Category: Photography

10 Things You Can Learn from the Pros to Help You Take Better Photos

As a photographer, there are so many things that you learn and do on a regular basis. Creating habits in your craft is a good approach to making it become second nature. Here are a few things that most professionals do that you can incorporate into your workflow to help you take better photos.

1. Blink Blink

Pros use the highlight overexposure alert. If you have this turned on in your camera, you will no doubt understand one of its more common name, “blinkies”. When this feature is turned on, it gives a preview of your image with blown out highlights slowly blinking black and white, as a warning.

Blinkies (or blown out highlights) are not always wrong, but if it is in an area you want to show detail, then this information will be useful. You can then correct the exposure as necessary and review the image again.

The highlight alert (circled) blinks to show an overexposed/blown out sky.

2. Focus Focus

Knowing how to quickly move your focus point where you want it is a definite plus. On the opposite side of that is locking focus, which is another great skill to have. Both tell your camera exactly where you want to focus. Moving your focus point helps you place it exactly where you want while locking your focus enables you to grab your focus point, lock it in and recompose your image.

Knowing when to use both of these can also help you get more creative, so practice.

3. Know when to use spot metering

The in-camera light meter helps you determine how to adjust your exposure settings by measuring the brightness of the scene. The default metering mode in your camera is most likely set to Matrix mode (also called Evaluative or Pattern metering).

Evaluative metering works well in most situations but pros know that there are times when they need to switch. Spot metering evaluates only the light around your focal point and calculates exposure based on just that area. Some examples of when a pro would use spot metering include; photographing the moon, someone on a stage, or any scene with a lot of contrast.

Evaluative Metering versus Spot Metering.

A good way to learn when Spot metering is the right choice is by switching to it from time to time and looking at your results.

4. Use Live View to set White Balance

A handy little trick is using the LCD monitor at the back of the camera to set your White Balance (WB). This way you get a real time preview of what your final shot will look like comparatively. This is especially handy if you are shooting jpeg and don’t have the luxury of changing the White Balance after the fact.

5. Good Memory

Simple enough is to walk with extra memory cards. A trick that you can only get from experience though is not cramming too much on any one card. If you are shooting for any paying client, split your shots into several cards because believe it or not, cards can fail on you. If your shots are spread out, you may still have enough images to salvage a shoot.

Bonus memory card tip: Invest in good card recovery software. If you take your card out and for some reason are not seeing the images on your computer, do not put it back in and shoot. Good recovery software has saved many a pro.

6. Bracket

Bracketing in short, is taking several shots of a subject using different exposure levels. It is one of the easier ways to produce images with a high dynamic range. Pros also use bracketing when they unsure about exposure or dealing with tricky lighting.

Bracket images to reveal more dynamic range.

7. Sharpness – Check

By now you may have realized that everything looks sharp on a 3” screen – only to open it up on your computer and see that it is blurry. You could save yourself some heartache by zooming in and checking the image sharpness while you’re still in the field as the pros do.

8. Extra Batteries

When packing your gear, always make room for extra camera batteries. This seems obvious enough, but of note is that if you are shooting in cold weather you may even need to supplement that. Batteries are the one part of your camera that is affected the most by cold weather. A drop in temperature causes your battery to deplete faster and thus not last as long. Keep this in mind the next time you are outdoors targeting golden hour into twilight time.

Pack extra batteries when shooting in the cold.

9. Use a lens hood

The main reason to use a lens hood is to prevent side light from hitting the front of the lens. A lens hood thus reduces or eliminates lens flare that can occur when shooting outdoors during daylight hours.

But, most pros keep their lens hood on even when shooting indoors for more than just blocking light. They use it as protection against scratches, cracks, fingerprints and even some impact. It’s a good habit to use a lens hood.

10. Beep Beep Beep

Backup your images. Pros will tell you that this is at the top of their list. One recommended backup strategy is twice before formatting your memory cards – once to your computer and make a secondary copy to an external drive. If you are even more paranoid, it does not hurt to back up while out in the field. There are a number of portable drives available where you can copy your cards over without a computer.

Backup your images to save yourself some heartache.

Conclusion

Those were just a few of the many things you can keep in mind and add to your own routine. What are some of the things that you would suggest to help newbies take better photos? Share in the comments section below.

The post 10 Things You Can Learn from the Pros to Help You Take Better Photos by Nisha Ramroop appeared first on Digital Photography School.

Digital Photography School

August 28, 2017
How to Get Great Photos with an Old Camera
In this article, I will give some tips for you on how to get great photos from your old camera or an outdated model you’re still using.

The rapidly advancing technology issue

Camera technology has advanced so rapidly in recent years. Which makes it easy to think that the brand-new DSLR you got last year and love using so much is already outdated and incapable of taking good pictures. Comparing apples to apples, or in this case cameras to cameras, is enough to give one a healthy dose of humility when you discover that the six-frame-per-second camera you were so excited to buy has now been outclassed by its newer seven fps counterpart.

This and all the images in this article were taken with either a Nikon D200 or Canon Rebel XTi. Both were made in 2006 or, as I like to call it, the stone age of digital photography.

Looking at charts and diagrams of how high ISO performance in the latest models run circles around your old dusty camera can give anyone a healthy dose of GAS, or Gear Acquisition Syndrome. I’m just as guilty of this as anyone else. I have long since relegated my outdated gear to the upper storage shelves in my closet in favor of newer, fancier, more expensive cameras that hold a much closer place in my heart.

However, there’s no rule that says you can’t take beautiful pictures with old cameras and just because something new and shiny comes along doesn’t mean your old gear is suddenly destined for the dustbin.

Dig out the old camera

As a way of experiencing this firsthand, I recently got out my old Nikon D200 camera, the first DSLR I ever owned, and put it through its paces to see if I could still get some good pictures from its aging body. Of course, anyone who has shot with older gear already knows the answer is, absolutely!

A good camera from 2007 is still a good camera in 2017. The beautiful pictures you took in days gone by aren’t suddenly going to transform into ugly monstrosities just because another model of camera has come down the pike. However, what I was really interested in investigating was whether outdated cameras are still worth using in spite of the many advances in modern imaging technology.

My trusty old Nikon D200

For example, here are the specs of the old Nikon model with which I shot several photos for this article:

Old cameras might not have all the bells and whistles of their modern brethren, but don’t discount them entirely.
- 10 megapixels
- A maximum ISO of 1600
- Heavy as a brick
- It has no Live View
- There is no touch screen
- There is video capability
- 11 Autofocus points
- One very slow Compact Flash card slot
Any serious photographer would scoff at these specs, right? Well, not exactly. Old cameras like this may not hold a candle to modern models with every latest innovation packed into a much smaller space. But if you’re willing to put up with a few tradeoffs you may be surprised at what you can still do with them.

The real question isn’t whether or not an old camera can still take good pictures because if it could take good photos in 2006 it can still do so today. Nothing about a newer camera inherently makes the older camera any worse, unless by way of comparison. There are a couple of things you can do to get better photos if you do have, or are thinking about buying, an older camera that can help you get the most out of your images.

Work within the camera’s limitations

One of the best things you can do if you want to get good pictures with old gear is to know the strengths and limitations of the equipment you are using. Then take pictures that work around those characteristics.

ISO limits

For example, one trait that is almost universal among older gear is miserable high ISO performance. Modern cameras can often shoot at ISO 3200 or 6400 without breaking a sweat. But be prepared to adjust your expectations quite a bit if you pick up a model from 10 years ago.

Solving the problem isn’t all that difficult, it just takes a bit of creativity and adjustment on your part. When I took my D200 (which I don’t dare shoot past ISO 800, and even that is pushing it) out to experiment as I wrote this article, I kept the ISO performance in mind. I aimed for pictures where light was not a scarce commodity (in other words, avoid low light situations). The result was pictures I like quite a bit and would hold up against anything I could take with my modern Nikon D750.

Megapixel limits

Old cameras are also generally low on the megapixel front. That doesn’t mean a whole lot unless you’re doing a great deal of heavy cropping to your images and even then you can still get good results if you crop carefully. It is something to keep in mind though, and it’s important to shoot your pictures knowing the limitations like this. Get closer to your subjects instead of cropping, or find a lens that has a little more reach to it compared to the lenses you are used to using.

Other limits of older cameras

In addition to more megapixels, modern cameras often have large image buffers, burst rates, and more reliable autofocus systems than their older counterparts. Keep this in mind if you go to a sporting event or head out to capture wildlife photography with an older camera, and change things up a bit to get the images you are looking for.

Plan your shots carefully so you don’t fill up the image buffer, or shoot with a smaller aperture to give yourself more leeway in terms of depth of field. If you’re used to relying on a modern autofocus system to lock on and track your subjects, then try experimenting with center-point autofocus and learning to be a little more nimble when composing. Also, try learning new techniques like back button focus to improve your skills so you don’t have to rely on the camera doing all the heavy lifting for you.

Limitations can be a good thing

Ironically, sometimes the limitations of older cameras can actually help you get better pictures because you have to improve your photography skills in order to compensate for the camera’s shortcomings.

For example, using the ultra-fast burst mode on a modern camera can actually impede your ability to get good shots. Using an older camera without that feature can force you to plan your shots, think about things like composition, and how you want your subject framed within the elements of the picture, and ultimately get better pictures as a result.

My point is that if you find yourself using an old camera, whether a basic DSLR or one that used to be the cream of the crop in its heyday, you should know what you’re getting in to beforehand. Plan around its limitations so you’re not frustrated or confused when you are trying to take pictures.

In-camera focus stacking, flip-out LCD screens, and hundreds of autofocus points are nice and can certainly help you get better shots. But often the key to getting better shots is to simply study the fundamentals and hone your basic skills.

Work on understanding exposure, lighting, and composition. Know how to control the camera you have in order to get the shots you want regardless of whether the camera is brand new or well past its prime.

Know your camera’s capabilities

One thing that consistently surprises me when shooting with older cameras is just how much they can actually do. While they might not have touchscreens and built-in GPS, it’s not uncommon to find highly advanced tools such as a plethora of metering modes, Auto-ISO controls, customizable bracketing options, and a variety of autofocus options.

A top-of-the-line camera from 2005 may not compete with the cream of the crop today, but when it was released it had to appeal to demanding professionals and advanced amateurs which required a certain set of features and capabilities. Even basic models like the early Canon Digital Rebels, which were aimed at consumers and hobbyists, had all sorts of features that may surprise you if you’re used to modern models.

If you shoot with older gear, either an old camera you’ve had for a while or something you picked up online or in a thrift store, take some time to get to know it. Go to the manufacturer’s website, download the manual, and really get to know what it can do. Dig through the menus and experiment with the various options. Find a willing helper and test out its various modes and features. You may just be surprised at how capable and useful these older cameras can really be.

Conclusion

I often get asked for camera recommendations and I like to suggest that people take a serious look at used cameras and lenses. Check reputable online websites that sell these sorts of things for significantly less than shiny new cameras you will find on store shelves. Just because a camera has been put out pasture doesn’t mean it’s not worth using. In fact, the money saved by buying older gear could be put to good use in other ways. An investment in better lenses, a tripod, or even educational materials that can advance your skills in much more significant ways than simply buying a new camera.

What about you? Do you shoot with an older camera or are you considering buying one? What tips and tricks do you have for getting the most out of these types of cameras? Please leave your thoughts and questions in the comments section below.

The post How to Get Great Photos with an Old Camera by Simon Ringsmuth appeared first on Digital Photography School.

Digital Photography School
August 28, 2017
10 Quick Tips for Travel Photography
Here is a really quick video for you from the gang over at COOPH (Cooperative of Photography) with 10 tips for travel photography.

Enjoy, and check out the links to stuff mentioned in the video below it.

Links to things mentioned in the video

For more a more detailed tutorial on how to remove tourists check out: How to Remove People from Your Photos Using Photoshop

For sharing prints with people when you travel you might want to consider a Fuji Instax printer. Portable enough to take with you, prints photos from your Smartphone or tablet.

For backing up your images on the road, read the following:
- How to Backup and Manage Your Photos When Traveling Without a Computer
- Step by Step Plan for Backing Up Your Images While Traveling
Then grab one of the G-Technology drives shown in the video (the tough black and blue ones)

Shoot at sunrise: 4 Reasons Shooting at Sunrise and Sunset Will Help You Take Better Photos

Lastly, more on using framing in your compositions: Tips for Using Natural Framing to Improve Your Composition

Your turn

Do you have any other good quick tips for travel photography you want to share with us? Please do so in the comments below.

The post 10 Quick Tips for Travel Photography by Darlene Hildebrandt appeared first on Digital Photography School.

Digital Photography School
August 27, 2017
Weekly Photography Challenge – Travel Photos

Going anywhere exciting soon? Or have you recently gotten back from a trip? Now is your chance to share your travel photos!

Weekly Photography Challenge – Travel Photos

Credit: Photo by Tomo Nogi on Unsplash

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 – Travel Photos by Darlene Hildebrandt appeared first on Digital Photography School.

Digital Photography School

August 27, 2017
Four Ways to Use Snapshots in Lightroom

What’s Lightroom’s most underrated feature? If you ask five different photographers you’ll probably get at least six answers. But for me, it’s Snapshots.

Unused and unloved – that was the fate of Snapshots in my Lightroom workflow for many years. It’s taken me a long time to appreciate how useful they are. For most of that time, I used Virtual Copies when I needed to create different versions of the same photo. But now I use Snapshots, and it’s made life a lot easier.

Why use Snapshots in Lightroom?

Let’s look at why you would use Snapshots or Virtual Copies.

One of the benefits of a Raw file is that you can interpret the file in many different ways in Lightroom. The most obvious example is that you could create both a color version of an image and a black and white one.

Two versions of the same photo created in Lightroom from the same Raw file.

There are so many different ways of developing a photo in Lightroom that’s easy to make multiple versions of the same image. Sometimes it’s difficult to know when to stop! Especially if you have a large collection of Develop Presets.

Snapshots are the easiest way to keep track of all the different versions you make of a photo.

What is a Snapshot?

A Snapshot captures all the work you have done on a photo at a particular point in a time.

Snapshots are related to the entries in the History panel. You can turn any entry in the History panel into a Snapshot by right-clicking and choosing, Create Snapshot. Snapshots save you time because you don’t have to go searching through the History panel for the point you’d like to revert to.

Some of the History panel entries for a photo I developed in Lightroom. It’s nearly impossible to pick the correct entry if you want you to go back to an earlier version of the photo.

How to create a Snapshot

There are two ways to create a Snapshot.

1. Go to Develop > New Snapshot (or use the Cmd-N [Mac] / Ctrl-N [PC] keyboard shortcut.)

Lightroom creates a Snapshot from the current Develop module settings. You can give it a name or use the default (current date and time).

2. Right-click on an entry in the History panel and choose, Create Snapshot. Lightroom creates a Snapshot from the settings applied to the photo at that point in the development history.

Reasons to use Snapshots

Now you know how to create a Snapshot, let’s look at some ways you can use them.

1. To record where you are in the Develop module

When you’re developing photos in Lightroom you may find yourself arriving a point where you are about to go off in a different direction. For example, let’s say you want to make both a color and a black and white version of the same image. You might start off by developing it in color. When you are finished, you make a Snapshot.

Then, you can convert it to black and white. When you’re done, make another Snapshot. You can then switch between the two versions by clicking on the appropriate Snapshot. See what that might look like below.

2. To test out Develop Presets

Let’s say you would like to apply some Develop Presets to your photo, but you are not sure which ones are best. For example, I often develop my portraits using my Vintage Portrait Presets for Lightroom. There are 30 presets in the pack, and I don’t know in advance which ones will work best.

Using Snapshots, you can go through the entire set. When you find a preset that you like, you can create a Snapshot quickly using the keyboard shortcut Cmd-N [Mac] / Ctrl-N [PC].

At the end, you will have several Snapshots. You can then click on them one by one to see which preset you prefer. For example, I applied five different Vintage Portrait Presets to this portrait and saved each as a Snapshot. In the end, I decided the Vintage 19 preset was my favorite.

Tip: Rename the Snapshot you decide is the one you like best to something like “Preset name [final]” so you can remember which one it is. You can also delete the other Snapshots by right-clicking and choosing, Delete.

3. To make comparisons

There’s an easy way to compare two Snapshots to see which version you like best.

Start by right-clicking on the first Snapshot and selecting Copy Snapshot Settings to Before. Then click on the second Snapshot to apply it to the photo you are developing. Use the backslash (\) keyboard shortcut to switch between the before and current settings to make the comparison.

You can also cycle between the Before/After views by clicking the icon marked below in the Toolbar (use the T keyboard shortcut to display the Toolbar if you can’t see it).

4. To take the place of Virtual Copies

At the beginning of the article, I mentioned that I use Snapshots instead of Virtual Copies. The main reason is that Virtual Copies are difficult to keep track of.

For example, let’s say you create four Virtual Copies of a photo, each one developed a different way. To start with, they are probably all in the same Collection. As time goes by you may create more Virtual Copies of the same photo. This is quite common – many photographers change the way they develop photos as their style evolves and Adobe adds new tools to Lightroom.

A problem arises when those new Virtual Copies are in different Collections to the originals. Suddenly you have a situation where Virtual Copies are scattered across your Catalog. That makes it nearly impossible to see how many Virtual Copies of a photo you have created.

Snapshots solve that problem. With Snapshots, there is only ever one version of your photo in the Catalog. You never have to go hunting for missing Virtual Copies. All you need to do to see the different versions of your photo is click on the Snapshot name.

This photo has 9 Snapshots. If they were Virtual Copies instead it would be much harder to keep track of them.

Tip: What happens if you make a Snapshot and then update the settings? The Snapshot doesn’t change as it’s intended to record the state of a photo at the point in time you made it. But it’s easy to update the Snapshot. Just right-click on the Snapshot’s name and choose, Update with Current Settings.

Conclusion

Hopefully, now you can see why Snapshots are both useful and under-appreciated. If you have a problem with too many Virtual Copies in your Catalog then try using Snapshots instead to see if they solve your problem.

And of course, if you have any questions about using Snapshots in Lightroom then please let me know in the comments below.

If you’d like to learn more about Lightroom, including great tips like the one in this article, then please check out my popular Mastering Lightroom ebooks. You’ll be making the most of Lightroom in no time.

The post Four Ways to Use Snapshots in Lightroom by Andrew S. Gibson appeared first on Digital Photography School.

Digital Photography School

August 27, 2017
7 Non-Photography Items Which No Travel Photographer Should Leave Home Without

It’s fair to say that as a travel photographer you can never be 100% prepared for everything. There are so many different scenarios and variables that can affect your photography and your journey that you simply can’t predict. But over time you will begin to learn techniques that will help you be able to tackle the issues you’ll encounter.

Part of this is your list of equipment. While the obvious photographic equipment might seem straightforward, there are also a number of non-photographic items that will begin to make it on your list. As you will discover over time they can also be invaluable. Here are seven of my must-have items that might also help you along the way.

#1 – Plastic Bag and a Rubber Band

It doesn’t matter how well you prepare and how many times you check the weather forecast, at some point every travel photographer will get caught in the rain. Most times you can avoid you and your camera equipment getting wet by trying to wait it out under some shelter. But sometimes you can’t or more importantly, you still want to photograph. After all, rain can provide wonderful reflections on the surface of pavements and roads not to mention people with umbrellas that can really help tell a story.

So to avoid getting your camera wet, simply take an ordinary plastic bag and cut a hole big enough for your lens hood to fit through. You want roughly half of the lens hood sticking out and the hole in the bag should be a tight fit. Put your camera in from the top of the bag (as if you were putting shopping in it) and stick the lens with the hood attached through the hole. Put the elastic band around the bag near the hole to keep it in place and voila you have created a bag to keep the rain off your camera.

When you want to shoot with your camera simply put your hand in the bag and hold the camera inside. Sure you can probably find an expensive version that you can buy, but why waste money when you can make it yourself?

DIY rain cover.

#2 – A Face Towel

If you ask me what is the one non-photographic item that I always carry with me, it’ll be a small face towel. I have lost count of the number of times that I have used a towel in different scenarios. Whether it’s to wipe my camera dry after getting water, mud, or anything else on it, or wiping my face when I’m hot and sweaty (it’s amazing how much better you feel when you can simply wipe your face with a clean towel when you are out and about all day), wiping my finger when I have cut myself, or even just wiping a bench dry after rain so I could sit down while waiting instead of standing up (or getting my trousers wet by sitting on a wet bench). The number of times that a simple towel will come in handy will astound you.

The number of times that a simple towel will come in handy will astound you.

#3 – Smartphone

Okay, so technically speaking a Smartphone isn’t a “non-photographic” item but ignoring the camera element, it has become a must these days for travel photographers. Whether it’s to check sun direction, weather forecast, maps, making notes about potential shoot locations and metadata details, to simply having access to pass the time by reading the news while waiting for sunset, a Smartphone has become an essential tool for every travel photographer.

#4 – Compass

For the majority of photographers, a Smartphone has replaced the trusted compass. But it’s still worth having a small one in your bag just in case your phone runs out of power or you can’t get a signal. Besides being able to bail you out when you get lost, a compass can help you determine sunrise/sunset direction where the light will move, which is essential for any travel photographer.

#5 – Gloves

Travel photography usually means early starts and late finishes as the soft light in and around sunrise and sunset is great for photography. This usually means you’ll be out and about when it’s colder than during the day and trying to work your camera dials with cold hands or even carrying a tripod is not an enjoyable experience.

During the daytime depending on the time of year, it can be pretty cold for your hands and even in the summer months it can get much colder in the evenings and early mornings. So do yourself (and your hands) a favor and keep a pair of gloves in your camera bag.

#6 – Pen and Paper

Sometimes you simply can’t beat pen and paper. It might be to take notes, to jot down ideas for shoots, to sketch a composition that you want to try and create later, or it might simply be to take the email address of the person who’s photo you have just taken so that you can email them a copy. Whatever the reason, a pen and paper is always useful to have in your camera bag.

#7 – Sunscreen and a Hat

It’s easy to forget sunscreen and a hat among all of the other things above, in addition to your photographic equipment, but they are essentials for anyone working outdoors. As a travel photographer, you will be spending most of your days out and about and it’s easy to get distracted and not notice a few hours going by. The last thing you need on a photo trip is to get sun burned.

Conclusion

Over the years, I have found that these small items have become invaluable. I will, of course, adapt this list as I go and add or remove things for certain destinations. For example, if I’m out in the wilderness I would carry a first aid kit, an emergency kit with things like a whistle, blanket, etc., a torch, and the relevant maps of the areas I’m planning to explore. But my basic list of items accompanies me on any trip even a short city break.

Over time you will build up your own set of items. But for the time being, I hope this list is useful for you.

Anything else you can think of? What non-photographic item do you always carry with you and why? Please tell us in the comments below.

The post 7 Non-Photography Items Which No Travel Photographer Should Leave Home Without by Kav Dadfar appeared first on Digital Photography School.

Digital Photography School

August 27, 2017
Why You Might Want to Consider Keeping a Visual Diary

Maintaining creativity can be difficult for artists at the best of times. Fortunately, there are ways to combat the dreaded artist’s-block. Carried around in the crook of many an artist’s arms, the visual diary has developed alongside the very beginnings of art history.

Famous artists like Leonardo da Vinci, Frida Kahlo, Vincent van Gogh and Kurt Cobain all kept detailed visual journals for their thoughts and creative progress. Cecil Beaton, famous for his portraits of Marilyn Monroe, religiously kept scrapbooks of drawings, newspaper clippings, paintings, and copious amounts of photographs. Art school curricular also relies heavily on the use of a personal visual diary to detail a student’s thoughts and processes.

Materials in a visual diary aren’t limited to just pieces of paper. Here I’ve fixed a piece of plastic that I wanted to use later into my visual diary for safe keeping.

Keeping track of different film I’ve used is easy with a visual diary – I simply stow the flattened box for later reference.

What is a visual diary?

As the name suggests, visual diaries are a collection of visual references compiled by an artist. Made up of notes, diagrams, collage, photography, images, and detritus, a visual diary can contain any number of materials compiled into a series of books or folders.

The purpose of a visual diary is to provide space for an artist to work within visually. By documenting your own progress and inspiration in a physical diary, you can build important skills and identify trends to further your creative skill. A visual diary also provides a cathartic space to record ideas and personal observations. You can combine private journal entries with test-prints and swatches, or you can keep a strictly photo-based body of work. You can even use separate books for separate media or projects. It doesn’t have to be pretty, as long as it works for you.

Proof sheets of negatives are most useful when stored in a visual diary for easy reference.

What diary should I use?

One of the most popular formats of visual diaries is spiral-bound booklets. These booklets can be laid flat on a surface and have thick paper for sketching. Plus, you can stick a pen down the spiral joint so you’ll always have a marker at hand.

A4 and A5 booklets are generally the most popular sizes for visual journals. Larger journals are harder to transport and a very small booklet may be too little to stick cut-outs in. Lined and unlined booklets are another consideration. I personally prefer an unlined book – every sheet is like a blank canvas as it holds nothing but potential! Having said that, grid books can be useful for structured lighting diagrams and geometrical drawings.

An alternative to keeping a booklet as a visual diary, mood boards are another great way to maintain inspiration and direction. Having a mood board to look over and update frequently can be just as beneficial as having a visual diary, only it’s a little less portable. All you need is a good cork board, a few pins and a choice selection of images and notes. You can even use several mood boards, each sectioned off for different moods or projects.

Keeping a mood or cork board full of artistic material can be a great source of inspiration for projects.

Why keep a visual diary?

There are many benefits to keeping a visual diary.

Organizationally speaking, having a visual diary keeps all your artistic detritus in one place. I’m definitely guilty of spreading my materials out, scribbling notes on bits of paper and losing them shortly after. Writing notes in your journal or taping pieces of paper with notes into your diary will keep them together so you can easily refer back to them later. Visual diaries are also great for unexpected flashes of inspiration – try keeping one next to your bed for those breakthroughs in the middle of the night.

Your visual diary is your own personal work space. Recording your artistic progress now will create a timeline of your personal development to refer back to later. This can help maintain your focus or realign your artistic direction. Once you get into the habit of filling in your visual diary, you will develop a pattern of creativity, training your photographic eye. Plus, if you aren’t keen on posting personal thoughts in an online blog, paper-based visual diaries are a safe space for your own creativity.

Visual journaling is good for your health too. Cutting images out and doodling in your visual diary can be a very meditative process, increasing mindfulness and reducing stress. Simple tasks like cutting and pasting photographs clear your mind of negative thoughts with repetitive motion and critical thinking.

Negatives and digital proof sheets that need to be close at hand for projects are easy to find and revise in a visual diary.

Conclusion

Keeping a visual diary is a great way to boost inspiration, consolidate thoughts and even improve your mental health. As a placeholder for ideas and reference material, keeping a visual journal will quickly become an invaluable tool for developing your photography. Think of it as an artistic space, created and curated by you!

Visual diaries are not only great for storing inspirational material but for recording things like photography expenses or even your wish list.

The post Why You Might Want to Consider Keeping a Visual Diary by Megan Kennedy appeared first on Digital Photography School.

Digital Photography School

August 27, 2017
How to Create a Successful Local Marketing Strategy for your Photography Business

The internet has taken over most aspects of our daily lives. We can talk to the world at a moments notice, promote our services instantly, and sell anything we want day or night. However, in the quest to grow as many followers and fans as we can, it can become easy to forget about one of the most important opportunities that exist for your photography business. There is so much potential right outside your front door.

Think local

No photography business can afford to forget about their local community – so you need to create a complete marketing plan that addresses both the internet and your own local community.

You don’t need to reach an audience around the globe to receive a job from your neighbor down the street. How many people cross your path in a given day? How many of them know what you do or could potentially use your services? How many of them might be interested in what you have to offer?

Through local marketing, you want to create a daily strategy for your local connections to grow consistently.

Be informative not intrusive

You do not have to be overly intrusive about it. You do not have to sell to your friends, colleagues, or acquaintances directly. Have you ever had a friend that you haven’t seen in years suddenly contact you out of the blue asking to talk or to get together? Then you speak to them and realize that they have just gotten a job as a financial planner (or some other such thing) and are trying to sign you up as a client.

This is not what I mean by local marketing, but you do have to be effective at making people aware of what you do, whenever the situation presents itself. You want to intrigue people. When people ask what you do, help them understand your photography business. You are in a creative field, so make it sound as exciting as possible.

Just let people know what you do

If there is a crossover that might help the person, mention it. For instance, what type of photographer are you? What are the specific services that you provide? Depending on who the person is, tailor what you say to them or their situation.

Send out an official announcement letting everyone know about your photography business. Briefly, explain what your services are and how you might provide potential customers with assistance. When done correctly, this will not be intrusive but informative. People will congratulate you and celebrate your endeavor.

If you are trying to grow your family portrait or corporate business, the people you know will be a huge help. How many of your friends work for businesses or have families? I am assuming most of them. Why would these friends want to seek out a stranger to provide these services when they could work with someone they know? You can be that person.

Build relationships with other businesses

How many businesses do you frequent on a daily basis? From restaurants to law firms to local shops, there is a wealth of opportunity right under your nose. It is simple but can seem so daunting at the same time. Smile, talk to that business owner you have seen for years and tell them about your services and how they might benefit from them. Bring a brochure of your work.

For businesses that you do not have a prior relationship with, try to locate the person in the company who would be in charge of hiring out the type of work that you want to do. It can be much less effective to just walk in the door blind with the aim of speaking to the first person you see. Your prospective chances will improve significantly if you can make a pointed and direct contact with an influential person within a business.

Exhibit your work

Seek out gathering spaces, such as a coffee shop, a bar, or an event space to hold a show. This is good for their business as it provides art on their walls and a reason for people to enter their establishment. For you, it provides a fun space to show your work. If you live in a smaller community, where a lot of people who know you will come across the work, then this can be a great strategy. If you can draw people to the space to help show and sell your work, then that is a good thing. Many gallerists hold pop-up galleries in addition to their permanent spaces for just this purpose. Consider doing similar pop-up events of your work.

If you live in a smaller community, where a lot of people who know you will come across the work, then this can be a great strategy. If you can draw people to the space to help show and sell your work, that is a good thing. Many gallerists hold pop-up galleries in addition to their permanent spaces for just this purpose. Consider doing similar pop-up events of your work.

Make sure it’s on your terms

However, there are some pitfalls to this strategy. Providing your work to a business for an open-ended period of time at no cost doesn’t necessarily mean that your work will sell or that it will help you get noticed. I see artwork covering the walls of coffee shops all over New York, and most of it never moves. This is just giving the establishment free art with little or no benefit to you.

You need to select the correct establishment and have a way to draw people there with the specific purpose of seeing your art and hopefully purchasing it. Without that, this strategy can be as much of a drain on your time and resources as it can be a success. If these benefits are not there for you, the establishment should pay you for your work (or pay a rental fee) since you are providing a service to them. You are giving them an ambiance and improving the experience for their customers.

Photograph students at a local school

Another thing you could consider is contacting an acting or music teacher at a local school and offering to photograph the student’s headshots. If you do well, it will help build your portfolio and both the students and the teachers alike will tell others of your services. Hang an advertisement in a local business, do work for a local website, sell your work at a local fair; there are many creative ways to integrate what you do into your community.

There is an infamous and successful example of this type of strategy employed by a guitar teacher named Dan Smith in New York City. Beginning in the 1990s, Dan hung small ads in doorways and vestibules in businesses all over Manhattan. You could not walk into a diner or coffee shop without seeing one, and these ads persist today. He has built a business out of this single marketing strategy, and it lead him to be so ubiquitous that even The New York Times ran a profile of him.

The repetition is what worked for him, and it was not annoying; it was almost humorous and became a defining characteristic of growing up in the city. This is an example of the 80/20 rule, where 80 percent of your income can come from 20 percent of your marketing. Dan found a strategy that worked and pushed it to the extreme. It only worked because of the extreme measures that he took in plastering so much of the city with his ads. Other music teachers pasted their ads around the city, but none did it like Dan.

Conclusion

By working on a variety of local marketing strategies, these endeavors will combine to create an overall awareness of your business in the community. Some of the individual pieces might seem small, and all of this may seem tedious at first, but all together they can be very powerful.

For even more business help – join the Focus Summit 2017 Online Business and Marketing Conference for Photographers on Sept 26-28th 2017. We will cover marketing, business development, law, SEO, branding, blogging, and much more. Use the code “DPS” for a $ 50 discount.

The post How to Create a Successful Local Marketing Strategy for your Photography Business by James Maher appeared first on Digital Photography School.

Digital Photography School

August 26, 2017
Non-Technical Guide to Buying a Computer for Photographers
In this age of digital photography (and other imagery) it is pretty much necessary to interface with your camera via a computer. It will store your image files, allow you to edit them, and upload to various platforms. However, like your camera, your computer is an expensive piece of technology that needs to be understood in order to be used properly.

On Facebook photography groups, you will see a lot of questions about what hardware specifications people need when buying a new computer. Should they go with PC or Mac? Laptop or desktop? What do all the words and numbers mean? Do I need an SSD or an EHD or both?

Andyone

Some caveats

For simplicity sake, the term PC (personal computer) will be used in this article to cover the generic concept of a computer – regardless of brand or operating system. Whether you buy a PC or a Mac the hardware inside is the same.

This is also a beginner’s guide to hardware terminology for people without IT experience and backgrounds. For the technical readers, yes there may be some oversimplification of terminology. Unless it is genuinely incorrect, please reserve any comments about that. The non-technical people really don’t care about the details.

Consider your own needs

Photographers working with very large image files can often need a more powerful machine than normal. If you are doing editing in Photoshop with lots of layers, then the technical demand on the hardware is even higher.

As with everything, the faster and more powerful you want the hardware to be, the more expensive it will be as well. So being able to make decisions and choices to suit your budget and requirements is important.

The needles on the inside of a spinning disk SATA drive – I disassembled it for parts.

What does it all mean?
- SFF Tower
- i7-7700
- 16GB Memory
- 256GB SSD
- DVD-RW
- GeForce GTX 1080 Graphics card
- HDMI, VGA, 6 x USB, 1 x USB-C
- 24″ Monitor
Above is a standard description of the usual components found in a PC or laptops these days. In general, the list of specifications is done in a consistent order, listing the important features and functionality of the machine. Let’s break it down individually:

#1 – Size and Shape

By TJStamp

If the computer is a desktop PC then the first definition will be the form factor or type of case. Desktop PC cases come in several different tower sizes – full tower, micro, small form factor (SFF), and mini. Does it matter which you choose? Yes, if you want to put lots of hard drives in, or a really grunty graphics card, then you will need a bigger case. A powerful graphics card needs a bigger power supply to run it and is also a full sized card (usually) so will need a full sized tower case.

If the computer is a laptop then the description in the first line will usually define the screen size and type; e.g. 14″ FHD 1920×1080. Small, sleek, thin, and light is fashionable with laptops at the moment, however the sacrifice you make is that limits the options for upgrading your hardware over time. Laptops in general are not easily expandable and often have a shorter useable lifespan than desktops as a result. However, laptops are portable which is an added bonus.

Smaller cases also limit the choices you have to make in relation to the hardware options. With a mini case, it will only fit the smallest components, like an SSD (solid state drive) and that can often drive the price up as well.

So the choice of the form factor matters. Laptop versus desktop is a key decision, and then the size of the chassis makes a difference as to what you can put in it.

#2 – CPU

CPU stand for Central Processing Unit, and is essentially the brain of the PC. This does all the calculations and thinking and can affect the speed and performance capability of the computer. CPUs are classed by performance capability so an i7 is top of the range, i5 middle of the range, and i3 is entry level.

For standard everyday use an i5 is sufficient. For many photographers on a budget, an i5 with enough memory and an SSD will still be powerful enough to edit in Lightroom (or your program of choice). Those who edit really big files, especially in Photoshop will probably want to look at an i7 option.

Within each family there are several choices, again relating to speed and performance. This is defined as the number of cores they have and the clock speed. As is typical with technology, the faster and more powerful, the more expensive the option will be. Here is where it can get tricky because the software you are running on the computer may have been designed with certain requirements as to the hardware specifications. It may prefer to run on a single core, or need multiple cores or even multiple CPUs (i.e. it has more than one processor in the machine).

So you also need to know what requirements your specific software might need to run at optimum efficiency.

Pins on the bottom of a CPU.

3. Memory

If we think of the computer in vehicle terms, the form factor is the style and shape of the vehicle (2-seater, coupe, sedan, SUV, etc.), the CPU is the engine, and that means the memory is the fuel tank. Fuel limits how fast and how far a vehicle can travel, and memory does a similar thing for a computer. The more memory it has, the more capacity the computer has to process and run lots of operations at once. Memory provides the resources the CPU needs to do the computing.

Memory (RAM – Random Access Memory, or essentially the working memory) is available in 4, 8, 16 and 32 GB sticks. Most consumer PCs and laptops only have capacity for a maximum of 32GB with usually two slots available for memory. At least 8GB should be the minimum purchase in 2017. For anyone intending to use Photoshop heavily I would recommend at least one 16GB stick initially. That allows you a second slot to upgrade into if you have performance issues – if you buy two 8GB and want to upgrade, you will have to throw one away.

Memory stick (this has been snapped in half).

4. Hard Drive

If CPU is the engine, and memory is the fuel, then the hard drive is the storage capacity. So how much stuff can you fit into your PC? Is it a snazzy 2-seater, a roomy sedan, a people mover, a van, or a long-haul truck as far as storage capacity of your data.

Data isn’t just your image files either. Everything you load onto a PC takes up storage space, the operating system, all the programs, games, videos, music, emails, etc. Everything that somehow gets downloaded onto the computer needs a place to be stored. Over time, that can take up a lot of space. Add in large file formats like RAW files being downloaded by the hundreds or thousands on a regular basis, and suddenly you need a LOT more storage than you thought.

Patrick Lindenberg

Today there is the added complexity of two different technology choices for hard drives in consumer PC devices. Traditional spinning disc drives that connect via SATA (usually referred to as SATA drives for short) or SSD drives (solid state drives) are available. SATA drives have come in very large capacity options 4, 6 and 8TB at the top end, but they are a slower performance option. Due to having lots of moving parts, they are prone to breaking but they are the most cost effective option.

SSD drives are a newer technology that stores data in a different way without any moving parts. Hence they are physically more reliable, but have smaller storage capacity options and are quite expensive compared to the SATA option. Some of the newer slimline tablets and PCs only offer the choice of SSD.

Spinning disk out of a Toshiba laptop.

5. Data Input Options

How do you get data onto your computer? Does it come with a DVD drive? Most of the modern notebooks and tablets are so slim in design there is no room for such a device. You can get external DVD drives that plug in via USB if you need one to install software that comes in disk format.

If you have a PC tower you can install a fitted memory card reader which is faster than an external one for importing your image files.

External USB card reader to input your camera files.

6. Graphics Cards

Every motherboard comes with some graphics capabilities. Essentially, this is the bit that generates what you see on the screen. For basic image editing an onboard option is sufficient. However, if you are using Photoshop or Lightroom you may want to consider a specialized card that comes with dedicated graphics memory to boost the performance. Most low-mid range gaming cards will suffice. An added benefit is they will also offer support for multiple monitors, generally at least two. People wanting to process and edit video files may want to consider a dedicated specialized card for that purpose, they generally will only fit into a large PC case and can be quite expensive.

This is an additional option which will only fit into a tower case option – the bigger chassis have space to fit these. Extra graphics is not an option for laptops and similar form factor devices (unless you purchase a high-end mobile workstation or gaming laptop which are expensive). I would recommend getting a silent card as they can be quite noisy, generally the more powerful the card the bigger the fan it requires (too cool it down) and the noisier the card.

Graphics card that fits into a PCIe slot.

Monitor ports on a graphics card, the blue one is VGA and the white one is DVI.

Conclusion and Summary

So designing your computer means taking into account all the technical requirements of the software versus the capabilities of the hardware and your available budget. If you’re not interested in technology this might be a bit frustrating. However, investing some time in learning about what the components of your computer do, and how it relates to your specific requirements may be useful for making strategic computer purchases.

If you have the budget to purchase a more powerful machine, with the idea of hanging on to it for 3-4 years, instead of 1-2, that might be a better return on investment. Buying a larger PC tower case allows you to upgrade all of the components, depending on technology changes. You might even stretch out use of the PC to 4-5 years for a small outlay on upgrades – perhaps some extra memory, and maybe some SSD to boost performance.

Radek Grzybowski

Conversely, if your requirements are low and your budget is limited, being able to make an educated choice around what compromises you might have to make (i.e. maybe get a PC instead of a laptop as it’s often cheaper) can be helpful as well.

Do a bit of reading or research, or find a technical friend and offer to buy them lunch if they will assist you with your next computer purchase, that is always a viable option.

The post Non-Technical Guide to Buying a Computer for Photographers by Stacey Hill appeared first on Digital Photography School.

Digital Photography School
August 26, 2017
How to Use a Small Softbox With Your Flash to Transform Your Portraits

Typically I prefer to carry minimal photographic equipment when I am out to make a series of photos or portraits. If I’m on assignment for a client or creating new stock photos I will take more gear with me so as to better cover any challenging situations that may arise. One of my favorite accessories I have come to rely on is a small collapsible softbox for my flash.

Day time use of a small softbox can help to even out shadows on your model’s face.

Unmodified flash tends to be pretty harsh. A strong burst from a small light source produces some ugly shadows and extreme highlights. Whether your flash is on or off camera if the light is direct and unfiltered the results you see will be unnatural looking. I’ve experimented some with various small flash modifiers and not found any that produce pleasing light, mostly because of their size. They are too small to produce a reasonably even, soft light.

Pop-up Softbox

My pop-up softbox is just 60cm (about 2 feet) square, lightweight, and very portable. Having someone to assist with it is helpful, so it can be easily positioned just where you want, but I have often used it on location mounted on a light stand. Placing the flash in the mouth of the softbox effectively increases the output size of the light and softens it with two nylon diffusers. The light from your flash will be scattered, resulting in softer shadows and reduced highlights.

Night Portraits

Adding a soft light to night time portraits can create evenly lit photographs.

Photographing portraits at night can be challenging, especially if you have to rely on available light. Adding a light source you have some control over, will make night portraiture a much more enjoyable experience. Often at night, available light sources will not provide a pleasant, even light for your subject and direct flash will produce unflattering results. Using a softbox to spread and soften the light will avoid hard edged shadows and blown out highlights.

Often at night, available light sources will not provide a pleasant, even light for your subject and direct flash will produce unflattering results. Using a softbox to spread and soften the light will avoid hard edged shadows and blown out highlights.

Indoor Portraits

Adding a soft light to one side of my model has helped brighten up the scene.

Likewise, when photographing indoors and relying on available light, it can be challenging to achieve pleasing results. By adding a soft light to your subject you are able to create natural looking images.

The slightly larger surface of the softbox throws light over a wider area so more of your subject is affected and also some of the surroundings will benefit from a little more illumination.

Careful flash output and exposure setting have enabled me to capture this traditional Thai new year blessing activity effectively.

Outdoor Daytime Portraits

Outdoors, during the day, is when I enjoy using this softbox the most. Having an additional light source that’s powerful enough without being too harsh can help you make portraits that look natural. Being able to reduce shadows by adding a soft fill light will produce a much more flattering result than if you are using an unmodified flash or relying only on available light.

Balance is the Key

I have found manually setting my flash output gives more consistent results than setting it on TTL or other automatic settings. Being in control of the output will allow you to balance the nice soft light from the softbox with the available light. This is important if you want to produce natural looking photos. If your flash produces too much or too little light it will overpower the ambient light or have little to no effect.

I used to use an external light meter to measure the ambient light and then set my flash so it was producing an equivalent output. Now it’s easy enough to just use the information your digital camera provides on the screen, the histogram and blinkies. With a little trial and error, it does not take long to find a setting that gives you a good exposure.

Using the flash and softbox to balance the back lit subject with just the right amount of filtered light.

Light Position and Background

At times you might want to balance the flash so that the background remains very bright and your subject is still pleasantly lit. Dialing in the flash output to slightly less than the value of the background illumination will achieve this when your camera’s exposure is set for your model’s skin, (which is being lit by your flash).

Think of your softened flash as a second light source. Position your model so the brightest ambient light source is behind them and place your softbox to one side in front of them. This can result in studio-like portraits. Again, in this situation, balance is the key. Too much or too little output from your flash will create an unbalanced light and an unnatural looking photograph.

Filling in with a strong, soft light when the light behind your subject is strong can provide very natural looking portraits.

The softbox was positioned to camera left for this shot.

Modify for Success!

Many of our students avoid using their flash, mostly because they have failed to achieve good results in the past. A small, direct light source is rarely going to provide pleasing light. Using a small softbox to modify the light from your flash and learning to balance that with the ambient light, will help transform your portraits.

As always, when you are trying some new technique with unfamiliar equipment make sure you can afford to make mistakes. Making mistakes is a great way to learn, but you don’t want to do that when you have someone relying on you for the photos. Practice when the only consequence of messing up is that you’ll learn from your experience and not let someone else down.

The post How to Use a Small Softbox With Your Flash to Transform Your Portraits by Kevin Landwer-Johan appeared first on Digital Photography School.

Digital Photography School

August 26, 2017