Category: Photography

Weekly Photography Challenge – Winter
If you have already gotten some ideas and tips for how to do winter photography here – then you’re ready to go on this week’s photography challenge.

Photo by dPS writer Holly Higbee-Jansen

Weekly Photography Challenge – Winter

If you need more tips try these dPS articles:
- 4 Tips for Low Light Photography During the Winter
- Tips for Winter Landscape Photography on the Prairie
- Shooting in the Cold – Tips for Winter Photography
- Tips for Processing Winter Landscapes in Lightroom
- 10 Tips for Taking Stunning Winter Portraits of Your Kids
- How to Take Care of Your Camera in Cold Weather
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.

The post Weekly Photography Challenge – Winter by Darlene Hildebrandt appeared first on Digital Photography School.

Digital Photography School
January 6, 2018
How to Photograph Crockery and Cutlery

In 1928, Andre Kertész took an iconic photo of a fork resting on a bowl. It’s called “La Fourchette”. Despite its simplicity, or maybe because of it, the photo is striking. The separate parts of the composition are banal—a bowl, a fork, and a table—but the photo is a superb study in light and form. Bold shadows emphasize shape and create a visual intrigue that holds the viewer’s attention.

With Kertész’s photo forever lodged in my mind, I’ve taken many photos of crockery and cutlery over the years. Stopping for something to eat or drink is a reason to take the camera out rather than put it away. Although I have a modest collection of antique knives, forks, and spoons at home, eating out while finding new tableware to photograph is part of the fun.

Cameras and lenses

You can use any camera to photograph tableware, obviously, but some close-up capability is useful. Smartphones and compact cameras are ideal, as they allow extreme close-ups with lots of depth of field. Cameras with bigger sensors effectively give less depth of field, and often you’ll want lots of it. Also, a small camera is easier to use discreetly at a restaurant table.

Working with shadows

To imitate the Kertész fork photo you need directional light. If you’re taking photos at an eatery, look for lighting opportunities before choosing a table. Window light is directional on a sunny day if there are no net curtains or frosted glass installed.

Bare, clear-glass bulbs create bolder shadows than a fluorescent bulb or shaded light. A table lamp with a tapered coolie shade makes a good makeshift studio light if you move it close to your subject, as it forces its strongest light downwards.

Once you’ve identified a suitable light source for creating shadows, how do you make the most of it? Adjusting the position and distance of the light, if possible, will alter the intensity of the shadow. Look at the Kertész photo and you’ll see there is very little mid-tone detail—it’s a high-contrast photo that emphasizes shape.

Aside from the depth and definition of the shadow, its angle also plays a significant role. A fork or other utensil resting on the edge of a concave bowl or plate creates an elongated shadow. This distorted shape contrasts with the realistic outline that is cast onto a flat surface with the light at a right angle to the subject.

Looking at form

Not by accident did Kertész choose a fork for his tabletop photo. No other piece of cutlery is as intriguingly formed. However, many types of tableware are elegantly designed, so it’s worth looking closely for photo opportunities. Intricate details often make good photos. As well, you can combine multiple items to make the composition more appealing. The graceful lines of several stacked spoons make a good photo, for instance.

Making the most of reflections

When you take photos of shiny silverware, glassware, or cups filled with tea and other beverages, inevitably you’ll see some reflections. Some of these are to be avoided, but you don’t usually want a reflection of yourself in the photo.

On the other hand, the success of the photo might hinge on a good reflection of other cutlery items or perhaps an ornate window or furnishing nearby. This is always worth watching out for one way or another.

Whether through shadows or reflections, look for interplay between the different items on the table. At home, try using a mirrored surface to create intriguing cutlery compositions. Place items carefully so that they harmonize rather than merely obstruct each other.

Tabletops and backdrops

Whenever a tabletop forms part of your composition, you must make sure that it doesn’t detract from the photo. Just like any background, it has the power to make or break the whole image.

Don’t include it at all if it has a distracting pattern or texture. Look closely at any grain or joins to make sure nothing works against the flow of the photo. In some cases, a well-lit or interesting table surface may play a strong role in the picture. If that isn’t so, it should be low-key.

Fancy silverware

Once you’ve exhausted photo possibilities based on light and form, it’s always worth examining the little design flourishes found on a lot of fancy tableware. For this minute examination of detail, you definitely need a macro lens or the close-up facility of a cell phone or compact camera.

Armed with close-up capability, you’ll see all kinds of photo chances at a micro-level. Look for little twists and turns in the metal, hallmarks, or even blemishes. These small details often look great when gathered together in a book or printed as a triptych, for example.

Dessert

I hope this article inspires you to take great photos at mealtimes, though you must be careful not to spoil the enjoyment of those around you. Take your photos quickly and discreetly. You’ll see cafes and diners in a whole new light. Bonne dégustation.

The post How to Photograph Crockery and Cutlery by Glenn Harper appeared first on Digital Photography School.

Digital Photography School

January 5, 2018
How to Add a Rainbow to Your Images Using Photoshop

A rainbow is a meteorological phenomenon that needs many specific conditions to come together in order to appear, which is why they are not that easy to come across. They are, however, a beautiful and evocative sight, and they are associated with different cultural and even religious meanings.

For all these reasons you might want to have a rainbow in your image even when there isn’t one, not to worry though, here’s an easy way to create them in Photoshop.

Choosing the right image

Because of its significance and symbolism, you can incorporate a rainbow into almost any scene. However, if you want it to look natural it’s important that you choose a scenario in which it would be possible to see a rainbow in real life. To do so, you first need to understand how rainbows are formed.

When sunlight passes through a droplet of water it gets refracted and what we originally perceived as white light is now spread out into a band of colors called spectrum. Once it’s dispersed, we are able to perceive seven different colors in that light: red, orange, yellow, green, blue, indigo, and violet. This is what we call a rainbow.

Because it needs sunlight and water drops in the air, a common place to find a rainbow is near a fountain or a waterfall. This is what I’ll use to show you how to do it in Photoshop.

Getting started in Photoshop

Once you have your image opened in Photoshop, add a new empty layer by going to the top Menu > Layer > New Layer. A window will pop-up, you can name it “rainbow” just to keep things organized and then Click OK.

Then select the Gradient tool from the tools panel and a set of settings appear on the top bar as part of the options to adjust the gradient. On the left side of that top bar there is the Gradient Editor; if you open the menu for that by clicking on the down arrow, another window will pop-up with different gradient colors and styles. On the right of it, there is a gear icon that you can click on for more settings. From that menu, you need to choose the one called Special Effects.

Creating the rainbow

A window appears to ask you if you want to replace current gradients with those from Special Effects. You need to agree to it so that a new set of gradients appears.

From those select Russell’s Rainbow and adjust the width of each color to your liking with the slider.

Shape the rainbow

A rainbow is theoretically a circle. However, it’s almost impossible to see it complete, only in rare circumstances from a plane. Usually, we see only a part of a rainbow and maximum the top half. In any case, you need to give it curviness. To achieve this just select the Radial Gradient from the top menu.

Then you can use any of the tools from the Menu > Edit > Transform options to rotate, distort or scale the rainbow.

Blend it to look more natural

Finally, to incorporate the rainbow into the image naturally, you can change the Layer Blend Mode from the drop-down menu you’ll find on top of the layers window. Select the Screen mode and move the slider to control the opacity.

You can also soften the edges to make it more believable by going to Menu> Filters > Blur > Gaussian Blur and move the Radius slider until you are satisfied with the result.

Then you just have to erase (hide) the parts that are overlapping the landscape by adding a layer mask and using the eraser tool. Note: make sure you are erasing on the mask, not the actual layer.

Conclusion

There you have it, a perfectly natural rainbow that can appear anytime when the sunlight passes through raindrops. It’s frequently seen after showers and rainstorms or near a fountain or waterfall. As long as you are looking opposite the sun and are at a low altitude angle.

If you are more interested in the symbolic sense of the rainbow, you don’t have to worry so much about it looking natural. According to different cultures and periods in time, rainbows have been associated with different things.

For Christians, it’s found in the Bible after the big flooding as a covenant from God that water will no longer kill mankind, as a symbol of love. A different interpretation originated in ancient Europe as a legend that says that a leprechaun can be found at the end of the rainbow and if you can stare at it long enough, it will tell you where its pot of gold is hidden. And in contemporary cultures, a rainbow has been picked for the flag of the LGBT community as a sign of pride and symbolism of diversity.

In this case, I used it with this purpose by adding a rainbow to this photo from an Amsterdam’s Gay Pride Parade where it conveniently was raining so it would have been possible to see one. And you, how are you going to use this technique? Please share with us in the comment section below.

The post How to Add a Rainbow to Your Images Using Photoshop by Ana Mireles appeared first on Digital Photography School.

Digital Photography School

January 4, 2018
5 Tips to Getting the Most out of a Photography Conference

One of the best ways to rapidly improve your photography skills and broaden your photographic community is to attend a photography conference. But, if you’ve never been to a conference before, just the idea of going can be intimidating. The rewards are great though, so read on for five tips that will help you select the right photography conference for your needs plus get the absolute most out of it once you get there.

Tip #1: Know your goals

Before you plunk down your deposit, evaluate your own specific goals for attending the photography conference. First, think about what you want to learn when you are at the conference. Obviously, if you’re a wildlife photographer and the conference focuses solely on street photography, it’s probably not right for you. But, if the conference offers many different learning options, you’ll need to do some investigating before you decide whether or not to attend.

I’m primarily a wildlife and nature photographer so when I evaluate a conference, I look for courses that will support my goals. I want to become a better landscape photographer too so I look for classes that will help me do that as well. Canon 7D Mark II, 24-105 II @ 70mm, f/11, 1/400th, ISO 100, handheld, stylized in Lightroom.

The instructors

Start by checking out the bios and websites of the instructors. Ask yourself if they are making images that inspire you. Do their images look like the images that you aspire to make yourself? Read their blogs and watch their videos too to get a good idea of whether their teaching style suits your learning style. If you find a few instructors that are simpatico, check out their courses at the conference.

I signed up for a Photoshop course at AdobeMax with Glyn Dewis but, since I didn’t know much about him, I looked up his website and read his About page first. Turns out he was an excellent instructor.

The course offerings

Now, review the course offerings. Is there content that you need to learn? Most photographers want to improve their existing skill set, whether that’s learning how to make better-exposed images or how to mask in Photoshop.

Does the conference offer courses at the right skill level for you? If you’re not sure, reach out to either the instructors or the conference organizers.

I use Lightroom and Photoshop in my work often so discovering how two different photographers use these tools felt like a course that would teach me a great deal. Plus, Julieanne Kost is my photography hero!

Learning new things

Learning new things is important too so look at courses that are completely out of the box for you.

If you’re a wildlife life photographer and you invest your time in a 90-minute course on street photography, you might be surprised at how that affects your work the next time you head out on an African safari. It can help you get “unstuck” if you’re mired in a creative rut.

After the class, you might even be inspired to continue learning street photography.

When I attend a photography conference, my goal is to improve skills I already have but also to learn new things. At AdobeMax I did a bit of both, with courses on public speaking and Photoshop.

Tip #2: Networking

A huge reason to go to a photography conference is to expand your photography community. One thing I really love is that I can connect with people I’ve only ever met online. Meeting “live” at a conference is almost like a reunion. Of course, you can make new friends too, plus you can meet expert instructors in person.

Big conferences versus small ones

When you’re evaluating a conference, if networking is a big part of why you’re attending, definitely reach out to past conference attendees to gauge their experiences. At a 12,000-person conference like AdobeMax, it’s not as easy to hob knob and make new friends.

At a smaller, 400-person conference like Out of Chicago, making new friends is a snap. You’ll be in the same courses with the same people over and over. You’ll probably be best friends and be planning a photography trip together before the weekend even ends.

The Out of Chicago Community page has over 1000 members. That makes it easy to reach out to people to ask if the conference would be a good fit for you. Most photography conferences have similar social media community pages.

Instructor accessibility

Likewise, at a huge conference, the instructors might not be so accessible for you to chat with, except at special times. And at those special times, since 12,000 people are waiting to speak with them, it will be a mob scene rather than a cozy tête-à-tête.

At a smaller conference, your instructors will probably be eating lunch right next to you. Bigger conferences draw bigger names though. So while you might not make as many personal one-on-one connections, it might be worth it if you’re going to learn from someone you hold in extremely high esteem.

Tip #3: Take advantage of every opportunity

In addition to seminars and hands-on courses, most photography conferences offer opening and closing keynote speeches. Big-name photographers or well-known industry experts usually give these talks. You might think of these things as “free” – just regular stuff included in your conference that everyone gets – but don’t think that way.

Often the keynote speeches are the best parts of the conference. The opening keynote sets the stage for the week and lays out all of your opportunities for learning. The closing keynote caps the week with a review of what you did learn, and a reminder to go out and practice it.

AdobeMax didn’t offer any photo walks while I was there. So instead, I photographed the expo hall one morning while the light was amazing. Canon 5DIV, 24-105 II @ 31mm. 1/100, f/14, ISO 640, handheld, stylized in Lightroom.

Photo Walks

Another great add-on is photo walks. They help combine learning and networking into one fun outing. As you can imagine though, these are more prevalent in smaller conferences than large ones. Herding 12,000 attendees with cameras around the Vegas Strip doesn’t typically make for very good picture-taking.

On the other hand, 400 attendees walking through the Chicago Loop is a drop in the bucket. If photo walks are important to you, check into smaller, regional conferences. Either way, don’t skip these if they’re offered at the conference you’re attending.

Vendors

Every conference has a vendor or exhibition area where you can check out the latest and greatest gear and technology. Make sure you plan time into your schedule to visit this area. I usually grab a quick lunch on the go and use the 90-minute lunch period checking out all the different booths.

Just outside the AdobeMax vendor area, there were lots of interactive activities for creatives, like this “chalkboard.” Canon 5DIV, 24-105 II @ 24mm, f/6.3, 1/100th, ISO 640, handheld, stylized in Lightroom.

At small conferences, you’re more likely to be able to rent a piece of gear for the day and test it out on a photo walk. Sometimes vendors offer discounts and even have product on hand that you can buy and take home with you.

At a large conference, you probably won’t be able to do more than review the gear at the vendor booth and talk to the rep. However, at a large conference, the vendor area often has a carnival-like feel to it, with interactive creative and technology exhibits set up to draw you in.

Tip #4: Conference bonuses

There will almost always be a party and often that party will include free food, drinks, and entertainment so go! It’s a bonus. Don’t skip it. Remember, if you’re goal is to network, the party is where you’ll meet fellow photographers and instructors.

Bring your camera

While night-time concert photography isn’t even remotely one of my fortes, I had a blast photographing this band at the AdobeMax Bash. Canon 5DIV, 24-105 II @ 105mm, f/5, 1/320th, ISO 8000, handheld, stylized in Lightroom.

That party – and probably a good bit of the conference – will be a blast to photograph so bring your camera. A lot of people won’t. Some people will bring them, but will never take them out of their camera bags. You, on the other hand, should keep your camera in hand and happily shoot away.

Even if you’re a wildlife photographer, and the images won’t go into your portfolio, making images of the conference will help you solidify everything you’ve learned over the course of the weekend.

Serving up dragon’s breath dessert at the Adobe Max Bash. Canon 5DIV, 24-105 II @ 24mm, f/4.5, 1/320th, ISO 10,000, handheld, stylized in Lightroom.

Swag

Hopefully, it doesn’t surprise you that you will get swag (free stuff!) at a photography conference. There might be a raffle or contest where you can win big door prizes – like lenses, tablets, and cameras. There will surely be a bag of goodies handed to you when you check in.

Most often you’ll get a reusable bag containing a sample pack of printer paper, a tee shirt, stickers, magnets, lens cleaning cloths, candy, water bottles, and lots of flyers. Now I know it’s tempting to just pitch most of it but before you do, review it all. There will be coupons and promo codes and it’s possible that there might be one for 20% off the business cards you always order or a BOGO (buy one get one) for your favorite ink or fine art paper.

A notebook and pen, courtesy of Adobe, in my AdobeMax swag bag.

Tip #5: Maximizing your trip

This is pretty much my favorite part of going to a photography conference. Most of them are only three or four days but there’s no rule that you can’t play hooky from work a bit longer. I recommend that you pick a conference near a cool destination. After the conference ends, stay in the area a few more days and put everything you learned to practice.

Wild horses couldn’t drag me away

Wild mare and foal in the Onaqui Mountains in Utah. Canon 5DIV, 100-400 II @ 400mm, f/10, 1/60th, ISO 200, handheld, stylized in Lightroom.

After the AdobeMax conference in Vegas this past October, I headed off on a week-long wild horse photography road trip. I drove through Nevada, all the way to Utah, meeting half a dozen friends along the way, and flew home from Salt Lake City.

No surprise that for me that maximizing the conference was about heading off to photograph wild horses! For you, it might be photographing the Vegas Strip at night, or creating panoramas of the nearby Grand Canyon.

Which photography conferences are your favorites?

While AdobeMax was pretty amazing, my favorite is still the Out of Chicago Summer Conference. Of course, I’m biased since the conference is run by some of my good friends.

Chicago has so much beautiful architecture, it’s perfect for magical photo walks. Canon 5DIII with 24-105 @ 24mm, f/8, 1/125th, ISO 250, handheld, stylized in Lightroom.

Which photography conferences are your favorites? Please take a minute and list the conference name in the comment section, and why you recommend it so that other photographers can benefit from your experience.

The post 5 Tips to Getting the Most out of a Photography Conference by Lara Joy Brynildssen appeared first on Digital Photography School.

Digital Photography School

January 4, 2018
How to Reboot Your Creativity with 15-Minute Exercises

Here are four steps to rebooting your creativity and desire to do more photography with some 15-minute simple exercises.

Have you lost your photography mojo?

I get it, you’ve been at work all day, and it’s been stressful. Maybe there are kids to look after and dinner to cook as well. Perhaps a dog to take for a run or a family dinner to attend. There are all kinds of reasons why you don’t have the time or energy to pick up your camera and shoot.

When we don’t want to do something, we focus on all the reasons why it’s too hard – it takes too long to drive somewhere, the light is wrong, it’s raining, the battery is flat and so on. It’s easy to tell ourselves a story that allows us to talk our way out of doing something, especially when there aren’t any major consequences. Don’t get up early in the morning and miss the spectacular sunrise? Life goes on.

But the longer you leave your camera sitting in its bag gathering dust, the easier it becomes to talk yourself out of picking it up again. Months or even years go by. Maybe you think about it now and then and feel a niggling guilt or just sad.

Well, there is good news. With a small amount of effort, you can take steps to reboot your creativity and enthusiasm for photography again.

A shiny copper coin on a piece of black cardboard and a macro lens. Simple as (of course I have a macro lens!) can be.

Four Simple Steps

So here are the four simple steps I promised earlier.

Step One – PREPARE

Get your gear out, clean it, and charge the batteries. Check that it’s all still working and present. Wipe the memory cards clean.

Do everything you need to do in order to have your gear in peak working condition so you can grab it and go. The trick here is to remove the first mental block stopping you from shooting. If your gear is all prepped, then you don’t have anything stopping you there.

A marble I found walking on the beach on a piece of white fabric. Shot on a craft table in my spare room with natural window light.

Step Two – ASSEMBLE

Keep it simple and find some space at home where you can shoot. Work with objects you have at hand. Put together a small still life studio, maybe using window light or a flash, whatever you have nearby.

An assortment of props that I have assembled for my still life photography. Note the neutral color tones and mostly matte finish. That piece of slate gets used a lot.

By keeping it close to home and working with what you have close at hand, this removes the mental block about having to go out, needing to take the time, or spending more money. Making a small still life studio doesn’t need much, a neutral background and a base surface, some light and shadow and you are done.

A bunch of white stock, wrapped in white fabric, with a window draped in a white curtain in the background. Simple and cheap and you can use white fabric for so many things.

Having something quick and easy to put together (maybe a couple of sheets of white cardboard or foam core) that you can easily store out of the way reduces the resistance to setting up a shoot. Even better if you can leave it set up for a few days while working on this project.

My studio is a craft table, covered in white cotton, a window draped in white fabric, and neutral walls.

Step Three – TAKE 15 minutes

No one has enough time in the day, there are always things to do, places to be, demands on our time. However, for this exercise, I challenge you to give yourself a calendar appointment every day for a week. When you get home from work, instead of sitting down in front of the TV, or immersing yourself in social media or whatever it is you do to chill out, instead make a date with your camera.

If you have done Step One and Two, you have everything you need in place but the hardest is Step Three. Give yourself permission to take just 15 minutes out of your day and shoot. This length of time is long enough to be able to create some images but not so long it will interfere with your day too much. Let’s face it, by the time you make yourself a coffee and drink it, that probably takes just as long.

A wooden board and scoop and some chocolate chips. Yum!

Here is the really critical thing – IT DOESN’T HAVE TO BE PERFECT! In fact, it will be really hard for the first couple of days. The point of this exercise is for you to have your camera in your hands again, and to get you shooting something, anything.

Half a lemon on a wooden board and a macro lens. Simple and clean and vibrant yellow.

Step Four – PERSEVERE

If it has been a while since you’ve done any photography, you will probably find this quite hard. Shooting still life isn’t everyone’s cup of tea either but it is the simplest combination of factors to get you up and going. Maybe you decide to shoot the same item in different ways or using different lighting. It doesn’t matter. No one else needs to ever see these images, you just need to do it.

Pomegranate on my favorite slate slab. Gorgeous color, via the window in my studio. My studio is a spare bedroom.

Maybe you decide to shoot all the different kinds of cutlery and utensils in the house. You could do close-ups of labels on wine bottles. Maybe you have some smooth white eggs and one brown freckled one. Or maybe you make up a bowl of ice cream and pour chocolate sauce and sprinkles on it.

Your cat or dog is asleep in the sun and you do close-ups of their noses or paws. Maybe your kids are building something random with Lego. Maybe there are some flowers in the garden or some stones found on the footpath. If you have a macro lens or setting you can experiment with things up close and abstract. Maybe you go for a walk around the block or to the park instead.

Eggs in a crate with a feather that came along for the ride on a table draped in white linen.

Whatever it is, it doesn’t matter so long as you take the time to point your camera at it and take time to do it every day for a week – seven days.

By setting yourself both an achievable goal and a reasonable limit, it is easier to trick your brain into saying, “Okay we can do this” instead of thinking,”Oh this is just too hard”.

I found this gorgeous lime green viburnum out on a walk. The house owner kindly let me pick a bunch to take home when I asked nicely.

Summary

The point of this exercise is simple, get your camera in your hands and get in the habit of shooting again. More importantly, it also helps overcome the mental blocks you put in place when you think something is too hard or will take too long. This puts some structure in place and makes it easy for you to allocate a small achievable time slot every day to just shoot, and not care about the outcome. Just the fact you are shooting is what’s really important.

It doesn’t really matter if you follow the framework laid out here, or do something completely different, so long as you take some time every day for a period and commit to picking up your camera and shooting.

Perhaps it helps you to share your process with a friend or via social media. You might choose to set a goal of posting one image a day for a week and let your friends know so that if you miss a day they can hold you accountable.

However you do it, in whatever way works for you, go through the steps, and set yourself up to be as prepared as possible. Make the commitment in your mind of “just 15 minutes” and see what happens…I bet you spend a lot longer and have more fun than you expect.

Once you overcome the inertia of sitting on the sofa, the challenge and fun of creating a composition in a small time frame begins to bubble up again.

A couple of years ago I undertook a 21 Days of Creativity course, which laid out steps to remove distractions from our lives, prepare both our physical and mental spaces, clean out the cobwebs and make creating a fun and easy thing to do, rather than a chore. This “15 Minutes A Day” exercise was the most valuable step I got out of the course. I shot every day for a month, as after the first week I was enjoying the challenge too much to let it go. Plus the added bonus of making some really good and fun images, several of which I have included in this article.

Once you have done the preparation, got your gear sorted, and a space to work in, the only thing you have to do, is pick up your camera and shoot. Just for 15 minutes.

Go on, give it a try, I dare you.

I shot dandelions for about two weeks. Every day I had the challenge of shooting the same tiny subject in new and interesting ways.

The post How to Reboot Your Creativity with 15-Minute Exercises by Stacey Hill appeared first on Digital Photography School.

Digital Photography School

January 3, 2018
Camera Comparison of 3 Popular Nikon Models: D750 – D7100 – D5100
No matter which stage you are into the world of DSLR photography, often the big question comes. Which camera do you buy to start or progress your photography journey and get those creative juices flowing?

In this article, I will compare three widely popular Nikon cameras (the Nikon D750 24 MP FX body – $ 1499, Nikon D7100 24 MP DX body – $ 724, and the Nikon D5100 16 MP DX body – $ 189) of different capability levels and price points. It will give you practical insight into their image quality by using them in real-world shooting scenarios (landscape/social events/sports) that you may want to cover in your photography.

According to statistics from explorecams.com, these three cameras (as of 11 September 2017) rank in Nikon photo-count: D7100 first, D750 second, D5100 sixth. So indeed these are cameras trusted and used by Nikon shooters the world over.

This article is not a photography theory, camera specs, best settings, lenses, or camera technical reviews. There are excellent web resources for that and I do fully encourage you to check these out, both here on dPS and other sites. This comparison will give you real-life examples to see which camera may suit your needs, expectations, and wallet better.

All scenarios will have the following structure:
- A description of the scene
- Gear and settings used to ensure comparability
- The output photographs
- Summary
Landscape Scenario

The Scene

Most probably you will find yourself at some point outside, camera at hand, wanting to capture the beauty that you see around you. In southern Greece, the picturesque village of Planiteros, with its flowing streams and huge sycamore trees, is the perfect setting for our first scenario.

Gear and Settings

Reasonable companions to this type of photography are a wide angle lens, a tripod, and a remote. The Tokina 12-28 f/4 lens, the Sirui T-025X carbon fiber tripod and the Nikon ML-L3 remote were used. Using the Tokina, which is compatible with both full frame or FX (D750) and crop sensor or DX cameras (D7100 / D5100) allowed photographs of very similar focal lengths to be taken for comparison.

Nikon D5100, capable of handling this situation?

Aiming to give a slightly softer flow rendition of the stream, while maintaining ample depth of field, a longer exposure time and a narrower aperture were desirable. For all three cameras, sensible vibration reducing technique was applied for this type of shooting vision. Mounting the camera on a tripod, using a remote to trigger the shutter, and activating mirror lockup (available on D750 and D7100) or exposure delay (on the D5100, as mirror lockup is not available) are solid steps to getting a good quality landscape photo.

Aperture Priority mode (set at f/8), Matrix Metering, Auto WB, single autofocus mode (AF-S), single point focus, autofocusing on the same point using live view and using the base ISO for each camera (100 for the D750 and D7100, and ISO 200 for the D5100), were the settings applied to extract the best possible quality files from each sensor. Raw files were processed in Lightroom (LR) to produce similar JPGs.

The Landscape Photographs

Look at the photographs below and try to guess which camera produced which picture. The answer comes right after the photographs.

Answer: 1) D750 (top), 2) D5100 (middle), 3) D7100 (bottom).

Summary Landscape

If you could not find an edge between one photo over another that makes two of us. I would be glad to hang 12×16″ print from any of them on my wall. Proper technique in this scenario is more important than the camera used and it creates a level playing field for all sensors.

Social Events Scenario

The Scene

Gatherings with friends and family are occasions where you want to grab a candid moment or the ambiance shot that will serve as a memento for many years. Good friends Nikos and Athina were kind enough to invite me and my wife over to their place for a glass of wine. This was the perfect occasion to compare the three cameras in a usual social setting.

Gear and Settings

Contrary to the landscape scenario’s contemplative and slower pace of shooting, social gatherings usually lend themselves more to a handheld, run and gun shooting style. So no particular gear other than the Tokina 12-28 f/4 lens was used here. While this is not a usual focal length for shooting indoors with people, when used from a sensible distance and towards the wider end it can serve the comparison between the three cameras.

Nikon D7100

Aperture Priority mode (at f/4), Matrix Metering, Auto WB, single autofocus mode (AF-S), single point focus, focusing through the viewfinder and using Auto ISO with no High ISO Noise Reduction applied, were the settings used to extract the best possible quality files from each camera.

Using Auto ISO has to do with my individual shooting style. In this scenario, it is actually the same as using ISO 1600 for D5100 and D7100 and ISO 3200 for D750. These are, in my experience, the highest ISO levels that each camera can handle (especially for straight out of camera JPGs) before noise becomes too obtrusive.

Both the out of camera JPGs and those made following similar processing of raw files in Lightroom are provided in the next section.

The Social Event Photographs

Let’s start with the camera JPGs. Which camera produced which photo will come right after both sets of pictures (camera JPGs and LR processed JPGs).

And here are the LR processed counterparts in the same order.

Answer: 1) D7100 (top), 2) D750 (middle), 3) D5100 (bottom).

Summary Social Events

Again, as in the landscape scenario, you would be hard-pressed to find a winner here. Less than perfect focusing (front or back focus) or camera shake (due to a slow shutter speed) have a lot more impact than the camera model in such shooting environments (e.g. the domestic indoor lighting here).

Sports Scenario

The Scene

Photographing movements, be it your loved ones playing in the backyard or shooting any sport, can generate highly dynamic, catchy, and memorable photographs. Usually, I play football with my friends once a week. For the sake of this article, I put my football gear aside and grabbed my photo kit to shoot the sports scenario.

Gear and Settings

Depending on the sport and the venue, different lenses can be employed in your gear arsenal. The consensus seems to be that a telephoto zoom is an invaluable piece of kit for sports in general. A Tamron 70-300 f/4-5.6 lens was used for this test, as it is compatible with both FX and DX cameras. A Sirui P-224SR Carbon Fiber Monopod and a Manfrotto 410 Junior Geared Tripod Head were used to create the support platform.

Hand holding a DSLR camera with a lens attached is achievable for periods of time. However, when shooting sports, perhaps for hours, and consistently following the action as it unfolds requires more support. This monopod and head combination is working very well for me.

Nikon D750 really excels in this situation.

Usually, sports photography lends its self to shutter priority mode. Select at least a 1/500th of a second. Then take it up from there to freeze action as needed (unless panning is used, where perhaps even 1/60th or slower may be sufficient).

Unfortunately, in the available light conditions of this scenario, not even 1/20th was attainable with any of the three camera-lens combinations, while using reasonable ISOs as discussed before. To somewhat combat this, a minimum of ISO 3200 was used for all cameras. This pushed the limits of acceptable noise, but bought a few more precious tenths of seconds of speed.

With this important point in mind, Aperture Priority mode (varying between f/4 and f/5.6 across the zoom range), Matrix Metering, Auto WB, continuous autofocus mode (AF-C), Dynamic-area AF mode (d9 for comparability), autofocusing through the viewfinder and no High ISO Noise Reduction, were the settings used to extract the best possible quality files from each camera.

Both out of camera JPGs and JPGs following similar processing of raw files in Lightroom are shared in the next section.

Finally, to showcase how high ISO performance has evolved over the years, I will include a bonus JPG with Hi-2 (ISO 51,200) straight out of camera from the D750 (only cropped and lens profiled in Lightroom).

The photographs

First up the camera JPGs, then the LR processed ones. Which is which is shown at the end after both sets:

And here are the LR processed counterparts in the same order.

Answer: 1) D7100 (top), 2) D5100 (middle), 3) D750 (bottom).

The bonus ISO 51,200 file from the D750.

Summary sports

Shooting sports is indeed a completely different animal. Gear that will get perfectly adequate photos in normal situations (e.g. nature and social situations as above) simply will not be enough for sports. It is not an accident that you see big glass and pro bodies used in sporting venues the world over.

Having said that, it is possible with any of the three cameras discussed here to get some usable shots by capturing the peak of the athletes’ movement. My learning is also that increasing ISO even well above 3200 may be sensible for all these cameras. The higher shutter speed benefit offsets the increased noise.

The key differentiator between the three Nikon cameras is not the quality of the keeper photos. It is the vast superiority of the D750’s autofocus system, frame rate and ISO performance that will allow you to create a lot more keepers, long after the other two bodies have given up trying.

Conclusion and proposals

You went through a lot of info here. Now it is time to make some sense of it. I will hopefully help by offering my insights following this Nikon camera comparison and my few years of trying to decipher photography principles and gear choices.

Newest and biggest isn’t always necessary

The latest most expensive camera, with more Megapixels, is neither necessary nor is it a guarantor of getting good photographs. The 4/2011 launched DX D5100 coupled with a suitable (i.e. with built-in focus motor) lens, can create the same quality photographs in many situations as its more capable 2/2013 launched DX D7100 or the 9/2014 launched (and much more expensive) FX D750 siblings.

Solid shooting technique and basic gear (e.g. a tripod) is essential no matter which camera body is used.

In some cases, bigger is better

Higher spec bodies do offer tangible shooting benefits other than image quality. This was apparent in the sports scenario. Be it superior focus performance, internal focus motor, larger viewfinder, commander flash capability, AF fine tune, physical buttons for more functions at hand, prosumer (D7100) or semipro (D750) bodies can help you get your photography to that next level of refinement.

Consider carefully your lens purchases. Ensure the best possible compatibility in case you ever decide to move from DX to FX. A few clever purchases can give you great value-for-money FX and DX compatible lenses (hint: Tokina).

However, do rent or try out gear from friends before you commit. I cannot overstate the real-life ease-of-use factor versus any specs’ sheet excellence.

So here are my proposals to you depending on your stage in the photo journey

Just starting out. Don’t feel pressured to get an expensive high-spec body. A sensible approach may very well be to grab a dirt cheap used D5100 and an 18-200mm inexpensive used lens. See if DSLR photography suits you and your lifestyle and take it from there. Give it time and do not splash out immediately on many different lenses. Plus the D5100 can also act as a great video camera thanks to its rotating screen.

The bug has bitten you. It takes an honest discussion with yourself to see if you really need all the bells and whistles of that new body versus an early D5xxx or a D7000 model. If the answer is yes, then my proposal is to hang in there. Skip the D7100 and save the cash to spring for the D750 (new or used), unless the more recent D7xxx series have similar autofocus and ISO performance for a lower price.

You are ready to make money from your photography and turn semi-pro or even full-time pro. Congratulations! By now you have probably outgrown even the D750 for the sake of other pro FX and DX bodies. There’s not much I can offer in terms of advice here, other than a D750 can always be a light backup body, great for both stills and video.

Conclusion

Thank you for the time reading this article and see where your photography passion takes you next!

Do you have and use any of these Nikon cameras? What types of photograph do you shoot? Please share your experience in the comments below.

The post Camera Comparison of 3 Popular Nikon Models: D750 – D7100 – D5100 by Konstantinos Skourtis appeared first on Digital Photography School.

Digital Photography School
January 3, 2018
Mastering and Sharing One-Click Presets in Luminar
One of the main strengths of Luminar by Macphun, soon to be Skylum, is how it makes a suite of professional-style editing tools available to even the most casual of photographers. It does it all with a user interface that is clean, simple, and easy to understand. In contrast to some other editing programs on the market, Luminar’s full suite of powerful tools is available through a simple approach based on applying Filters and Presets, along with more advanced options such as layers and masking.

Instead of hiding these under myriad menus and obscure tiny buttons, Luminar presents you with easy-to-understand options when choosing your edits and includes real-time previews of what your edits will look like. And much of this starts with the simple act of selecting a Preset.

Presets versus Filters

Before getting too deep into how to use and share one-click Presets, it’s important to understand some basic terminology related to Luminar’s use of Presets and Filters.

When you load an image into Luminar’s editing interface you are presented with two main options to edit your images: Add Filter or Apply Preset.

Filters

Filters are individual editing tools that let you perform basic adjustments such as color temperature, exposure, and white/black levels. Luminar also contains more advanced filters like color balance, texture overlay, HSL, and the Accent AI filter that uses artificial intelligence to adjust a range of parameters all with a single slider. Filters can be applied across an entire image, brushed in selectively, and used in combination with layers in a manner similar to Adobe Photoshop’s editing workflow.

Click Add Filters, then select a filter such as Saturation / Vibrance, and you will be shown a description of the Filter as well as a preview of how it would look applied to a sample image.

Presets

Due to the sheer number of filters available the options can seem overwhelming even to seasoned editors. This is where Presets come in handy, and where the brilliant simplicity of Luminar really starts to shine.

A Preset is a collection of filters specifically chosen by the developers of Luminar to produce a certain type of effect on the whole image when combined. At the bottom of the Luminar interface, you will see a row of Presets with names like Soft & Airy, Sky Enhancer, and Vivid which are good starting points when editing a variety of image types. Click the Categories button to see the filters organized as specific collections that can be useful depending on the specific types of images you are editing.

Presets are organized into specific categories, and you can also access your favorites and any custom Presets with the click of a button.

If all this talk of Presets has you feeling overwhelmed before you even start, just take a breath and know that it’s a lot simpler than it might seem especially when you actually open Luminar and start to use it. You don’t even have to use Presets at all but I have found them to be a great starting point when editing my images. It’s a nice compromise between me performing all manner of meticulous edits by hand and having Luminar do all the work for me.

Presets occupy a comfortable middle ground that allows you to have one-click access to a set of edits that will enhance your images in a heartbeat. At the same time, they still allow you to retain as much control over the individual editing parameters as you would like.

Preset walkthrough

To show how Presets work I’m going to walk you through an example step by step beginning with this image of some autumn leaves. This is the RAW file straight out of my camera with no edits applied.

Original boring unedited image. Cue sad trombone sound effect…wop wop woooop.

When you load an image into Luminar you will see it take up most of the screen except for a portion at the bottom and the right. The former is where you can select a Preset and the latter is used for applying and editing Filters.

Add Filters on the right, Presets are at the bottom.

Forget about Filters for now and just focus on the Preset options at the bottom of the screen. Each one has a name that describes the type of effect it will have on your photo. Best of all, each Preset has a mini preview of what it will actually do if you apply it to your image.

Preset previews rock!

This is one of my favorite features of Luminar, and it’s almost worth the price of the program all by itself because you can quickly scan through the many options available and choose one to instantly transform your photo with the click of a button.

The Preset panel gives you real-time previews of what each one will look like when applied to your image.

As an added bonus you can even adjust the degree to which Luminar applies a Preset by clicking on one and then dragging the slider to the left. That way if you like the effect that a Preset has on your image but find it to be a bit overdone, just lower the value a bit with the slider. You also have the option of clicking the star icon in the corner of any Preset which saves it to a list of favorites.

Use the slider to adjust the degree to which a Preset is applied.

The following image is an example of what one click on the “Warm Sunset” Preset did to transform the original picture of some dull green and yellow leaves.

The finished version, all done with a couple of clicks thanks to the Presets in Luminar.

Not too shabby, right? As a comparison, I loaded the same RAW file into Lightroom and was able to get similar results but it took a lot more time and required changing values on a dozen different sliders.

Such is the beauty of Luminar’s approach. The developers have done much of the heavy lifting so that you don’t have to, while still giving you full access to all the editing options within each of the Presets. So if you really want to do a dive deep and adjust your images on a granular level, you can.

Note: You can also add a texture overlay and save that in a custom preset as well.

Editing the Presets

If all the screenshots and arrows in this article have your head spinning, here’s a refresher of the basic Luminar workflow:
- Step 1: Import an image into Luminar
- Step 2: Click on a Preset
- Step 3: You’re done. There is no Step Three.
However, if you would like to dive into some of the finer details of using Presets, Luminar lets you see exactly what each one does and also tweak the parameters to your liking. You can save your edits as new Presets, and even create your own Presets from scratch.

For example, the Warm Sunset Preset that I applied to the image of the leaves is really just a collection of Filters with specific adjustment values already applied. The following screenshot shows the specific filters that Warm Sunset uses, as well as the numerical values that have been dialed in by the Luminar developers.

The Warm Sunset Preset consists of three Filters, each with pre-determined values dialed in that you can change at any time if you like.

When you click on a Preset you will see all of its Filters show up on the right side of your screen, and you are free to change any of the values you want or even add new Filters to the mix. It’s an endlessly customizable editing solution that can go a long way towards giving you the professional results you have always wanted without the hassle and steep learning curve inherent in some other photo editing programs.

Creating and Sharing Presets

Even though there are dozens of Presets already built-in to Luminar, you can create your own by choosing any combination of filters, editing them to the values you want, and choosing “Save Filter Preset…” from the Filters menu.

I often find myself adding a little clarity along with some post-crop vignetting to my images (and for nature shots a bit of vividness too) so I pulled those Filters, dialed in the values for each one, and then saved it as a Preset called “Clarignette” (my attempt at making a new word).

A custom Preset I created called Clarignette, which uses the Clarity, Brilliance/Warmth, and Vignette Filters.

Custom Presets can be accessed by clicking the Categories button just above the row of Presets and choosing “User Presets.” Any Presets that you create or customize can also be shared with other users which makes this a great way to use custom Presets on multiple computers or in any type of collaborative editing environment. Choose “File > Show Presets Folder…” to see the folder on your computer where your custom Presets reside. Each one is saved as an “.lmp” file that you can copy to the Custom Preset folder on another computer or send to a friend.

Stacking Presets with Layers

One final ace up Luminar’s sleeve is its ability to let you combine filters using layers, in precisely the same way Photoshop and other image editing programs handle a layer-based non-destructive workflow.

Instead of applying a Preset directly to the image you are working with, you can click the “+ Overlay Preset” button in the lower-right corner of the Luminar workspace which adds a layer onto which your Preset edits are applied. This is exactly the same as an Adjustment Layer in Photoshop. Your Preset edits can now be applied, controlled, and adjusted independently of the image itself. Masking tools can then be used on each layer to control which parts of the image are affected by the Preset.

Note: You can also apply a mask to any of the Filters applied directly to your image as well.

I started with an image of some leaves, and created an Overlay with the Vivid Preset. Then I added a second Overlay with the B&W Preset and applied that with a radial mask so it is only affecting the outer edges of the image leaving all the color in the center.

This layer-based Preset implementation is another illustration of how Luminar takes a powerful-but-simple approach to editing. It’s not that Luminar is quantifiably better or worse than other editing programs because such an evaluation depends greatly on the individual needs, workflow, and style of the photographer. However, for users who are relatively new to photo editing and want a program that offers a simple, clean, intuitive approach with a feature-set deep enough to grow with them over time, it’s hard to beat Luminar.

Anyone who has used Instagram or other social media apps to apply image edits with the click of a Filter or Preset button will feel right at home with Luminar. As those individuals demand greater control and flexibility as they improve their skills, Luminar is right there beside them ready to meet the challenge. I really do like Luminar’s approach to editing with Presets and Filters and I think it’s a nice way to bridge the gap between amateur and professional photo editing. It’s simple enough for casual users but has a deep feature-set to cater to more demanding photographers too.

Disclaimer: Macphun, soon to be Skylum, is a dPS advertising partner.

The post Mastering and Sharing One-Click Presets in Luminar by Simon Ringsmuth appeared first on Digital Photography School.

Digital Photography School
January 2, 2018
A Fresh Look at Learning Photographic Composition

Popular teaching about photographic composition says to learn the rules and then break them. I prefer to encourage the people who join our photography workshops to learn the rules, understand them well and put them into practice so frequently they become second nature.

If you can apply the rules without even consciously thinking about them you will create more dynamic, interesting photographs which convey more feeling.

Why do we have rules?

Rules are important as they are the underlying structure of composition. Much like scales are to musicians. Much like grammar is to language.

Successful musicians have typically spent long hours going over and over the same scales until they know them so well they do not need to think about them. When we learned our first language, our “mother tongue”, we never consulted the textbooks to study the grammatical structure of the language, we just absorbed it, (most frequently from our mothers.)

Some people will have more difficulty learning the rules of composition and applying them effectively than others. Very much like some people can learn to play musical instruments or learn new languages easier.

I think it is because we are all creatively gifted in different ways. If you are gifted with a visual creativity you may find it easier to compose photographs than say someone who is gifted with a musical creativity and finds it easy to play the guitar or trumpet for example.

I do like what the famous American photographer Edward Weston had to say about learning and implementing the rules of composition:

“Now to consult the rules of composition before making a picture is a little like consulting the law of gravity before going for a walk.”

I doubt any of us can recall studying the law of gravity before we learned to walk. But we certainly knew about it.

Know them at a subconscious level

Knowing the rules is important as they will help guide our creative thinking, but applying these rules rigidly will generally lead towards making rather static and lifeless photographs. As you learn the rules and know them so well you can incorporate them into your photographs intuitively you will find your images may take on a whole new dynamic. Very much like walking and talking, it’s good to be subconsciously aware of the rules and laws as they are there for good reason.

Practice constantly

Reading about and studying the rules of composition will help you gain a good understanding of them. Practicing them frequently is the most effective means of consistently integrating them into your photographs. Practice them even when you don’t have your camera with you.

Begin to see in the rule of thirds, discover leading lines and strong diagonals, look for frames and how you can use symmetry. One side effect of seeing like this will likely be that you start taking your camera everywhere with you.

Fill the frame

When I first started working in the photography department of a newspaper it was impressed upon me to “fill the frame”. This encouragement has stuck with me and I am aware, consciously or subconsciously, of wanting to effectively achieve this with every photograph I make. This was important in the newspaper in order to convey the story effectively, (and so sub-editors had less flexibility to horribly crop your photos).

Filling your frame does not mean that in every photo your subject must be pressed out to the edges of your viewfinder. It means however you are choosing to compose your photograph, make sure whatever is within the four corners and edges is relevant to the picture you are making.

If empty space is relevant and adds to your composition, use it well. If cropping in so tight that part of your subject is cut off makes a stronger image, then crop tight.

However you decide to compose your image, be happy with it. Don’t get hung up on the rules. But do have a solid understanding of them and explore how you like to incorporate them into the creative photographs you are making. And, if you so come up with any new rules, please do let me know!

Here’s a little video talking about this concept of composition.

The post A Fresh Look at Learning Photographic Composition by Kevin Landwer-Johan appeared first on Digital Photography School.

Digital Photography School

January 2, 2018
5 Ways to Invest in Your Photography Over the Next 365 Days
Happy 2018! Can you believe it is already 2018? Seems like just a little while ago we were all celebrating ushering in the Y2K era and now to think that 2020 is just two years away seems unreal. I love the new year. It brings forth hope, aspirations, and positivity.

Metaphorically, it is like the slate has been wiped clean and you have a chance to chase some of your most amazing and lofty goals. So why not use this new year to invest in something that you really love as well – your photography. Here are some simple easy ways to invest in bettering your creativity and your craft over the next 365 days.

#1 – Create smart goals for your photography

Let’s drop the myth that only professional photographers who are in business are allowed to have photography goals. I don’t care if you are just beginning to learn photography or have been doing this for years, one of the best ways to improve at anything is to have realistic goals for what you aspire to and want to achieve.

Goals can be things like learning to photograph in manual mode, selling stock images or booking your first wedding client. No matter what your goals are, I encourage you to take it a step further and create SMART goals. A SMART goal is defined as one that is;
- Specific
- Measurable
- Achievable
- Results-focused
- Time-sensitive
So for each of your goals, add additional parameters to convert them to SMART goals by figuring out how to measure them, how to achieve and execute them, and what specific timeframe you want them to be completed by.

A SMART goal to travel and explore my home country has lead to some amazing opportunities. All because I really thought through what I wanted to do, how I wanted to execute it, and what outcomes I wanted from those opportunities and really working towards those goals!

#2 – Plan to do at least 4 personal photography projects

I really believe that personal projects are the cornerstone to helping you improve your photography. Once you take the pressures of working with clients out of the equation, you are free to explore, get creative, and challenge yourself. This creative freedom is bound to reflect positively on your work.

Personal projects can be short exercises directed to help you improve in some area of your photography or extended self-assigned projects that really take you completely out of your comfort zone to try something different. You can choose to space out your personal projects throughout the year – perhaps even commit to doing one per quarter.

No matter what you choose, have SMART goals on what, when, and how you are going to execute your personal projects. You can see more details on the importance of personal projects in this previous article.

One of my ongoing personal projects to learn and master film photography because it provides so much more room for learning and improving my photography in general. I even went so far as only taking a 35mm film camera on vacation to the Caribbean.

#3 – Practice photography every day

One of the easiest ways to practice photography every day is by signing up for a 365 series. Quite simply put, a 365 series is a commitment to creating one photo every day for 365 days. You can use a DSLR, a point and shoot camera, or even a smartphone to work on this series.

You can even take this a step further by joining one of the many online groups available. They are created solely for the purpose of encouraging you to photograph and post a single photo every day for 365 days straight. They even provide photo prompts to help you stay on track so you are constantly thinking of what to photograph every day.

A picture a day is literally just that – a photo a day. Get as creative as you want with this exercise. Use it as a way to get out of the house, meet fellow photographers, or just as some quiet time to reflect on who you are as a photographer and what motivates you.

#4 – Share your work online and offline

Join online groups or even local camera clubs to meet and socialize with other photographers. Many clubs have critique nights where members submit photos and comment on each other’s work. This is a great way to not only have your work be seen by others but also to get unbiased feedback on your work, which can be used for improvement and growth.

Many times we are our own worst critic and downplay our talents and skills because we are afraid or maybe lack the confidence in our photography. And you know what’s the best part? Having a group of like-minded people that you can talk photography about with all day long without them tuning you out within the first five minutes of any conversation (Can you tell this is how my family is when I start to talk photography!?).

I have made some amazing friends via online communities – we have collaborated together, referred work to each other and bounced life and business challenges off one another. But most importantly, I have made some incredible friends who I know have my best interests at heart.

#5 – Attend a photography workshop, conference or take an online course

Like most other professions, the photography industry is continually evolving and changing. New products, techniques, and styles are constantly being introduced. So attending a photography workshop or conference is a great idea.

Plus you never know who you might meet there in terms of future friends, potential clients, or even referral opportunities. There are numerous workshops, seminars, and even free online events and tutorials to keep you busy learning new things.

Keeping abreast of the latest in any business is a good thing. It shows your clients, both present, and future, that you value your business and skill, enough to invest in it.

Workshops, and conferences are another great way to expand your professional circle, make industry friends and learn new skills/techniques. Make sure you do your research prior to committing funds to attend an event/workshop or conference.

What will you do with the next 365 days?

I hope these tips were helpful to you as you plan out 2018. Remember, getting your photography to a level that you are proud of takes time and a lot of hard work. Make this your year to shine with your photography.

The post 5 Ways to Invest in Your Photography Over the Next 365 Days by Karthika Gupta appeared first on Digital Photography School.

Digital Photography School
January 2, 2018
SLC-2L-01: Owning the Sun with Two Speedlights

When working with one speedlight outdoors in daylight, logic dictates that you need to find the shade if you want to create a nice quality of light.

This is because you only have one light, which a) needs to do all of the heavy lifting, and b) is not very powerful. Which means that you tend to go soft—and close—with your one light.

So one light can be limiting. But as you'll see, a second light can open up some pretty neat options. Read more »
Strobist

January 2, 2018