of it as a hole you look through to see the layer below).

Photograph wine bottle composite 06

In this particular case, it is easier to invert the mask from white to black (Image>Adjustments>Invert) and paint in the areas you want to reveal from that layer by using a white brush.

The exact same process was applied to the “label” and “gold Logo” layers. The “Left Side Light” layer was used to create just a fine rim light on the left edge of the bottle and give it a better separation from the background.

Photograph wine bottle composite 07

Refinements

Now that it all starts to look much better, with all the bits and pieces that were used from each layer to form the composited image. So it is time to pay attention to the small details like small imperfections on the bottle, smudges or dust specs that may need to be fixed.

Photograph wine bottle composite 08

A higher zoom (100% or 1:1) will likely reveal problems that need to be solved.

The icing on the cake

Even though I could consider the image editing process finished by now, there is still a small but really important detail in my opinion – the table’s smooth wooden texture was not the right fit for the look I was trying to achieve.

So, the right thing to do was to photograph an old beat up piece of wood that would fit the look of the overall image and replace the existing tabletop.

Photograph wine bottle composite 09

Now I load it as a layer on the final image and use the perspective command (Edit>Transform>Perspective) to adjust the flat wood image to match the perspective of the tabletop.

Photograph wine bottle composite 10

And for the final touch, I changed the blending mode of the “Wood” layer to darken, in order to make it blend smoothly with rest of the scene.

Photograph wine bottle composite 11

Final thoughts

Even though I always try to get things as right as possible during the photography process, and leave as little as possible for the post-processing phase, the truth is that this compositing technique amazes me every time I try it. It is incredible the amount of detail control it offers.

Give it a try, I am sure you will be amazed too.

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Weekly Photography Challenge: Trees – With Prizes from ViewBug

19 May

Over the last two weeks, you’ve done images of spring in general, and then flowers last week. So for this week’s photography challenge, let’s see if you can see the forest for all the trees!

Image by Adam Welch, dPS writer.

Need some help? Here are some tips:

Tips for Better Forest Photography
How to Create a Dream Forest in Adobe Photoshop
4 Tips for Taking Better Photographs of Trees
Tips for Doing Nature Photography at Your Local Parks

Weekly Photography Challenge – Trees

Joshua Tree National Park, California, by Anne McKinnell

Image by Anne McKinnell, dPS writer.

Simply upload your shot into the comment field (look for the little camera icon in the Disqus comments section) and they’ll get embedded for us all to see or if you’d prefer, upload them to your favorite photo-sharing site and leave the link to them. Show me your best images in this week’s challenge. Sometimes it takes a while for an image to appear so be patient and try not to post the same image twice.

Share in the dPS Facebook Group

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

Win Prizes from ViewBug

We’re excited to introduce a sponsor and prizes for this week’s challenge. ViewBug is the World’s biggest photo contest community with over 70 contests always open for submissions. Win prizes, exposure, and the bragging rights. It’s FREE to join! This week, ViewBug will be awarding three winners prizes!

One Challenge winner will receive 1 year of ViewBug PRO ($ 139 value) plus a free photography logo bundle ($ 59 value). Two Runners Up will receive a 1 year of ViewBug Premium ($ 59 value) plus a free photography logo bundle ($ 59 value).

To Enter

Participate in the challenge as you normally would (as described above) by posting your photo. To be considered for a prize you just need to complete the entry form below (or via this link) and submit your photo.

The Contest is open continuously from 05:00am Australian Eastern Standard Time (“AEST”) on May 19, 2018 (03:00pm United States Eastern Daylight Time (“EDT”) on May 18, 2018), through May 26 2018, 04:59am AEST (May 25, 2018, 02:59pm EDT) (the “Contest Promotion Period”).

Full Terms and Conditions Digital Photography School Weekly Challenge Trees – ViewBug T&C.

Winners are announced on the Weekly Challenge Winners page on 2nd of June.

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How to Use Ordinary Items to Make DIY Photo Filters

18 May

In photography, you can use filters in many ways to alter and/or enhance your images. But what if you don’t have any filters, or can’t afford the high prices to the top of the line ones? Time to rummage around the house for some things to make DIY photo filters!

8 DIY photo filters you can make at home

In this first video from COOPH, see how you can use some everyday things you likely have around the house to make some fun and interesting DIY photo filters.

Keep in mind that you may not get top-quality images or award-worthy ones this way, but the point is to experiment and have some fun and see what you like. Then you can decide if you like a certain technique and will use it whether or not it’s worth investing in a more expensive filter.

Make your own photo filters

Next up is a video from CNET with a few more ideas for DIY photo filters.

Get some colored cellophane, a wine glass, some plastic wrap and a bit of Vaseline and you’re ready to give this a go.

6 Creative photography tricks

This last one isn’t so much about filters as it is things you can put in front of your lens (that’s kind of like a filter right?) to alter the image. Again, it’s about being creative, thinking outside the box and asking the question, “What if?”

How creative can you get? What other easy to find items have you used to make DIY photo filters or create other image effects? Please share in the comments below.

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6 Ways to Improve Your Images and Take Better Vacation Photos

17 May

Have you ever been on a vacation only to return home disappointed with your images? Many people take pictures while on holiday but find they are unsatisfied with their results. You can improve your chances of capturing better vacation photos by learning the basics and applying a few simple techniques.

better vacation photos - trees in Namibia

1. Choose the right equipment

Firstly, you don’t need expensive equipment to achieve photos from your travels that are satisfying. If you’re looking to buy a camera, choose one that suits your needs and budget. Digital cameras now range from professional DSLRs to great compacts that can produce quality images. Even mobile phones can give you stunning results.

Generally, a camera with more megapixels will provide a better picture resolution and higher quality images when printed. Whichever camera you decide to use, choose a compact with a good quality lens and broad optical zoom or a digital SLR with a zoom or telephoto lens depending on the subjects and angle of view you want to capture.

For example, a wide zoom would help to photograph a wide sweeping landscape and a telephoto can be used to capture wildlife. Also consider the size and weight of your equipment and make sure you can carry your camera kit comfortably.

Lion's roar Ngorongoro Crater Tanzania - better vacation photos

2. Make mistakes

A common mistake people tend to make is to pick up a camera and shoot a scene without giving any thought to what they are actually photographing.

You can dramatically improve your images by learning from your mistakes and analyzing why an image may not look as good as the view that you saw when you took the image.

Appraise your work and think about how you could improve your images next time. It’s good to recognize your mistakes, such as poor camera technique and poor composition and improve on those things next time around.

Zhangjiajie China scene - better vacation photos

3. Improve your camera technique

A great photograph is rarely achieved without some initial technical knowledge and photographic skills. Learn the basics about your camera and how it works. Study your camera manual and read up on other technical areas such as depth of field.

Know the limits of your equipment and how to use it effectively to create the style of images you want to capture.

Handling your camera in advance of your trip can help familiarize yourself with the buttons and you will be more comfortable with how it works when you’re away. Time spent understanding your camera will help take your photography to the next level and make for a more enjoyable experience when on vacation.

town with mountains and a lake - Take Better Vacation Photos

4. Improve your composition

A thoughtless composition can let your image down. Too many different subjects can complicate a scene. Look for features, shapes and patterns that may work in harmony to strengthen your images. Take time to manufacture your shot, trust your instinct and aim for a composition that you like.

The image of trees and the towering sand dunes shows an example where the different subjects of the composition can work well together and strengthen an image.

Camel thorn trees Deadvlei Namibia - Take Better Vacation Photos

5. Focus on details

You can choose to photograph specific and interesting subjects to improve your holiday pictures. Focusing on details allows you to reduce the number of variables in the frame and concentrate on the different shapes and forms that can be found within your subject.

By shooting only a portion of a famous building or scene of nature, you can isolate an image to concentrate on the aspects that appeal to you. Try zooming in or moving closer to your subject to narrow your point of interest and make it stand out.

scenice view of a town with church steeple - Take Better Vacation Photos

6. Consider the time of day

The quality of light varies throughout the day and can have a huge impact on your final image. Most holiday snappers go on vacation for a break, rest in the mornings and go out and shoot during the middle of the day. However, bright sunlight at noon provides harsh shadows and flat lighting.

Try and shoot outside this time for better vacation photos and more dramatic light. Instead of sleeping in, set the alarm clock and get out early at least once when on vacation, or stay out late to capture the beautiful tones from the sun.

The light at this time of day can make a pleasing difference to your images. Be aware of the effects light can create and use it to capture better images. For example, look for shadows and highlights that may improve your images by providing contrasting shapes.

The Grand Canyon USA - better vacation photos

Conclusion

Taking photographs during a vacation is a wonderful way to improve your photography. By applying the tips above you can achieve better images while capturing lasting memories of the places you have visited that can give you immense pleasure for years to come.

Do you have any other vacation photography tips and photos? Please share them in the comments area below.

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