Category: Photography

  • Tips for Dealing with Your Frustrations as a Photographer

    Feel stuck? Frustrated? Feel like you want to hang up the camera, or that you’ll never make it as a photographer? Those feelings are terrible I know, you feel like you’re in a prison from which you will never break out. But take heart, here are a few things to help you when dealing with your frustrations as a photographer.

    Tips for Dealing with Your Frustrations as a Photographer

    The thing you most need to hear – it’s normal

    The thing you probably need understand the most if you are frustrated as a photographer is not that it is going to be okay (it probably will), it’s that it is NORMAL. It’s always useful to remember that every artist/photographer had these feelings before you and others will have them after you. It’s just a normal part of the creative process. Doubts, frustrations, those “what’s the point?” feelings are all normal stuff.

    So you just need to understand that it’s okay. If you want to have a dog, you’ll have to deal with feeding it, cleaning it, dealing with the brown stuff. If you want to be a photographer, you’ll have to deal with feelings of self-doubt, frustrations, and all. It’s all part of the deal.

    Tips for Dealing with Your Frustrations as a Photographer

    Can you imagine that one of the greatest artists of all time, Michelangelo, wrote in his diary, “I am no painter”? He did, and let’s face it if someone like him could be frustrated with his art, it makes it pretty normal for you and I to have those feelings too.

    But why am I telling you this? Because sometimes you may feel bad for feeling frustrated while it is a normal part of the creative process. Don’t worry though, it’s not quite your fault if you have felt that way. It is because you’ve been fed a lie.

    The lie you’ve been fed

    One of the biggest reasons for frustrations is because expectations do not match reality. And most of our expectations are pretty much warped because we’ve been fed a lie. So it’s not quite your fault.

    Tips for Dealing with Your Frustrations as a Photographer

    What lie am I talking about? You see it everywhere on TV, movies, newspapers, pretty much everywhere. It’s the lie of the edit, and it destroys anyone who believes it.

    What is it exactly? You are fed selective pieces of life and believe them as true, warping your expectations, completely dismissing the process behind everything. Take this famous example:

    A middle aged woman walked onto the stage of Britain’s got talent. She looked like your typical next door old lady that bakes cakes. She’s about to sing. The cameras zoom in on smirks, one of the judges tries not to laugh at the contestant. She opens her mouth and you can hear gasps. That woman has a stunning voice, the world was introduced to Susan Boyle. An instant star, an overnight success.

    Tips for Dealing with Your Frustrations as a Photographer

    Boy oh boy do we love those stories. But they are not true. Susan Boyle has been practicing most of her life. You can’t just take her 5-minute viral video and call that an overnight success when she’s been putting in the work since she was little.

    The process is part of the story

    The reason why the lie of the edit is destructive is that it bypasses the most important part of all – the process.

    Look, I’m not saying that it’s a media conspiracy or anything, but the fact is that everywhere we turn, we see the edit of someone’s life. Then when we start looking at our life, and how can we not feel frustrated with where we are?

    Say you want to be a travel photographer. You check out Instagram and you see that this couple quit their job and now travel the world full-time. That’s the edited version. Then you look at poor old you and the only travel you can afford is to your job every day. How can you not feel frustrated?

    But what was the process that couple had to through to get there? They scrubbed 150 toilets, spread 250 kilos of cow dung, among other things. That is a true story by the way.

    I’m not suggesting that to travel the world you need to scrub toilets, but always remember that everything that you see has been edited. It’s only the tip of the iceberg. What you don’t see – and the only way to get where you want to be – is whole the process.

    Tips for Dealing with Your Frustrations as a Photographer

    Know the whole story and don’t compare yourself to others

    It’s my numero uno critique of certain photography gurus by the way. They sell you the edit. Quit your job, become a photographer, live the dream. They never tell you about the process of finding clients, being worried you can’t pay your bills, etc.

    What I am saying is this: It’s okay to be frustrated. What you see out there of everyone living the photography dream you want to live is an EDIT. Don’t compare your life with someone else’s edit of their life. It warps your expectations, and when expectations don’t match reality, that’s a recipe for frustration.

    Harnessing your frustrations

    So far I’ve said it’s okay to feel frustrated, and it’s usually because your expectations have been warped by unrealistic expectations (thanks, media!). But what if you are *still* frustrated? Good news, you can use your frustrations as fuel. How so? Just realize one thing:

    Tips for Dealing with Your Frustrations as a Photographer

    The universe works a certain way, and the system is rigged so that only the most dedicated people get through. If it was easy, everyone would do it. So things like frustration, self-doubt, discouragement are good because it’s trying to weed out those who will press on from those who simply don’t want to do so. Once you realize that it’s a built-in obstacle to weed out those who are not committed enough, it can empower you to press on.

    I’ve been around for a few years now. A month or so ago I started to click on the sites of photographers that I knew started around the same time as I. All I got was 404 errors, meaning their sites and their presence are not there anymore. They’ve been weeded out by the system.

    Tips for Dealing with Your Frustrations as a Photographer

    All those frustrations and feelings are like fuel that can either block your vision or you can use them as fire to get you going. Whatever you want out of your photography, it’s a game that only the determined and steadfast win. Let those frustrations knock others out while you know it’s just an obstacle to go through to test your own resolve.

    The resolve

    I interviewed a photojournalist once for my magazine, and one part stood out to me. He went to see an editor, and after some brutal comments went home and put his camera up for sale the next day. He was done with photography. Was that the end? No. He went on to be the photojournalist he wanted to be and to make some jaw-dropping images.

    The moral of the story is that you as a photographer need to have resolve, the resolve to continue the path of photography until success. Whatever that may be or mean for you. Because every photographer you look up to, they had all of the same frustrations you have, but they are where they are because they pressed on.

    Tips for Dealing with Your Frustrations as a Photographer

    Name any feeling you have, they had it too, but they just continued. Because it’s only failure when you give up. I’m glad the photojournalist got back in the game, but how many photographer’s careers were ruined that way? Resolve to do the work needed to achieve your photography goals. Keep your eye on the prize, but put in the work.

    For Micheal Phelps, the most decorated Olympian, that meant going to the pool 7 days a week. What does it mean for you? Read interviews every day, shoot as much as you can, learn as much as you can. It’s different for everyone but the principle is still to focus more on the process, the very thing that is always edited out in the media.

    Conclusion

    There you have it, folks. Because I have a lot of experience with this stuff, it’s pretty much ingrained in my mind. But thinking about these points mentally always leave me with a state of renewed empowerment and I hope it will do the same for you. Be yourself, stay focused and keep on shooting.

    The post Tips for Dealing with Your Frustrations as a Photographer by Olivier Duong appeared first on Digital Photography School.


    Digital Photography School

  • Lighting 103: How Designers Gel Live Performances

    Abstract: A dynamic, 3-D scene and hundreds of sources—a talk with a theatrical lighting designer


    Photo ©Lucas Krech

    Today in Lighting 103, a little side trip. Fair warning: we are taking a bit of a deep dive. For some of you this will make your eyes glaze over. But for others, it'll be a very cool look into the way live performance lighting designers think with respect to color.

    No worries; we'll be back in the center of the bell curve in the next installment.

    A Chat with Lucas Krech

    New York-based Lucas Krech is a lighting designer who works with operas, dances, plays and performance pieces. He is also is a photographer, which is how we originally intersected via Twitter.

    A ways back, I wrote to him to find out a little more about how people approach the process of lighting live performances. What I got back was basically a firehose/brain dump that gave me a fascinating look into how he thinks. Read more »
    Strobist

  • More Lessons from the Photography Masters: David Burnett and Vivian Maier

    The more you can learn about photography the better off you will be. Find out everything you can even if it doesn’t seem important to you at the time. The best way to do this is to have a close look at the masters, photographers who molded the photography world as we know it today.

    Some of these shooters are still with us and some of them have passed. Whatever the case may be, their legacy remains here to teach us through their experiences. In this installment of the Master’s Series, we’re going to look at two of my personal favorites – David Burnett and Vivian Maier.

    David Burnett

    More Lessons from the Photography Masters: David Burnett and Vivian Maier

    Image By Eric Smith (Own work) [CC BY 3.0 ], via Wikimedia Commons

    “He’s been everywhere but only for an hour.” – American Photographer Magazine

    David Burnett’s photojournalism career and creative output place him high in the ranking of some of the most influential camera jockeys of the late 20th century. Named one of the 100 most important people in photography by American Photographer Magazine, Dave has photographed it all. From the Vietnam War to the Olympics, from Obama to Bob Marley, his iconic images quite literally empower the viewer’s world to be seen from a different point of view.

    Tips from the career of David Burnett

    After shooting the world’s beautiful (and sometimes dark) moments of history for the larger part of a half century, Burnett shows us so many ways to improve ourselves as image makers, photographers, and general human beings. Here are a few things you can glean from the career of David Burnett that can help you develop (photo jokes never die) as a photographer no matter what type of photos you make.

    See David’s work on his website here.

    Go with your gut

    So many times we get sidetracked by what is considered normal. As photographers, we rely heavily on the visual influence of other photographers which in turn shapes our own work. That doesn’t mean that we should replicate their work to the letter. Don’t always go with the photographic flow just because that’s what other photographers may be doing.

    More Lessons from the Photography Masters: David Burnett and Vivian Maier

    So many times you will see David Burnett at sporting events completely separated from the rest of the photo press herd. He shoots what feels right to him, as you should as well. Learn to trust your own artistic instinct. Make your image representations of a mixture of the moment and your own vision regardless of the current photo trends. Don’t be afraid to shoot a scene differently than it has been photographed before. Lay down. Stand on a chair. Shoot weird reflections. Do whatever you have to do to reach that lofty height called individualism. No memorable work has ever been ordinary.

    Shun the worship of gear

    I’m guilty of this at times. No matter what I do or even how much I might write about not allowing yourself to throw away money on the latest and greatest camera or lens, there’s still a little part of me that loves to read about new cameras and really eyeball that “one lens that could change everything”.

    Then there’s Dave – one of the most celebrated photographers of all time, hauling around a 60-year-old Speed Graphic 4×5 with a lens ripped from an aerial reconnaissance camera and a plastic Holga 35mm (considered a toy). While he does shoot digital as well, a large chunk of Burnett’s most enduring photographs was made using film cameras that are essentially antiques and not considered tools of a modern photographic professional.

    More Lessons from the Photography Masters: David Burnett and Vivian Maier

    The takeaway here is that your gear is just an extension of yourself. Your camera, lens, tripod, are all just tools that perform a job. Don’t let them become something more than they are or even worse, begin to believe you are nothing without the newest piece of camera tech.

    Focus (jokes again!) on cultivating your basic skills and creativity using whatever gear you may have and when it’s time, you’ll know when to upgrade. Or in the case of David Burnett, downgrade. Whatever the case may be, use the tools that allow you to produce your work in the way that suits you best.

    Give back

    It almost feels as if I’ve undersold the importance of David Burnett’s contribution to the world of photography and photojournalism. While his career speaks for itself, there’s one thing that usually isn’t mentioned. That is just how down to Earth, human, and unpretentious Dave has remained despite his success. I’ve been oddly fortunate enough to correspond with him personally on a few occasions over matters photo-related and otherwise (onions?). Each time, I’ve talked to a person and fellow photographer – not David Burnett: Preeminent Photojournalist.

    More Lessons from the Photography Masters: David Burnett and Vivian Maier

    No matter where your journey takes you as a photographer, always remember that awards or accolades may make you an authority on the photographic medium but they should not make you an elitist. Don’t shy away from sharing your knowledge when it can help someone make better pictures. It can mean a lot. I know it did for me.

    Vivian Maier

    Vivian, oh dear Vivian. Where to begin? Vivian Maier is something of a paradox. Even now, I’m unsure what personal information about her is fact and what is not. What I do know about is her work and the way it was serendipitously introduced to the world. Vivian Maier was a nanny, an eccentric, and one of the most prolific street photographers of the 20th century. As a child in 1930, she and her mother briefly lived with Jeanne Bertrand, who was an award winning portrait photographer of the early 1900’s. Whether Vivian was taught the craft by Jeanne isn’t certain but it’s quite possible.

    Tips from the career of Vivian Maier

    Her work was literally stumbled across in a storage unit in 2007. Vivian passed away in near obscurity in 2009 but her photographs continue to inspire and teach us even today. I first learned of Maier’s images through John Maloof’s excellent documentary “Finding Vivian Maier” which is currently on Netflix and really merits a watch if you want to learn more about Vivian Maier and her unbelievable life. Here are some things I learned from one of the best street photographers you’ve never heard of.

    There is beauty everywhere

    One of the wonderful things about photography is its revealing nature. A photo can portray an otherwise mundane or common scene in a way that shows that there truly is beauty in all things. Some of those things might even be tragic and sad, but the soulful connection and wonderment are there, too. Vivian’s photographs showed not only the scenes of the streets of New York and Chicago, but the unseen emotion to be found there.

    More Lessons from the Photography Masters: David Burnett and Vivian Maier

    The key to producing a strong photograph anywhere is to learn that there is in fact, meaning in everything. Look for interesting light, interesting people, anything that can bring out the hidden. It’s your job as a photographer to be able to capture those hidden gems into images that can be shared with others. So, if you find yourself in a slump or there seems to just not be anything to shoot, look closer. Find the beauty and make a photo.

    Recognize the moment

    This echos back to some teachings by the photographic titan, Henri Cartier-Bresson. You can see in some of Maier’s photographs that she waited. She waited until the instant the shutter should be released in order to capture the moment best. This is one of things that makes her photos so powerful.

    Whether it was the exact instant the subject’s eyes met hers or when their footsteps were perfectly in sync, the opportune moment was patiently awaited. Also worth mentioning is the unobtrusiveness of Vivian’s technique. Lot’s of her images were made with a 120 Rolleiflex (among others). This type of camera isn’t held up to the photographer’s face but rather cradled below. This made her blend into the scene more and she was able to capture images which were less intruded upon by her presence.

    More Lessons from the Photography Masters: David Burnett and Vivian Maier

    Work to anticipate photographic moments before they happen. I know, it sounds extremely difficult. But the truth is that the more you practice, the more you shoot, the better you will become at “getting lucky.” You can train yourself to be present in the scene and intuitively recognize when photos will happen. The hard part? Putting in the shooting time to make this kind of skill manifest itself.

    It’s okay to be weird

    If there’s one thing you can learn about Vivian it’s that she was, for the lack of a better word, weird. Vivian Maier was a weirdo by the common views of her time. She dressed differently, acted differently, and made images that we’re different. In fact, it’s one of the very reasons she’s still being talked about today.

    More Lessons from the Photography Masters: David Burnett and Vivian Maier

    Even if she didn’t know at the time, her uniqueness would set her apart and lend a fresh perspective to her work and methodology. So, don’t try and hide your weirdness when you photograph things. Be different and celebrate all the little quirks that might make your images completely fresh. Much like the lessons learned from David Burnett, the real breakthroughs in your photography never come from falling into line with accepted norms. Relax, be different.

    See her work on the official Vivian Maier Photography site.

    Final thoughts

    Knowledge is the cornerstone of most anything you will ever undertake. How do you gain knowledge? Well, usually it comes through experience (often mistakes) and it can take a while for us to learn our lessons. As photographers, those giants who came before us offer incredibly valuable teachings. Their lessons are here for us to scoop up if we just take the time to listen. Don’t just study the photographs of the masters but learn how and why they made them.

    The post More Lessons from the Photography Masters: David Burnett and Vivian Maier by Adam Welch appeared first on Digital Photography School.


    Digital Photography School

  • Is Shooting RAW+JPEG the Best of Both Worlds?

    For a long time in photography, there has been somewhat of a debate between shooting in RAW versus JPEG. Well, maybe debate is the wrong word. Usually, it is a matter of experienced photographers encouraging beginners to start shooting in RAW and stop shooting JPEG. There isn’t much question that RAW files are superior. Those who don’t edit their files probably don’t really see the point of RAW files though. Therefore, there are plenty of people who shoot both RAW+JPEG

    RAW+JPG - The Best of Both Worlds?

    Usually, this question gets presented as an either/or proposition. In other words, you have to make a decision, looking at the pros and cons of shooting RAW files and JPEGs. But if you could have the advantages of both, however, wouldn’t that be the way to go? You can, actually!

    Take a look at your camera’s Quality or Image Quality setting in the menu. Most cameras will allow you to set you to put that setting on both RAW and JPEG. By doing so, aren’t you getting the best of both worlds?

    Let’s take a look. But first, let’s review the advantages of RAW files versus JPEGs.

    RAW+JPG - The Best of Both Worlds?

    RAW+JPEG settings on Canon system.

    JPEGs

    When you take a picture, your camera is actually taking the data that it receives from the image sensor and creating a file. In the early days of digital, a group of experts got together and agreed on a file format everyone could use. It is called JPEG and stands for Joint Photographic Experts Group. The idea is that everyone would use the same format and thus it would be easily shareable. And you know what? That has worked out pretty well. JPEGs are more or less ubiquitous. If you just pick up your camera and start shooting, you are creating JPEGs. It is the default of virtually every camera. It is also the format of virtually every picture you see online.

    But when your camera creates a JPEG, a few things happen. The first is that the camera compresses the picture data so that the file size is smaller. A JPEG will only use about a quarter of the data that your camera captures. That means that a large chunk of data is actually discarded. Some of that is color data, which is done by reducing the number of available colors (there are still a lot of colors available in JPEGs though). Where you’ll see the biggest impact is in the highlights and shadows, where some detail may be lost.

    In addition, the camera will add some processing to the picture. The camera manufacturers know that you want your pictures coming out of the camera looking sharp and colorful. Therefore, they will add some effects, like sharpness, contrast, and saturation to them at the same time that the JPEG file is being created. That is nice in that the pictures generally do look at little better, but the downside is that you aren’t in control of the process.

    And that brings us to RAW files.

    RAW+JPG - The Best of Both Worlds?

    The RAW advantage

    In most cameras, you can go into the menu and change the file format to something called RAW. No, there isn’t really some sort of universal file format called RAW. Rather, each camera has its own way of bundling the data that it receives from the image sensor when you take the picture and creating its own proprietary file (NEF for Nikon, CRW or CR2 for Canon, RAF for Fuji, etc.), which is called a RAW file. Right away, you can see an issue with this, in that these files are not easily shareable. In addition, these files are huge, typically 3-4 times the size of JPEGs.

    So why does nearly everyone recommend shooting RAW then? Because they are simply superior files. Whereas JPEGs discard data in order to create a smaller file size, RAW files preserve all of that data. That means you keep all the color data, and you preserve everything you can in the way of highlight and shadow detail.

    In addition, whereas the camera adds processing when it creates JPEGs, that doesn’t happen when you create RAW files. That means you are in control of the process. You can add whatever level of sharpness, contrast, and saturation (and other controls) you want. The camera isn’t making those decisions for you.

    Sure, these files are bigger, but they are way better. Further, you can always create a JPEG from your RAW file later, which you can use to share online while still preserving all the underlying data of the RAW file.

    RAW+JPG - The Best of Both Worlds?

    RAW+JPEG in the Sony system.

    Shooting both RAW files and JPEGs

    So RAW files are the way to go, right? I mean, you are preserving all that color data and highlight and shadow detail. And you are in full control of the processing of your picture. But what about if you are not going to process your photos at all? Wouldn’t it make sense to then shoot JPEG since it is the file that looks best coming out of the camera? Or what if you need to send the photo from your camera right away?

    Why not take both? Your camera will likely have a setting allowing you to do both so that every time you take a picture the camera is creating a RAW file and a JPEG. That would allow you to have all the advantages of both file types. How might that benefit you? Here are a few ways I see:

    • You can use a JPEG immediately: First of all, you can use JPEGs immediately.  Let’s say you have Wifi in your camera or want to otherwise share the photo immediately. JPEGs make sense for this. RAW files don’t. They aren’t easily shareable and they don’t look the best coming out of the camera anyway.
    • Future-proofs the photo: What if you are creating RAW files with your Canon camera and in 10 years Canon goes out of business? Will your RAW files lose support over time? This seems unlikely, but it is enough of an issue that Adobe has been pushing its own cross-platform solution called DNG (digital negative). However, if you have a JPEG, this will never be an issue. Everyone is shooting JPEGs and they aren’t going anywhere.
    • You can see how the camera processes: If you have a JPEG sitting next to your RAW file on your computer, you can see how your camera decided to process your photo. In other words, you can see how much sharpening, contrast, and saturation was added and, if you like it, mimic that effect when you do your own processing. This can be helpful when you are just starting out and trying to decide how much processing to add to your photos.
    • LCD preview: When you look at a photo on your LCD, you are seeing the JPEG version of your photo. You can add different processing via the Pictures Styles. That includes things like Black and White. So if you want to see effects while maintaining the integrity of the RAW file, then taking both can be beneficial.

    Why not shoot only RAW?

    But wait a second, you might think. Surely these are really minor advantages. Why bother with all that? Why not just use the RAW file?

    Yes, these are really minor advantages, but at the same time, what is the cost? Virtually nothing. Over time, data has gotten cheaper and cheaper. Adding a JPEG costs virtually nothing. Memory cards these days hold hundreds or even thousands of pictures, and they are now pretty cheap. You can now get a 64GB card for about $ 35. You can get hard drives that store terabytes of data for under $ 100. These prices continue to come down as well. Compared to the RAW files you are shooting, the JPEG just takes up a tiny bit of data. So while I agree that adding the JPEG doesn’t add a lot, it also doesn’t cost a lot.

    There is one other aspect I haven’t mentioned though and that is speed. Remember that your camera has to write all this data to your card. If you are just taking a few pictures at a time (or one at a time), this will not be a factor. But if you are someone shooting sports or wildlife with a serious need for the maximum frames per second, then there will be an additional cost. The time to write the additional file will slow you down a little bit. In that context, I could definitely see foregoing the extra file. But for most of us, this won’t apply.

    RAW+JPG - The Best of Both Worlds?

    Why not shoot just JPEG?

    At the same time, there are some photographers who will think to themselves, “Well, I don’t process my pictures, so I might as well just shoot JPEGs to get the best looking file I can straight out of the camera.” To those that don’t process their pictures, I would first say, “You should be.” You don’t need to make dramatic changes or make them look surreal, but you can do wonders with some tweaks.

    In any case, just because you don’t do any processing of your pictures now doesn’t mean you won’t ever process your pictures. In a year or two, you might change your mind. When that happens, you don’t want to be kicking yourself for not having obtained the best files possible.

    Best of both worlds

    I have been shooting RAW+JPEG for several years now. Do I actually use the JPEGs? Admittedly, almost never. I always edit the RAW files and usually don’t touch the JPEGs. As mentioned, however, the JPEGs don’t cost me anything so I am sticking with this setting. In addition, there were few times when I was on the road and wanted to send photos straight from my camera so having the JPEG turned out to be useful.

    So that’s how it works for me. But ultimately the decision on what type of files you want to create is up to you. What do you think? Is shooting RAW+JPEG the best of both worlds of a waste of space?

    The post Is Shooting RAW+JPEG the Best of Both Worlds? by Jim Hamel appeared first on Digital Photography School.


    Digital Photography School

  • Video – How to Use Light for Depth and Drama in Your Landscape Photos

    If you enjoy landscape photography, here is a short video with photographer Andrew Marr as he explores a gorgeous location in Glencoe Scotland. Learn how he looks for light to add depth and more drama to his landscape photos, and see how you apply these tips to your photography.

    If you want more landscape tips, check out these dPS articles:

    • 6 of the Best Smartphone Apps for Travel and Landscape Photography
    • How a Short Versus Long Exposure Will Affect Your Landscape Images
    • How to Find the Best Locations for Landscape Photography
    • How to Plan and Prepare for Landscape Photography
    • How to Create Glass Ball Landscapes – 6 Techniques

    Do you have other landscape tips you’d like to share? Please do so in the comments below.

    The post Video – How to Use Light for Depth and Drama in Your Landscape Photos by Darlene Hildebrandt appeared first on Digital Photography School.


    Digital Photography School

  • Weekly Photography Challenge – Childhood

    What does childhood mean to you? This could be photos of children, their small hands, or the things associated with that time of life like crayons, rubber boots and puddles, frogs, toys, old photos, and so many other things.

    Crayons are for kids – or are they? Photo by Aaron Burden on Unsplash

    Weekly Photography Challenge – Childhood

    Let’s see what childhood means to you?

    Share your images below:

    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 on the dPS Facebook group as the challenge is posted there each week as well.

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


    Digital Photography School

  • How to Find Your Photography Niche

    This is a quick tip to help you see why finding your photography niche could be beneficial to you and the growth of your photography.

    Photography niche 03

    The problem with shooting everything

    If you could shoot anything you want and get paid for it, why wouldn’t you? That’s an easy enough question for pretty much anyone to answer. You know what you like to shoot, what you get the most joy out of, have the most fun editing, and what gives you the most satisfaction when you see the end result. But if you are like the many photographers all over the world shooting pretty much everything, you aren’t making the kind of artistic growth you’d like to see or have the satisfaction you’d like to experience. A good way for you to overcome a lack of satisfaction or a decrease of productivity is to dive into a photographic niche.



    What is a niche?

    A niche is defined as a specialized segment of the market for a particular kind of product or service. There’s a reason why you go to a doctor when you’re sick, call a plumber when your pipes burst, or a contractor when you want to build a home. They spend years studying and working in their fields, and the consistent quality of their work is proof of it. It’s the same with photography.

    You wouldn’t go to a landscape photographer to get your portrait taken, or a sports photographer to shoot your new product When you think of great photographers, who comes to mind? The landscape photographer, Ansel Adams, portrait photographer Richard Avedon, or fashion photographer Annie Leibovitz? You associate each of these people with the type of photography for which they are famous.


    Photography niche 07

    What do you like to photograph?

    Now, think about yourself for a second. What do you want to be known for? What have you been shooting, what do you want to shoot? The first step in deciding which photography niche you want to delve into is identifying what you want to shoot. The decision is ultimately yours when it comes to finding a niche or genre that you really enjoy. Take a look at the work you are doing now and ask yourself if it’s fulfilling or if there’s something else you’d like to shoot.

    Photography niche 11

    Do you want to shoot something else? No? Then congratulations, you’re a few steps ahead of the game. If you do want to shoot something else, however, the next couple of paragraphs are just for you.

    If you’re not shooting what you want now, it’s definitely not the easiest thing to change, especially if you’re known for whatever it is you’re doing at the moment. It can be a scary and drawn out process going through a rebranding, but in the end, it will be the right decision. Making money doing what you want to do has many benefits.

    Photography niche 10

    Photography niche 12

    Create a portfolio

    The first step is to target your preferred audience and curate a portfolio. Spend a decent amount of time making your new portfolio something you’re proud of. Start off small, book TFP (time for print) shoots with models if you want to get into fashion. Set up a small studio in your garage if you want to get the best product photos you can manage. Get out there as often as you can and shoot, but don’t share anything just yet. You want to make sure that you have a cohesive body of work ready to go first.

    Some niches are harder to get into without an existing portfolio, but it’s doable. You don’t need an amazing wedding portfolio to book your first wedding. But at that first wedding you photograph, be as deliberate as you can be in order to make as many photos portfolio shots as possible. Stockpile a good amount of content because you’re going to need it soon.

    Photography niche 13

    Clean up your online presence

    Once you have a good amount of content for whatever niche you’re wanting to get into, you need to scrub out every remnant of your previous work off the Internet (if you have any). I know that once you post something on the technological marvel which is the world wide web, it’s out there in some way shape or form. But removing the primary source, like anything on your website or social media is pretty easy to take care of.

    Once you get rid of that, anything linking to the post is now a 404 error, meaning that it doesn’t show up anymore. Once you have your old work more or less purged from the internet, now is the time to get your new work in front of your preferred audience. Throw those photos on your website, inundate social media with your images, GET THEM SEEN by your target audience.

    Photography niche 14

    Photography niche 15

    Conclusion

    That’s it, in a nutshell. When it comes down to it, you need to identify for yourself what you want to shoot, and go out and shoot it. Start small, simple, and perfect your vision and build that portfolio. Set the foundation of your brand within the niche you select.

    Practice as much as you can and get your vision as close to perfect as you can. Once you build up your new portfolio, get it seen by your target audience. Identify, visualize, curate, and execute. Think about these steps and get into the photography niche that you want!

    Photography niche 16

    Photography niche 17

    The post How to Find Your Photography Niche by Jack Lungu appeared first on Digital Photography School.


    Digital Photography School

  • Review of the Panasonic Lumix G Leica DG Vario-Elmar 100-400mm Lens

    In this review, I’ll discuss my experience testing out the Panasonic Lumix G Leica DG Vario-Elmar 100-400mm f4-6.3 IS lens. It is compatible with mirrorless four thirds camera systems.

    Downsizing

    Last winter, I adopted my first new camera system since I started shooting seriously two decades ago. I’ve used Canon cameras for my entire professional career, though I’m hardly a devout follower of the brand. I’ve shot Canon for the simple reason that I own Canon gear, am content with the quality, and switching to something new was just too much trouble.

    Panasonic Lumix G Leica DG Vario-Elmar 100-400mm f4-6.3 lens

    However, in my work as a wilderness photographer and guide, weight and size of my equipment are a big deal. Often, I’ve found myself leaving gear at home that I’d otherwise like to have, for the simple reason that there wasn’t space or the gear weighed too much. So, I started looking for a compact system that would provide the quality and flexibility I needed.

    I ended up with a Panasonic Lumix GX85 mirrorless body, as an experiment into the micro 4/3rds system. Without mincing words, I’ve been extremely impressed with this very compact, very light, and very capable little camera. In the months I’ve been using it, it has easily out-stripped my Canon DSLRs as my most-used camera.

    Panasonic Lumix G Leica DG Vario-Elmar 100-400mm f4-6.3 lens

    A flash of sunlight on the tundra of the Brooks Range. Panasonic-Leica 100-400, 187mm, f5.0, 1/250th.

    Looking for lenses

    With weight and size as a major consideration, I’ve started shopping for additional lenses, to see if there is anything available that would allow me to part with at least some of my Canon kit. Rather than spend a bunch of bucks, I’m trying things out via rental lenses. The first big telephoto I’ve tried is the Panasonic Lumix G Leica DG Vario-Elmar 100-400mm f4-6.3 lens.

    When mounted on a micro 4/3rds camera like the Lumix GX85, the 100-400mm lens has a full-frame equivalent of 200-800mm, which definitely appealed to my inner wildlife photographer.

    I recently spent about 10 days with this lens on a wilderness trip to the Arctic National Wildlife Refuge. This review is about how it functioned and the resulting image quality. I’ll leave the technical assessment of chromatic aberration, color fidelity, and variable sharpness in other, more capable, hands.

    First Impressions of the Panasonic 100-400mm lens

    Out of the box, the all metal construction of this lens struck me as sturdy, compact, sleek, and well-made. The rotating focus and zoom rings were smooth and precise and there was no grinding or slippage. The simple lock-out ring was easily adjusted to keep the zoom from slipping forward or back. No complaints.Panasonic Lumix G Leica DG Vario-Elmar 100-400mm f4-6.3 lens

    I promptly took it out of for a quick walk around my home here in Fairbanks, Alaska and made a few images of flowers, testing the focus and bokeh.

    Panasonic Lumix G Leica DG Vario-Elmar 100-400mm f4-6.3 lens

    This was the only image I made with the lens where it had a hard time auto-focusing. I suspect it was due to the relatively dark background and low-contrast subject. 400mm, f/6.3, 1/160th.

    Panasonic Lumix G Leica DG Vario-Elmar 100-400mm f4-6.3 lens

    The background bokeh retains some detail in this image at 400m, f/7.1, 1/2000th.

    Sharpness is surprisingly good even at 400mm (800mm equivalent) though I did find the autofocus in low-contrast situations to be a bit slow and imprecise. The image of the Delphinium (purple flower, above) took multiple attempts to grab focus, presumably due to the dark background.

    Panasonic Lumix G Leica DG Vario-Elmar 100-400mm f4-6.3 lens

    Cottongrass. Even at 400mm, the center piece of cotton is tack sharp. 400mm, f8, 1/2500th.

    The combination of the micro 4/3rds sensor (which as a 2x crop factor) and the f6.3 aperture (at 400mm) did extend the depth of field and reduced the clean bokeh I’m used to with my faster Canon 500mm f4. However, when the subject is set suitably away from the background this improves markedly.

    Into the Field

    Panasonic Lumix G Leica DG Vario-Elmar 100-400mm f4-6.3 lens

    Looking north from the mountain front toward the coastal plain of the Arctic National Wildlife Refuge. 100mm, f4.7, 1/2500th.

    The following morning, I boarded a small bush plane and flew from Fairbanks, over the arctic circle to the northern Brooks Range and coastal plain of the Arctic National Wildlife Refuge.

    Panasonic Lumix G Leica DG Vario-Elmar 100-400mm f4-6.3 lens

    I was impressed with the color and contrast detail using the lens. 137mm, f/8.0, 1/1600th.

    The long and short of that trip is that the weather sucked. Usual, y the Arctic Refuge is a dry place (it’s actually an Arctic desert) but not on this trip. My clients and I spent long hours holed up drinking hot chocolate, rather than hiking across the dramatic landscape. This was a bit of a drag, but it did make us appreciate the rare moments when the weather cleared enough to allow rays of sun to fall on the tundra.

    During those moments, I would scurry out, camera in hand, and make images. Usually, when photographing the landscape, I rely on wide angles, and short telephotos. However, the specks of interesting light that found their way to the ground through the low clouds were small, and I found the reach of the 100-400mm lens a near-perfect match for the conditions.

    Bird photography

    I also had the chance to make a few images of the Semipalmated Plovers that shared our riverside camp.

    Panasonic Lumix G Leica DG Vario-Elmar 100-400mm f4-6.3 lens

    Semipalmated Plover on the a gravel bar on the coastal plain of the Arctic National Wildlife Refuge. The feather detail is extremely good, even when viewed at 100%. 250mm, f/11, 1/500th.

    Panasonic Lumix G Leica DG Vario-Elmar 100-400mm f4-6.3 lens

    Semipalmated Plover. 400mm, f/9.0, 1/200th (Handheld at 800mm equivalent! That’s some solid image stabilization there.)

    I’m accustomed to making wildlife photos with a monstrous 500mm f/4, which while huge, also has amazing image quality and a lovely, clean background bokeh. I expected this lens to be second-rate at best.

    And yet, I was pleasantly surprised. Image sharpness was more than acceptable throughout the lens’ range. And the bokeh issue was resolved (at least somewhat) by laying down on the ground and shooting at the bird’s eye level. This provided a good separation from the bird to the background.

    Panasonic Lumix G Leica DG Vario-Elmar 100-400mm f4-6.3 lens

    Sun patch detail. 400mm f/6.3, 1/250th.

    In situations where this kind of separation is impossible to create (say a forest, or shrubby area), then the extended depth of field of this slower, faster lens will unquestionably be an issue.

    The image stabilization in the lens and camera worked seamlessly together, making handheld shooting a breeze. Even at an 800mm equivalent, and surprisingly long shutter speeds, it performed well.

    Final Thoughts

    I just couldn’t help comparing this lens to my Canon 500mm f/4. I know it isn’t a fair comparison. The 500mm weighs nearly 8lbs, while the 100-400mm comes in just over two. The street price of the 500mm is a college-fund draining $ 9,000 USD, while the Panasonic 100-400mm slips in at a comparatively cheap $ 1,800 USD.

    Lens Review: Panasonic Lumix G Leica DG Vario-Elmar 100-400mm

    Rotten weather meant that snow fell on the mountains just above our camp…in July! Ahhh, Alaska. 180mm, f/9.0, 1/500th.

    But the very fact that I AM comparing these two wildly different sized and priced lenses says something very good about the Panasonic-Leica 100-400mm, I think. For what it is and what you get, this lens is extraordinary.

    Is it as good as a 500mm f/4 prime Canon L-series lens? No way. Is it still really, really good? Yes, it is, and for the price and size, I’m not sure it can be beaten.

    I’m not ready to trade in my big glass for this little, solid lens, but when it comes to light backcountry journeys, I could sure as heck see the Panasonic Lumix 100-400mm f4-6.3 lens as a great addition to my kit.

    The post Review of the Panasonic Lumix G Leica DG Vario-Elmar 100-400mm Lens by David Shaw appeared first on Digital Photography School.


    Digital Photography School

  • How to do Color Correction Using the Photoshop Curves Tool

    One of the most powerful Photoshop tools at your disposal is Curves. Though it’s often only used to tweak contrast, the curves tool is also hugely effective in correcting color. What’s more, learning how to use it gives you a greater knowledge of image editing in general. It’ll enhance your understanding of the histogram and teach you how to edit photos by numbers.

    The idea of correct color

    Correcting color in images is about removing unwanted color casts. The “unwanted” part is important because some color casts are desirable. For instance, you wouldn’t want to neutralize the warm hue of a sunset. However, you might want to remove the blue color cast that sometimes pervades photos taken on overcast days or in hazy conditions. By removing an unwanted color cast, you’ll reveal the true color of the objects and subjects in your photo and make the image “pop”.

    The content of a photo will dictate how you edit it, so you shouldn’t obsess over correcting color in every photo. Many times, you’ll want to do little or nothing to the color. An appreciation of the curves tool and the numbers around it will help you decide what each photo needs.

    A neutral histogram

    When working with curves, histograms, and RGB numbers, it’s useful to know what the histogram is telling you. There’s no such thing as a right or wrong histogram, per se, since it only mirrors the pixel data of the image, but it will highlight potential problems.

    By looking at all three RGB (red, green and blue) histograms at once, you can immediately get an idea of whether or not the image has a color cast. If there’s no color cast, the three histograms will look very similar. A black and white RGB image illustrates this perfectly because it’s completely neutral. In that case, the three RGB values will be equal in every part of the image and the histograms are identical.

    Black and white photo with RGB histograms. How to do Color Correction Using the Photoshop Curves Tool

    In this black and white RGB image, you can see that the red, green and blue histograms are identical. You won’t get this in a color photo, but if the histograms look similar, especially from the middle to the right-hand side, there is unlikely to be a noticeable color cast.

    Getting ready

    Before you start in curves, there are a couple of things you’ll need to prepare in Photoshop:

    • Be sure that the “Layers” and “Info” windows are open.
    • Select a “3 by 3 Average” or “5 by 5 Average” sample size for the eyedropper tool.

    Easy one-click color correction using mid-tones

    Whenever a photo contains an area that should be neutral gray in your estimation, you can use the mid-tone eyedropper tool in either levels or curves to quickly correct any color cast. Simply clicking on the supposedly gray portion of the image will correct the color. It’s usually worth clicking a few times in different areas until you achieve a result that pleases you. There are ways of calculating precise mid-tones in an image to make this method more precise, but guessing often works well and is far quicker.

    RGB values of a magenta color cast - How to do Color Correction Using the Photoshop Curves Tool

    By dragging the eyedropper tool over this gravestone, we can see that the green value is less than that of red or blue. We might reasonably expect this stone to have a neutral gray color, which would give roughly equal RGB values, but the green deficit (RGB 160, 149, 160) indicates a magenta (opposite of green) cast.

    magenta cast color correction - How to do Color Correction Using the Photoshop Curves Tool

    By opening curves or levels and clicking on the stone using the middle eyedropper, the magenta cast is corrected. As a result, the green in the photo is stronger.

    Using curves and the info palette to correct color

    By introducing the info palette into the equation, you can make far more precise color corrections. The technique you’re about to learn also teaches you to evaluate and edit photos by the numbers. Think about this – when you have nothing to compare an image to—no alternative version—it often looks “okay” at first glance. By studying the RGB values, you’ll get a clear idea of any potential problems in the photo.

    Before you proceed, it’s important to note that an image always needs “neutral” areas for color correction to succeed. That’s because a neutral tone provides a known reference point that you can work from. Neutral pixels always have identical RGB values (e.g. 128, 128, 128). Any photo that doesn’t contain a neutral tone is difficult to accurately correct. This is true whether you’re adjusting color yourself or hitting an auto-color-correct button. Photographers often use gray cards to introduce a known neutral into the image for color correction later.

    10 Steps to Color Correction with Curves

    Here are the steps you might take to correct color using curves, the info panel, and histograms:

    Step #1 – Select the eyedropper

    With your image open, select the eyedropper tool from the Photoshop tools palette.

    hotel in Switzerland - How to do Color Correction Using the Photoshop Curves Tool

    This is a picture of a hotel in Switzerland before any color correction. There is no strong color cast, but you might detect its cool bias.

    Step #2 – Check white RGB values

    Hover the eyedropper tool over a diffuse white highlight in the photo with RGB values in the 230s or 240s (try to avoid high 250 values). Use the info palette to see these values.

    How to do Color Correction Using the Photoshop Curves Tool

    Hovering the eyedropper tool over diffuse white highlights, I can see the blue channel has consistently higher numbers than red or green. The difference isn’t drastic, but it does indicate a blue color cast.

    Step #3 – Create a sample point

    Hold down the Shift key and click to create a sample point from this white area, which will show in the info palette as #1. It’s possible to move a sample point after you’ve created it by holding down the Shift key and dragging.

    Step #4 – Repeat with mid-tones

    Repeat this procedure with a neutral gray mid-tone, if you can find one, with RGB values of around 120-140.

    color correction info palette - How to do Color Correction Using the Photoshop Curves Tool

    Here, we’re creating a mid-tone sample point. Again, you can see from the numbers (RGB 111, 120, 137) that there’s a strong blue presence. The highlight sample point that I’ve only just recorded is stored on the depicted info palette at the left, third down (marked as #1).

    Step #5 – Repeat with shadows

    Do the same thing with any black, shadow areas with values of about 10-30. After that, you’ll have created three sample points. Since color casts in shadows are inherently harder to see, this third sample point can often be skipped without ill effect.

    color correction sample point shadow - How to do Color Correction Using the Photoshop Curves Tool

    A shadow sample point from the trash bag records at RGB 20, 21, 29. We can see now that a cold color cast runs through the entire image from highlights to shadows. Once I’ve clicked on this, my three sample points are all stored and displayed in the info palette.

    Step #6 – Analyze the three samples

    Looking at the three RGB samples you’ve created, you should get an idea of any color casts that are present. You’ll typically see the same problem across all tones from highlights to shadows, though not always. Remember that a low RGB value in any of the three channels indicates an opposite color cast. Thus, a low red value indicates a cyan cast, low green is magenta, and low blue is yellow. This only applies in areas that should be neutral in color (i.e. white, gray, black).

    Step #7 – Open a curves adjustment layer

    Open a curves adjustment layer. Hold down the Ctrl and Shift (Cmd + Shift) keys and click once again exactly on the center of the second, mid-tone sample point you created (#2). This has the effect of placing a mid-tone point along each of the individual RGB curves.

    How to do Color Correction Using the Photoshop Curves Tool

    Holding down Ctrl + Shift (Cmd + Shift in Mac) and clicking with the eyedropper tool places a sample point on each of the three RGB curves. This is useful for adjusting specific mid-tones. Here, I’ve opened the red channel to illustrate this. To correct color, you have to adjust the individual red, green and blue channels until the corresponding output numbers on the info palette match.

    Step #8 – Correct the color cast

    Now it’s time to correct the color cast. On a curves graph, the top right point represents highlights and the lower left shadows. In between are any mid-tone points that you placed on the curve.

    Starting with highlights (your #1 sample), open the individual red, green and blue curves channels one at a time and move the top right point either left or down along the outer edge of the graph so that, eventually, the three values match. As you move each point on the graph, the info palette gives you the updated output value.

    Usually, it’s best to choose the lowest or middle of the three existing highlight values and match the other two to that (see “tip” below).

    curves color correction - How to do Color Correction Using the Photoshop Curves Tool

    This is an exaggerated example of a curves highlight adjustment in the blue channel. I’ve pulled the highlight point to the left, which has added blue to the image (far too much blue). Moving the point down the right-hand side of the graph would increase yellow. In reality, these edits will usually be very slight, moving only a small amount either way. The info palette will reflect these changes in the RGB output numbers.

    Step #9 – Repeat for all three points

    Repeat this process with the mid-tone and shadow points, so that all of the chosen neutral points in the image are in fact neutral. The bottom-left shadow point is also moved along the outer edge of the graph, either upwards or right. The mid-tone point you’ll drag either up or down. If the color looks wayward at the end of this process, it typically means that you’ve picked a sample point that wasn’t neutral. Ensure that your sample points contain no color noise or reflected color. Zoom in on the area you sample to make certain of this.

    color correction curves info palette - How to do Color Correction Using the Photoshop Curves Tool

    Here you’ll see that all three sets of RGB values have been equalized – for each point, you see the before (left) and after the (right) value (Red on point #1 went from 238 to 239, Blue from 244 to 239). 

    Now all points are roughly similar, in other words, all the sample points I took that were estimated to be neutral have been made neutral. Note that the numbers don’t have to match perfectly like this as long as they’re close. In the curves graph, the red channel has been lifted and the blue channel pulled down slightly as a result of my edits. The green channel was untouched in this instance, so the corresponding line cuts straight through the middle.

    Step #10 – Remove samples and save

    Once the correction is complete, the sample points are removable by holding down Ctrl + Alt (Cmd + Option) keys and clicking on them. You should see the scissor icon when you hold these keys down. To finish, either save the image with its adjustment layer intact or flatten the layers, as required.

    Before – uncorrected image.

    color corrected image - How to do Color Correction Using the Photoshop Curves Tool

    This is the color-corrected image. With the blue cast gone, other colors in the photo can breathe. In particular, the yellow color of the hotel and the green in the grass and trees are more prominent.

    Tip: Since moving the endpoints of the curve line affects all highlights and shadows, you should edit conservatively. In particular, avoid choosing the highest of the three RGB values as the target when matching red, green and blue highlight channels. Otherwise, you may find that you blow out wanted detail in the brightest part of the image. Flaws in the shadows are generally less noticeable, but you still risk blocking detail if you adjust all the shadow RGB points to the lowest of the three values. In general, turn the numbers away from their extremes.

    Mixed Lighting

    The types of correction discussed in this article work best when there are naturally occurring color casts in the image. In mixed lighting, where the light sources are radically different (e.g. incandescent lighting and daylight), you’ll need to painstakingly address each affected area of the image using layers in Photoshop or the adjustment brush in Lightroom. Avoid this type of lighting wherever possible, since it’s difficult and time-consuming to correct in processing.

    Finally

    I don’t expect that you’ll use these techniques on every image, but I hope they’ll improve some of your pictures and that you’ll enjoy experimenting using curves in Photoshop. This type of mathematical editing gives you a good understanding of histograms and the meaning of RGB values.

    Merely hovering the eyedropper tool over a picture while watching the numbers will tell you something about it. If there are no naturally occurring “neutrals” in the photo and you want consistent or accurate color, a high-quality gray card provides a solution.

    Please don’t hesitate to fire questions my way if anything is unclear.

    The post How to do Color Correction Using the Photoshop Curves Tool by Glenn Harper appeared first on Digital Photography School.


    Digital Photography School

  • Review of the F-Stop Kashmir Backpack for Women

    In my 10 years of photography I have owned three backpacks, one sling bag and several different strap options. None of these have provided the perfect bag for every situation but as a landscape photographer, the best option so far has been the F-stop Kashmir UL Backpack. One of the main reasons, for me, is that it is one of the few bags that has been specifically designed for a woman’s physique.

    Review of the F-Stop Kashmir Backpack for Women

    The F-stop Kashmir backpack showing external pocket on waist support

    Most backpacks are designed for men who are around 6 feet tall. This means the bags are usually too long, the straps are set too wide on the shoulders, and the chest straps are not long enough. The waist straps are also not in the right place and generally they just don’t fit properly. If you are loading up several kilos of camera gear with the intention of hiking for 2-3 hours, then a properly fitting and comfortable bag is a must.

    One of the main issues I have with other bags marketed to women, is the assumption that looks are important, and that less gear will be carried – in other words, it’s a glorified handbag. If you are a woman who carries a fair amount of gear (for example, one camera body and 2-3 lenses, a tripod and other accessories), who walks for several hours, and wants a proper bag to carry it in, then read on.

    F-stop launched a Kickstarter campaign a couple of years ago which is how I got my bag but you can get yours via Amazon.

    Review of the F-Stop Kashmir Backpack for Women

    Design of the Kashmir Backpack

    My main requirements in a backpack are fit and functionality. Does it fit comfortably, and does it carry everything I need it to easily. Let’s assess the design of the Kashmir backpack:

    • Exterior materials are ripstop nylon that’s been polyurethane coated with weatherproof YKK zippers.
    • Reinforced base for ground protection.
    • Top and side handles.
    • Lots of external pockets.
    • Lightweight – the bag itself is 1.1kg or 2.5lbs.
    • Takes an internal ICU which is mounted internally.
    • Supports external attachments for tripods, etc.
    • Rain cover is an optional extra.
    • Internal aluminum frame.
    • Padded back panel with breathability gaps.

    The F-stop Kashmir backpack is black with cobalt blue straps. There is subtle branding on the back, front strap, and back support which cannot be obviously removed. Shoulder straps are slightly narrower than usual, cut in a curve for a better fit, and are well padded. An adjustable chest strap that has a lot of play sits comfortably quite high on the chest.  The waist support features two large hip mounted panels that bend around the waist with a wide adjustable strap in front.

    Review of the F-Stop Kashmir Backpack for Women

    Back view showing the adjustable chest straps on slide mount on shoulder straps.

    Features

    An abundance of pockets is a key feature with the Kashmir. Pockets in the hip supports, large mesh side pockets, top flap pocket, back pocket, laptop, and a hydration bladder pocket internally all mean there are plenty of options for packing stuff away. There are also several loop attachments provided to allow tripod or other hardware to be attached with optional gatekeeper straps.

    Zippers are good quality, slide easily and don’t catch.  They have good long tags attached for easy grip.

    Camera gear is stored in a separate ICU (Internal Camera Unit) which are available in several sizes. I got the Medium Shallow ICU which holds my 7D Mark II, 17-55mm f/2.8, 70-200mm f/4 IS L, 10-22mm UWA and a Mind Shift Filter Hive full of Lee Filters.

    Review of the F-Stop Kashmir Backpack for Women

    Internal view of the F-stop Kashmir backpack showing the ICU loaded up.

    Comfort and Fit

    As someone who is five foot six inches tall (average height for a woman) and around a US size 12-14, I have struggled to find a backpack that would do two things, fit both me and all my gear. A bag that was small enough to fit me comfortably, was often too small to hold all my gear.

    The Kashmir backpack manages both nicely. The shoulder straps are a good width and the narrower curved cut means they fit around my shoulders and body better and don’t chafe. When the bag is fully loaded it rides on the back of my hips, and the hip straps take up a lot of the load when they’re tightened. I can walk with this backpack for several hours and still feel pretty comfortable when all the straps are properly adjusted and tight.

    Review of the F-Stop Kashmir Backpack for Women

    Review of the F-Stop Kashmir Backpack for Women

    My personal reason for using a backpack is due to a car accident that injured my neck several years ago. My neck and shoulders will not support the load of one strap. So a backpack is the best option to balance the heavy weight properly, and the Kashmir is quite comfortable for me to wear this way.

    Review of the F-Stop Kashmir Backpack for Women

    Closeup of chest strap, also showing D-ring mount.

    Ease of Use

    The Kashmir backpack is designed to be used while on the ground. The back flap zips open to give you access to the camera gear. While you can swing it around and access it while hanging onto the bag, its not particularly easy to do so.

    Someone wanting a subtle, quickly accessible bag for street photography is not going to want the Kashmir. Landscape or wildlife photographers who need to carry a lot of gear, a variety of clothing options and a tripod should be interested in the Kashmir.

    Review of the F-Stop Kashmir Backpack for Women

    View of the front and the rather grubby waterproof base on mine. This bag gets taken everywhere!

    The Shallow Medium ICU holds a lot of stuff, any more and it would be too heavy for me to carry around for too long.  Plus the bag itself has loads of room for things like extra clothing layers, a hydration bladder, a laptop or tablet, hat, gloves, and accessories. With a 30L capacity, it is a good day pack option.

    Review of the F-Stop Kashmir Backpack for Women

    Top view of the main interior showing the top of the ICU and lots of space for extra stuff like clothes.

    Additional Features

    Not all backpacks come fully loaded with a range of features, so here are the highlights of the extra features on the Kashmir backpack:

    • Hydration bladder pocket with port for hydration tube.
    • Laptop pocket (also doubles as the hydration pocket).
    • Supports external attachments for tripods, lenses and other items.
    • Optional rain cover.
    • Top and side handle.
    Review of the F-Stop Kashmir Backpack for Women

    Side view of mesh net and supporting straps.

    Is it the perfect bag?

    No, but for my purposes it’s pretty close.

    • The chest strap doesn’t come up quite as high as I would like. I had some chafing from the shoulder straps, and if I could have pulled them in a bit with the chest strap, that would have solved that problem.
    • The top flap pocket is very loose and contents tend to come out of it easily. A couple of smaller pockets that zip closed would be a better option.
    • Internally within the greater backpack space it could do with some options to add pockets. There is a lot of dead space down the sides of the ICU that could be better utilized.
    • The ICU is very difficult to get in and out of the bag – haven’t taken mine out since it was put in there. It’s supposed to be easily removable for storage, but really isn’t.
    • The foam pads in the ICU are a bit limiting in the configuration options you can have, which was a bit frustrating. I made it work, but it isn’t quite how I want it.
    • Wearing a heavy jacket, it can be a tight fit to get the bag over the extra bulk on my shoulders to get the bag on and off. Loosening the straps helps but I prefer not to mess with those once I have them set correctly.
    Review of the F-Stop Kashmir Backpack for Women

    Top pocket with mesh net pocket inside.

    Conclusion

    If you are a woman looking for a backpack to load up and enjoy a day out shooting then I highly recommend the F-stop Kashmir Backpack. It isn’t perfect, but with the exception of the issue with the top pocket losing its contents all over the place, most of my issues are design tweaks. Nothing to seriously interfere with the comfort and wearability of the bag.

    Yes it can be heavy when well loaded, but the better fit of the straps and the shorter design, coupled with the good hip/back support means its not too tiring to carry around a decent load. I regularly lug 5-8 kg depending on what I am shooting, and can easily carry it for a day out (probably 2-3 hours walking).

    It is well made, of quality materials, and caters to the serious outdoor shooter with comfort, safety and style.

    The post Review of the F-Stop Kashmir Backpack for Women by Stacey Hill appeared first on Digital Photography School.


    Digital Photography School