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Photo Editing Software Options for Linux Users

11 Jan

Do you use Linux and wonder what your alternatives are when it comes to photo processing? Are you a photo enthusiast trying to find alternatives to your current software? Or perhaps you’ve read this far and still have no idea what I’m talking about—great! This article is for all of you.

Why Linux, and what is it anyway?

In short, Linux comes in a range of different flavours (Ubuntu, Debian, Fedora, etc.) but the common core in all of them is an operating system built primarily around free and open-source software. Many people choose Linux not only because it’s free, but also for the security and stability it offers, as well as the chance to gain more control over and knowledge about the software they use.

Contrary to popular belief, you don’t have to be a computer whiz to use Linux. All you need is some basic knowledge about how to use computers and a willingness to learn.

Even if you’re not a Linux user, you might still benefit from learning about some of the free Lightroom and Photoshop alternatives that are available by reading this article.

There are two ways to install software on Linux: the one that makes you look cool, and the software installation program. It’s up to you which you choose!

I’ve done all my photo processing in Linux since 2012, the same year I started working as a professional photographer. The main challenge was not that I haven’t been able to use Lightroom or Photoshop, but to find alternatives and choose between them.

This has involved a decent amount of research, so to help you on the way I’ve decided to collect my findings in this article. Hopefully this is a first step in your research process, leading you to a solution that works best for you.

As will become apparent soon, using Linux doesn’t even mean that you can’t use Lightroom, Photoshop, or any other program you prefer; it may just take a bit of tweaking. The important thing is to use something that can deliver what you need, not what others think you need.

Finding photo editing software that works for you is a continuous process.

Figuring out the alternatives

To choose the software that works best for you, you have to ask yourself what it is you’re looking for. Do you need a photo editor? Do you want to be able to manage and catalogue your photos? Is it the ability to process RAW photos you’re after? Or maybe all of the above?

Some of the programs I’ll be presenting here can offer everything, others are only suited to specific tasks. I’m going to be focusing on solutions that offer photo editing (including RAW processing), and less on photo management software.

The other important thing is to know what’s out there, and that’s the goal of the rest of this article.

Alternative 1: Using software that works directly in Linux

These are the programs that can be installed directly on your system. All of these are open-source and free, and they work in Linux, Windows, and Mac OS, unless otherwise stated.

Darktable

Darktable allows you to manage and process photos, including RAW images, in Linux and Mac OS. The two main tasks are separated into two spaces; the light-table for managing and cataloguing, and the darkroom for editing and processing photos.

As you may have noticed, the name of the software is a combination of those two words, just like Lightroom. It’s a powerful and non-destructive editor which requires a bit of time to get used to, but for anyone who has ever used post-processing software before, it’s not a problem.

03 post processing linux

Raw Therapee

Raw Therapee is a post-processing program for RAW images which works in most operating systems. It can be used to manage photos, but if you have a big collection, it’s good to combine it with software specifically aimed at image management, such as DigiKam. It’s easy and intuitive to use.

04 post processing linux

Rawstudio

With Rawstudio you can process RAW images, as the name suggests. It works in Linux and Mac OS, but not in Windows. It’s especially good for bulk processing and it can read essentially any RAW image format. It doesn’t support the latest versions of Debian, so if you’re using Ubuntu and have a newer version than 13.10, it won’t work for you.

Photivo

Photivo is another RAW image processing program. I’ve never used it, but it supposed to be good once you learn how to handle it, which might take a bit of time due to the number of different options. You can’t manage or catalog your photos with it, but if it sounds tempting anyway, you can combine it with one of the many great stand-alone photo management programs out there.

05 post processing linux

GTKRawGallery

GTKRawGallery is a lightweight program for managing and processing RAW images. It doesn’t work very well if you’re processing a lot of photos, but it’s faster for single image edits. It works in Linux and Windows, but not in Mac OS.

Corel AfterShot Pro3

Corel AfterShot Pro3 is the only commercial processing software I’m going to mention, as it’s the only one that works directly in Linux and provides a good alternative to software such as Lightroom.

It’s not open-source, unlike all the other software mentioned so far. But, there is a free 30-day trial, which might help you decide between alternatives. It’s the program I use for my everyday and professional photo management and post-processing needs.

06 post processing linux

GIMP

It’s difficult to talk about photo editing software in Linux without mentioning GIMP. This program won’t read RAW files without some tweaking, so many use it for post-post-processing, such as saving in a variety of different formats, retouching, and even drawing.

It’s free, open-source, works in many different operating systems, and with the right add-on, it can also open RAW files.

07 post processing linux

Alternative 2: Using tools developed for other operating systems

If you have a favorite piece of software that doesn’t work in Linux, don’t despair! There are a few ways for you to use popular programs like Lightroom and Photoshop without giving up on Linux.

1. Virtual machine

A virtual machine is a software that makes it possible for your computer to act like another computer, it basically works like a second physical computer in your operating system. You can install the operating system of your choice in the virtual machine, and use it as if it were, for instance, a Windows computer.

VirtualBox is a free, open-source virtual machine I use when I really need to run a program in Windows.

My virtual machine running Windows 7 on my Linux computer.

Apart from making it possible to install software that only works in non-Linux operating systems on your Linux machine, a virtual machine is useful compared to having separate partitions, because you don’t have to reboot to use it and you can easily share files between systems, have a joint clipboard, etc.

The drawbacks are that the virtual machine won’t be as efficient at using the available hardware as a normal machine. That can prove to be a problem for big and heavy programs such as Photoshop and Lightroom (but with a modern computer you’ll probably be okay).

2. Wine

Wine is a free, open-source interface that lets you run Windows software in Linux. Unlike a virtual machine, Wine doesn’t work like a separate computer; instead, it makes the software think it’s in Windows. That also means you don’t get the added security of a virtual machine, where the program is running on a virtual computer instead of directly on yours.

Boosting productivity with Wine.

One great thing about Wine is that you can run software for different Windows versions; backward compatibility is better than in Windows itself. However, all Windows software won’t necessarily run in Wine, and getting a program to work can sometimes involve lots of tinkering.

PlayOnLinux is a free, open-source tool that takes the hassle out of setting up programs in Wine. CrossOver is a similar option but it’s proprietary and is commercial – on the other hand, that means you have someone you can call if things aren’t working.

Conclusions

As you can see, being a photographer and Linux user is not at all incompatible. There are many different alternatives out there. Also, it’s always nice to find great, supported, and constantly developed photo processing software that is also free!

What software do you use for your photo processing, and why? Do you have more alternatives to add to this incomplete list? I would love if you shared your thoughts and ideas in the comments section below.

The post Photo Editing Software Options for Linux Users by Hannele Luhtasela-el Showk appeared first on Digital Photography School.

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The Importance of Diversification as a Photographer

11 Jan

There’s an idea that has been perpetuated, however unintentionally, that photographers do one thing and one thing only. The illusion is that someone who carries the title of “professional photographer” must simply make photographs, sell them, and that is the sole source of their income.

It’s true that there are some of us who do in fact make our way exclusively through our photography as an end in itself. I feel that most if not all of us camera jockeys (especially the landscape and nature types) hold as an ultimate goal the notion that one day we can reach a point in our careers when our photographs alone can carry us through life.

The Importance of Diversification as a Photographer

A few years back I was happy to learn and am equally glad to tell you now, that most if not all photographers are extremely diversified in the way they make a living from photography. Even most of the greats…from Ansel Adams to Cartier-Bresson, did other forms of photo-related work until they become famous enough to concentrate on their photography as a full-time job.

Almost every photographer diversifies to some extent. In this article, we’re going to talk about why it’s so important to branch out into other areas of photography beyond just making photos.

The Art of Diversification

It’s not generally disclosed to us when we first start out in photography that the majority of professional shooters don’t simply make their living from selling prints. This is especially true during these enormously competitive days when everyone with a cell phone is a “professional” photographer.

The truth is, it’s just plain difficult to make money from the sale of prints alone. You have to diversify in order to survive. The great thing is, if you’re truly in love with photography, everything that you do that centers around your beloved medium doesn’t seem like work. And it’s that word, “work”, that makes the world go round.

The Importance of Diversification as a Photographer

Diversifying yourself means that you will likely need to take a tiny step just outside the perimeter of your comfort zone. You must actively be on the watch for new opportunities to either market yourself through new outlets and to investigate what possibilities might be available to you. The key is to not limit yourself just because a certain opportunity is new to you or because it may not involve actual camera work.

Ways to Diversify Yourself

You may be thinking, “Alright, I need to diversify…but how and with what?” This goes back to what we spoke about a little earlier about how today’s world of digital photography has become more far-reaching than ever before. There is an incredible number of new ways for you to branch out into other areas of photography. Really, you are only limited by your ambition and your willingness to seek out brand new streams of creativity and dare I say, fresh revenue.

The Importance of Diversification as a Photographer

The most rewarding method to diversify yourself and your horizons, is by helping your fellow photographers through artistic and technical education.

I got my own start in the photographic educational world right here at Digital Photography School. That opened up amazing new opportunities for me to not only expand myself as a photographer but also to help others who are just beginning their own journeys. Look for ways to give back to your peers and teach what you know. This could be through writing, giving photography workshops, educational videos, and even gear reviews.

The Importance of Diversification as a Photographer

By no means are these the only ways to branch out and diversify yourself. The key is to start looking for the outlets to begin with. Once you do, you might be shocked to learn about all the ways photography impacts people’s lives beyond the obvious.

If you’re not keen on the educational route (you should really try it) then keep searching and be open to other areas of enrichment. Start a newsletter showcasing your work and link to gear you use (there are some great affiliate programs out there to help you make an income that way). Try blogging about your photo outings. Building a simple blog space is easier than ever these days. Most importantly, don’t allow yourself to grow stagnant and stop looking for ways to grow.

Some Final Thoughts….

Is it possible to make a living from only selling prints or through only making photographs? Absolutely. Depending on your own genre of photography it could be more or less difficult. Generally, the majority of photographers whose main income does, in fact, come from print sales find themselves looking for other ways to incorporate photography as a part of a larger professional whole.

I found that I loved teaching others about photography and writing about all the aspects of making photographs. This led me to produce my own Lightroom presets and a whole host of other unlikely photography related jobs that I could never have imagined were possible only four or five years ago.

The most important thing to remember is that diversifying yourself and your talents can do nothing but good and help you to grow as a photographer. Never stop looking for ways to advance yourself not only monetarily but also creatively in your work. Branch out. Reach out. Carpe consequat…seize the photography.

The post The Importance of Diversification as a Photographer by Adam Welch appeared first on Digital Photography School.

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Best 6 Cameras to Buy Under $300

11 Jan

With the global digital camera market expected to surpass $ 2 billion by 2021 (study by Technavio), no wonder the market is crowded with different digital cameras at different price points. Big market players such as Panasonic, Canon, Sony, FujiFilm, Casio, Kodak or Olympus are consistently launching new products and banking upon advanced photography trends such as large optical zooms, bigger Continue Reading

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3 Tips for Setting Boundaries to Avoid Burnout in Photography

11 Jan

Whether you’re a professional photographer or a hobbyist, there have likely been times when you’ve felt ready to throw in the towel and quit photography forever. Those feelings are normal and are usually the result of added stress from things like a looming deadline or a project that you don’t feel prepared to tackle.

Often, once the added stress subsides, so does the desire to quit photography. However, if that stress becomes chronic it can cause physical, emotional, and mental burnout that’s much more difficult to bounce back from.

3 Tips for Setting Boundaries to Avoid Burnout in Photography

One of the most effective things that photographers of all levels can do to prevent and avoid burnout is to set appropriate boundaries. In this article, we’ll discuss a few different boundaries that you may want to consider setting now in order to protect yourself from future burnout.

1. Set Office Hours

Between smartphones and wi-fi access, it’s easy to be available all the time. It’s easy to respond to a quick text while you’re on vacation. Replying to a midnight email when you’re already awake doesn’t seem like a big deal.

On one hand, being accessible to your clients (whether paid or unpaid) can make them feel appreciated and enhance the client experience. On the other hand, it can also lead to exhaustion and burnout because it always feels like you’re “on duty”.

It’s actually okay not to be available 24/7. In fact, it’s more than just okay. Setting boundaries in terms of availability is crucial to a healthy balance between your work and your personal life.

3 Tips for Setting Boundaries to Avoid Burnout in Photography

Consider setting business/office hours, and do your best to stick to them! The client experience is primarily driven by the quality of the service they receive rather than the speed with which they receive it. Most current or potential clients will be satisfied to receive a response within 24-48 hours.

Just because you happen to see a midnight email pop through doesn’t mean you need to respond to it right away! If you’ve always been immediately accessible and are concerned about making this transition, it’s easy to set an auto email or Facebook Messenger reply to let potential clients know that you’ve received their inquiry and when they can expect a response back from you.

3 Tips for Setting Boundaries to Avoid Burnout in Photography

2. Build in Downtime

I know as well as anyone that it can be really difficult to build downtime into your schedule because doing so often feels like you’re either losing opportunities or income. However, when you’re very busy with photography, it’s important to remember to schedule two kinds of downtime in order to prevent burnout – processing time, and days off.

In the spring, summer, and fall, it can be tempting to book photo sessions every night and weekend. It’s not a bad thing to fill your schedule, but don’t forget that your work generally isn’t done once you leave the session itself. Most sessions require some degree of processing time, which could include everything from culling, editing, social media posts, communication with your clients, and arranging for delivery.

When you’re creating your calendar of availability, don’t forget to factor in all the time you’ll spend after the actual session itself and build in that processing time (or plan to outsource it) accordingly.

3 Tips for Setting Boundaries to Avoid Burnout in Photography

In addition to processing time, I have discovered that there’s tremendous value in blocking out a day or two on my calendar as personal days, even during my busiest season. For me, this is so important both in terms of self-care and also in terms of prioritizing and preserving relationships with my family.

Although I started doing this in order to save my own sanity, I’ve discovered that setting and communicating boundaries in terms of my availability has been helpful in other ways as well. Potential clients tend to book more quickly than they used to because they know that my availability is limited. I also receive far fewer last minute requests to reschedule to a different date or time for the same reason.

3 Tips for Setting Boundaries to Avoid Burnout in Photography

3. Communicate Your Timeline

Another small thing that can greatly reduce your stress and frustration is to communicate your timeline with your clients up front and let them know what they can expect in regards to receiving their images.

Make sure that this timeline is realistic. Factor in all scheduled sessions, your post-session processing time, and your scheduled downtime. By doing so, you’ll be able to give clients a more realistic timeline for receiving their images, while also decreasing the number of all-night editing sessions for you.

3 Tips for Setting Boundaries to Avoid Burnout in Photography

Obviously, the timeline for a professional photographer with five weddings in their queue is going to be totally different than a hobbyist photographer taking photos of a friend’s children. However, you don’t know who a client has worked with in the past, or what their expectations are as they enter into a session, which is why it’s so important to clearly communicate your timeline from the beginning!

Conclusion

Do you have any other advice for setting boundaries to avoid burnout in photography? Have you experienced it? What did you do to prevent it from happening again? Please share your thoughts in the comments below!

The post 3 Tips for Setting Boundaries to Avoid Burnout in Photography by Meredith Clark appeared first on Digital Photography School.

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Your Guide to Understanding the Luminar 2018 Dashboard

10 Jan

With Macphun (soon to be Skylum) keen to promote Luminar 2018 as a replacement for Lightroom, there’s no doubt that there are many photographers who are interested in trying it. Unfortunately, that’s where the confusion may start as the Luminar interface is completely different from both Lightroom and Photoshop.

If you’re new to Macphun software then it can take time to find your way around the new interface. But if you’ve already used some of their other programs you’ll find that Luminar is very familiar, as Macphun tends to use the same layout in most of its software.

Note: The screenshots in this article are taken from the Mac version of Luminar 2018.

Luminar Dashboard Layout

When you open a photo in the program for the first time, you see something like this.

Luminar dashboard

The photo you’re working on is displayed in the center. Presets are shown along the bottom (red). The side panel on the right is where you apply filters and create workspaces (green). There are more tools along the top (yellow). See the image below.

Luminar dashboard

Let’s take a look at each of these in more detail.

Luminar Presets

One of the benefits of using Luminar is that it comes with lots of presets that you can use. If you don’t like presets, that’s okay – presets are optional and you can ignore them, or hide the panel if you do not use them.

Luminar presets are intelligent and each one comes with an amount slider. If you like a preset but the effect is too strong you can reduce the intensity. That means Luminar presets are adaptable and you can use them in a subtle way if that’s what you prefer.

Click on any preset to apply it to your photo (marked below). In this example, I selected a preset called Center of Attention. Afterwards, you’ll see an amount slider which you can set anywhere on a scale from zero to 100. You can also click on the star icon to add the preset to your list of favorites so you can find the ones you like quickly.

Luminar dashboard

Click on the Categories button (marked below with the big red arrow) to reveal a list of preset categories available in your version of Luminar. Click on any of the categories to display the presets underneath.

Luminar displays Basic presets by default, but you can choose from categories such as Street, Dramatic and Portrait. You can also click on Favorites to show any presets you have marked as a favorite. Clicking on “Get More Presets” takes you to a page on the website where you can get additional sets of preset (some which are paid, and some that are free).

Luminar dashboard

Workspaces, Layers, and Filters

If you’re a Lightroom user then Luminar’s right-hand panel will look familiar as they are similar to the panels in Lightroom’s Develop module. There’s a histogram at the top, layers underneath that (yes, Luminar has layers!) and then filters below.

Luminar dashboard

This area might look a little bare at first, but that’s only because the workspace is clear. In Luminar, a workspace is a selection of filters displayed which are ready for you to use.

Filters are Luminar’s equivalent of the right-hand panels in Lightroom, or the various Layer adjustments available in Photoshop. The reason Luminar doesn’t display all the available filters is that there are so many of them (50 in total). Instead of showing all the filters, Luminar arranges them into workspaces. You can use one of Luminar’s built-in workspaces or you can create your own.

Click on the Clear workspace button (below) to choose one of Luminar’s built-in workspaces. Here, I chose the Portrait workspace. It has nine filters which, as you might expect, are useful for developing portraits.

Luminar dashboard

Click on the gray arrow (marked below) to open up a filter and reveal its settings and sliders. The screenshot below shows the Develop filter, which is similar to Lightroom’s Basic panel.

Note: When working with RAW files this filter is called RAW Develop, and when working with JPGs is simply called Develop.

Luminar dashboard

Another benefit of using workspaces is that you can customize them to display only the filters that you want to use. You can start by removing and adding filters to one of Luminar’s built-in workspaces.

To remove a filter click on the white arrow next to the filter name (marked below) and select Delete from the pull-down menu.

Luminar dashboard

To add a filter, click the Add filters button (marked below). Luminar opens the Filters Catalog to the left, and they are displayed in helpful categories as you can see below like; Issue Fixers, Creative, etc. Here, you can select a filter to add it to your workspace.

Luminar dashboard

When you hover over the name of a filter in the filters Catalog Luminar displays an information panel to tell you what the filter does.

Luminar dashboard

To save the workspace, click on Custom workspace (marked below) and select Save As New Workspace. Now, your new workspace will appear in the list and you can select it any time you want.

Luminar dashboard

The Luminar Toolbar

Finally, the Toolbar at the top of Luminar contains some extra commands and tools that you will find useful. Most of these are self-explanatory. When you hover the mouse over an icon Luminar displays a strip of text to explain what it does. In the screenshot below, you can see that the mouse pointer is over the Compare icon.

Luminar dashboard

As you can see, the Luminar interface is simple and easy to use. The biggest obstacle to using Luminar is understanding how presets, workspaces, and filters work. Once you understand how to use these tools then you can start exploring the potential of Luminar to create beautiful photos.

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

The post Your Guide to Understanding the Luminar 2018 Dashboard by Andrew S. Gibson appeared first on Digital Photography School.

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Enter to Win One of Three Lenses from Tamron!

10 Jan

Enter to win a Tamron 100-400mm Di VC USD (in winner’s choice of Canon or Nikon mount), a Tamron SP 35mm F/1.8 Di VC USD (choice of Canon, Nikon or Sony-A mount) or a Tamron SP 70-300mm Di VC USD (choice of Canon, Nikon or Sony-A mount)!

Over the last several years, here at dPS, we’ve run very some very popular competitions with our partners to give away some of their great photographic products to lucky dPS readers.

We are fortunate enough to be able to do it again this month. For this competition, Tamron is giving away THREE lenses.

Win one of three Tamron lenses

These three unique prizes are designed to help every level of photographer create BETTER pictures. Tamron is the world’s most awarded photographic lens line. Each prize will be won by a different dPS reader. Here’s what you could win:

Grand Prize

Our Grand Prize winner will receive a Tamron 100-400mm Di VC USD Ultra-Telephoto Zoom Lens.

100-400mm Di VC USD Ultra-Telephoto Zoom – Value $ 799. Winner’s choice of Canon, Nikon or Sony-A mount. No Substitutions.

Tamron 100-400mm Di VC USD

Second Prize

The second prize winner will receive a Tamron SP 35mm F/1.8 Di VC USD with Hi-Resolution across a wide range of focusing distances.

Tamron SP 35mm F/1.8 Di VC USD – Value $ 599. Winner’s choice of Canon, Nikon or Sony-A mount. No substitutions.

Tamron SP 35mm F/1.8 Di VC USD

Third Prize

The third prize winner will receive a Tamron SP 70-300mm Di VC USD with Hi-Resolution for fast focus.

Tamron SP 70-300mm Di VC USD – Value $ 449. Winner’s choice of Canon, Nikon or Sony-A mount. No substitutions.

Tamron SP 70-300mm Di VC USD

Learn a little more about Tamron here:

How to win:

To win this competition you’ll need to:

Visit the above lenses’ information pages and learn more about the lenses and their core use.
Leave a comment below and tell us why you’d like to win and HOW you would you utilize your chosen lens. Please note: there is a limit of ONE entry per person.
Deadline to enter is January 30th, 2018 11:59 p.m. PST (UTC-8). Comments left after the deadline will not be considered. Do this in the next 21 days, and on February 8th, 2018, the team at Tamron will choose the best three answers and we will announce the winners in the following days.

By “best” – we’re looking for you to show an understanding of the lenses and how they will best suit your needs. So, you’ll need to check out the product pages to put yourself in the best position to win. There’s no need to write essay length comments – but we’re looking to hear what you like about the lens and how it would help your development as a photographer.

This contest is open to everyone, no matter where you live – but there is only one entry per person. To enter – simply leave your comment below.

Photo by Zvardon Frantisek

About Tamron

Disclaimer: Tamron is a paid partner of dPS.

The post Enter to Win One of Three Lenses from Tamron! by Darlene Hildebrandt appeared first on Digital Photography School.

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Review – Shimoda Explore 40 Camera Adventure Bag

10 Jan

I love to hike. I love to head out into the backcountry, and I regularly take my camera gear with me. Funnily enough, my first article here on dPS discussed just this fact. So it seems rather fitting that I got to review the Shimoda Explore 40 Camera Adventure Bag.

The opportunity to review the bag was also timely because I’m currently in the market for a new backpack and had been looking at several brands before the arrival of this Shimoda pack.

Review - Shimoda Explore 40 Camera Adventure Bag

The view from my hike. I love this area of Ontario, Canada.

The Shimoda Explore 40 pack is designed to be used as a daypack. It’s not meant to be used for weeklong treks into the wilderness with your camera gear.

If you’re looking for a pack to suit those needs, Shimoda makes the Explore 60 which more resembles a trekking bag. It’s similar to my 55 L Vaude Bag but it’s designed to hold camera gear whereas my Vaude bag was designed solely to carry backpacking gear. That doesn’t mean I haven’t adapted the bag to carry my camera gear, but it’s nice to have something designed specifically for photographers.

Here’s the complete Shimoda Explore 40 kit.

The Material

Here’s a close up of the material. It’s smooth, not rough like my other bags.

The first thing I noticed about the pack was the material. It is distinctly different from the material of my other bags. I took the Shimoda Explore 40 out of the packaging and was surprised by the feel and texture. It’s a smoother surface that is deceptive at first.

I am used to a bag that has a sort of canvas type material that feels rough like an old tent. At first touch, I was a bit sceptical about the durability of this material. I needed time to get used to the differences. The material is, in fact, double-resin coated nylon. It does not feel like the material of my Vaude hiking pack or my Lowepro Backpack.

I tested it in my kitchen sink. The water easily beaded on the material and rolled off without soaking through. The zippers are also water-resistant. The Explore 40 does not come with a rain cover, though. Most of the time you won’t need one but to be on the safe side, there’s plenty of room to pack a generic rain cover, just in case.

Here’s a close-up of the zippers with leather pulls. You’ll notice they are heavy-duty, not likely to break.

The Structure

The Shimoda Explore 40 is very well constructed of a heavy-duty material and also comes with a reinforced frame. Shimoda has inserted aluminum rods into the frame of the pack to help it maintain its shape and durability. I like the structure of the bag and how truly sturdy it feels.

The Core Units

I packed the core unit just to see how everything fit. Later, I changed the configuration for my hike as I didn’t take my extension tubes or the flash components.

The Shimoda Explore 40 is designed for lighter travel. It comes with two small core units as well as a medium sized one. The units are strong and durable. The dividers are easy to use and configure to the needs of your camera gear. I was able to remove pieces and reposition them quickly and easily without the Velcro becoming stuck to the sides and annoying me.

The camera gear is quite safe within the core units. They are designed to protect the gear and cushion items from the bumps and bangs that often occur when out on the trail. On my hike, I slipped down a rocky section of the trail and landed at the bottom of a steep hill. My gear was safe and secure within the core unit.

This is the interior of the small core unit.

The two smaller core units come with a very basic strap that allows you to turn the unit into a shoulder bag for carrying around one or two lenses and a camera body. But the strap isn’t designed for all day walking through a city.

I could see the bag possibly digging into my shoulder if I were to use it to peruse a city with my camera for 8 hours. The unit is designed more for quick jaunts around the campsite or for short walks.

The inserts are very sturdy and I found the tapered edges made it easier to configure the unit for my camera gear.

Storage within the Bag

Here’s a shot of the front compartment. I stuffed a trail guide in here.

The Shimoda Explore 40 is designed to hold more than just camera gear. I was able to pack food items as well as a water bottle. If need be the Explore 40 is equipped to carry a water bladder and hose. For this trip, I chose to take a small mug and water purifying drops, so I didn’t test out the water bladder compartment.

The bag comes equipped with tons of pockets. I was able to store my lunch, extra socks, my phone, a map, a rain cover, mug, and extra mittens within the pack. There was certainly room for more gear inside the pack.

The outer straps allow you to attach items to the exterior of the pack. You could choose to carry a small tent at the bottom of the bag.

The bag is pretty spacious when opened.

The bag also comes equipped with a sleeve in which you can fit a 13” laptop. The padding of the back panel would protect the laptop from any bumps or bangs that might cause possible damage to the gear.

The Shoulder Straps

The pack comes with several different adjustable should heights. I put the bag on the smallest setting. To give you an idea I am 165cm (5’5″) tall.

The pack fit nicely on my torso at the smallest setting. The hip belt rested just above my hip bones, and the adjustable straps allowed me to set the shoulders comfortably so that I felt no strain and carried the majority of the weight on my waist.

The last thing you want is a bag that places most of the stress on your shoulders, and by the end of the day, you’re regretting your decision to take your gear.

There are four different settings for the height of the torso.

My one complaint about the strap configuration has to do with the chest strap. It comes across the front and helps to keep the shoulder straps in place. This takes some strain off the top of the shoulders.

The issue is pretty much based on anatomy. The bag is designed as a unisex item. It does not take into consideration the female chest. Many women’s bags are designed so that this strap sits above the bust. I was able to slide the strap up somewhat but not enough to keep it from resting on the bust.

It’s a minor complaint that only female photographers will struggle to overcome. Believe me, we are used to this. It would be nice one day for someone to take the risk and design a camera bag specifically for the shape of a woman (hint, hint, Shimoda).

The bag sits comfortably on the body, even when you’re wearing a thick sweater.

Accessing Camera Gear

The Explore 40 comes equipped with both side and rear access to your camera gear. For my test hike, I used the medium core unit and tested out the rear access. It was easy to get to my camera and to switch lenses when needed.

The core unit easily held my 5D Mark III, a 70-200mm, a 16- 35mm and a 50mm prime lens. The side access works quite well also. At home, I inserted the small core unit and stuffed the bag with towels to hold it in place. It was easy to sling the bag sideways and remove my 70-200mm while it was attached to my camera body.

In Conclusion

Overall the bag is beautifully designed. I tested it on the Bruce Trail. It was a cold and rainy day. I completed a 15km hike over rough terrain. The design of the bag ensured it fit snuggly to my body. I didn’t ever feel burdened by the gear I was carrying.

The hard frame of the core unit did slightly dig into my lower back, but I was able to make a few adjustments to the straps and solved the issue. Over time I can see myself breaking some of the plastic clips, but this is pretty common in most bags. I have replaced the clips on my Vaude trekking bag on several occasions.

At the start of the trail with the Shimoda Explore 40 pack.

I wouldn’t use the Shimoda Explore 40 for long overnight hikes. The shoulder straps are not designed to carry the weight of camera gear plus all of the items necessary for a backcountry trip. Shimoda recommends their Explore 60 for those types of activities.

After looking on their website I discovered that they also offer a carry-on unit for planes as well as several accessory packs that can help make packing your gear easier to manage. I’ll be honest, I’m considering the carry-on the unit. The core units fit into this bag, so it’s easy to transfer items from carry-on to your pack once you arrive at your destination. I like this feature an awful lot. It would have helped me out a great deal last year during my trips.

The straps are comfortable and durable but definitely designed as a daypack. I’m told the Explore 60 has much heftier straps for longer hikes.

See the bag overview in this video:
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Shimoda recently completely a Kickstarter campaign. Check them out and see what you think of their products.

The post Review – Shimoda Explore 40 Camera Adventure Bag by Erin Fitzgibbon appeared first on Digital Photography School.

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How to Create Dynamic Photos of Car Light Trails

09 Jan

Nothing says futuristic, dynamic, and dramatic like a well-done traffic light trail photo. This is a genre of photography that almost all landscape photographers will have dipped into, it’s like a right of passage. The kind of images you can create make others want to go out and buy their first tripod.

Indeed getting a good photo of light trails will justify carrying around that heavy tripod perhaps all day long. There are lots of things to consider when taking this type of photo, and in this article, you’ll learn straight away what it takes.

How to Create Dynamic Car Light Trail Photos

This photo was taken from a residential building overlooking this amazing traffic intersection in Shanghai.

Choosing the right location

The most important thing to creating light trail photos is to go to a place where there will be lots of moving lights! This should be obvious, but some places are better than others. In all cases, the light trails will be part of the frame and either the main subject or the leading lines that direct the viewer to your main subject. In most cases your location is going to be urban, so let’s look at the options.

This light trail photo of the Colosseum in Rome uses light from a passing bus.

1 – Down on the street

A busy main road can be a good place to take light trail photos. The chances are you’ll be photographing a famous landmark from your locale, and using light trails will give the photo a more dynamic feel.

Position yourself so the light trails either lead up to your landmark or disappear off into the distance beside it.
When a safe traffic island is available, experiment with photographing from the middle of the street. This will give you both white headlights, and red rear lights.
It’s easier to control the intensity of the light from rear lights. So it’s often best to position yourself to photograph light trails as the traffic is moving away from the camera.
Photograph during blue hour as much as possible, this should be the case for all cityscape photos.
The best light trails are produced when buses drive past. They have lights that will fill your frame, as these vehicles are taller and lit up more.
The height at which you have your tripod set can dramatically affect your results when photographing at street level. The lower the tripod, the “higher” the lights will appear in your frame.
If you don’t want the lights to paint across the entire photo, experiment with an external shutter release, and the bulb function on your camera. Bulb allows you to open and close the shutter when you choose, so you can close it and end the exposure before the moving vehicle completely moves through your photo.

In this case, the Bulb function was used so that the light didn’t paint over the building on the right.

2 – Get up high, and photograph from above

Taking photos from a high vantage point is often a sure fire way of getting good results. This is especially true when it comes to taking light trail photos. There are two choices when it comes to this, you can go to the public area, or try for the trickier private access.

Public area – The easiest and safest option, though this likely means 1000’s of other people will also visit the same spot. This will commonly be a pedestrian footbridge over a road, a viewpoint from a mountain, or perhaps a viewing gallery in a tall building.
Private property – The best policy here is to ask permission. The other approach is riskier, more clandestine, and more in keeping with a genre of photography called urbex. At this time access to private rooftops is becoming increasingly difficult, in no small part because some people enjoy filming daredevil stunts from such locations. So do your research on a location you would like to photograph, and be respectful if you are lucky enough to get access. In some cities, rooftop bars can offer great views, but if you wish to bring a tripod in then emailing the business ahead of time is advised.

This high vantage point was achieved by contacting a rooftop bar in advance and getting permission to photograph from their location.

3 – Embrace the great outdoors

Of course, anywhere there’s a road can be a good location for light trail photography. Roads that wind their way up a mountainside will look great in a photo, you just need a good vantage point. Even photos from a lower position can look nice with a single stream of light, which can create a nice minimalist feel to your photo.

Photos taken in these locations may require very long exposures to allow the vehicle to drive through the frame. The best solution here is to take a series of 30-second exposures, and then stack the results later in Photoshop (or use an ND filter to cut the light and get longer exposure times).

This location is in Taiwan. To reach the viewpoint there were several bits of rope I had to climb up, as the side of the mountain was steep.

How to take long exposures of car light trails

Once you have settled on your location it’s time for the fun to begin! Taking these photos well does require some technical knowledge, let’s break this down here.

Compose your photo, and ensure the light trails complement the frame you wish to produce.
Arrive around 30-minutes prior to sunset. This will give you time to plan your photo and to take additional photos for digital blending if needed.
Ensure the camera is steady, this is challenging in strong winds. To achieve this use a heavy tripod, and where possible hook your camera bag under the center column. The heavier the tripod, the less likely it will be moved by the wind. Avoid putting up the middle extension tube on the tripod, as this introduces more instability and movement.

You can focus the camera using Live View. In Live View, zoom (using the magnify view button + not zooming your lens) into an area of the frame such as a sign. Now set your lens to manual focus. Choose an object to focus on that is towards the back of the mid-ground in your photo. Keep the camera in manual focus, so that the camera doesn’t change focus when you press the shutter button.
An additional option is to use digital blending to balance the light throughout the scene. Digital blending is a post-processing technique that requires a set of bracketed photos at -1, 0 and +1 exposure (or -2, 0, and +2).
Using an aperture of f/11 or smaller will create a starburst effect on any street lights that are in your frame. But the larger the aperture the brighter the light trails will be, so a balance is needed.
Now everything is set for you to take your photo. The light trail photo needs to show continuous light moving along the road. Make sure your exposure is long enough for this to happen, usually this is at least 15 seconds. To avoid camera shake use an external shutter release, or the camera’s self timer. If the camera isn’t in Live View, use the mirror lockup, this prevents shake on dSLR cameras when they expose.

This frame required several stacked images to enhance the amount of traffic in the photo.

Enhancing your light trail photo in post-processing

As with all photography, you can enhance your image in post-processing to get an even better result. There are two principal techniques that can be used to achieve this.

Digital blending – In order to use this technique you will need a set of bracketed images to work with. This technique will allow you to balance the level of light throughout the scene.
Photo stacking – The next option, usually done in conjunction with digital blending, is photo stacking. You can use this to intensify the light trails within your photo. The concept is to take photos of multiple traffic light streams and overlay the images on top of each other.

There aren’t many better places to photograph light streams on boats than Venice!

Other types of light trail photos

There are lots of other ways to use light trails in your photography. Here are a few other ideas you can try, that will complement your other light trail photos.

Boat lights – Boats on the water produce beautiful light trails, with the added bonus of reflections. The speed of boats is much slower though. This means an exposure of around two minutes or stacking several photos together to complete the light trail.
Create your own – You don’t need cars to create light trails, in fact, you can just use a light source and make your own. To have the most fun with this purchasing a Pixelstick is a great idea.
Kinetic light painting – Static lights can be turned into light trails, you just have to move your camera! Try out zoom bursts, or camera rotation to see some amazing results.

The u-bein bridge in Myanmar is a classic photograph. You won’t see light trails here unless you make your own!

Time to hit the road, and get some light trails

Now it’s time to get out there and try this amazing style of photography. I’m sure many of you have taken car light trail photos, so share your best work with the community in the comments below.

What style of photo do you like best? Are there any further tips that you use for your photos that you’d like to share? As always share your thoughts, ideas, and work below and let’s talk about car light trail photography.

Time to get on your bike, and out there taking light trail photos!

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How to Create a Center of Attention for Better Storytelling Images

08 Jan

Drawing the viewer’s attention to the main subject in your photographs will help them understand your story more clearly. If you have a busy scene with no clear focus point it will possibly give your viewers an overall idea of what you were photographing, but they may not scrutinize it for long. Adding a clear center of attention will help you create better storytelling images.