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How to do a Photography Alphabet Project

30 Oct

Do you remember the ransom notes left behind by kidnappers and villains in movies? The notes made up of different letters cut out of magazines? My first encounter with the concept of a ransom note was while watching a movie called Baby’s Day Out. The 1994 movie, aimed at kids, tells the story of a toddler kidnapped by three crooks disguised as photographers (funny, huh?). The kidnappers then leave a ransom note constructed from letters cut from magazines. Now, don’t get me wrong. I’m not encouraging kidnapping here, or any criminality for that matter. But this project does involve building up a photographic library of text, for artistic purposes only!

How to do a Photography Alphabet Project

Now, don’t get me wrong. I’m not encouraging kidnapping here, or any criminality for that matter. But this project does involve building up a photographic library of text, for artistic purposes only!

We encounter so much written language these days that it is often overlooked as a photographic subject. Written language in any environment is made up of an endless combination of fonts, colors, shapes, and applications. Of course, there are random text generators online, but automated programs won’t add anything to your photographic practice.

By scoping out letters in the field you’ll train your photographic senses to seek out unusual subjects, an invaluable skill for any photographer. By concentrating on an unusual yet familiar subject, you can build up an interesting and varied typographic library. It’s a great way to view the world through the written word.

How to do a Photography Alphabet Project

How to do a Photography Alphabet Project

Some history of the alphabet

The first true alphabet was created roughly four thousand years ago in the land of Canaan. The alphabet, containing between 20-32 individual letters, didn’t contain any vowels so people had to guess what vowel sound followed each consonant based on what the word looked like. Despite this, the system worked and ended up replacing the complex system of Egyptian hieroglyphs.

The new alphabet meant that people didn’t need to memorize thousands of different symbols, allowing more people to communicate through the written word. The Greeks added vowels to the alphabet – creating the first alphabet with a letter to represent every sound in a language. From there, the alphabet spread to Italy where it evolved into the Latin alphabet. The English alphabet evolved after the Romans took the Latin language to Anglo-Saxons England, who amalgamated the Latin and runic alphabet.

Some letters are harder to find than others. For the letter Y, I had to get a bit more creative – borrowing the registration from an aircraft overhead.

What you will need

One of the great things about this project is that it doesn’t require any special equipment. You can simply grab your camera and you are good to go! However, there are a few items that you can pack to make your trip a little easier.

Bring along a folded piece of paper and a pen to take a tally of the letters you photograph. This way you won’t have to constantly scroll through the photos you have taken previously to check if you’ve stocked up on a particular letter. This is also useful when tracking numbers or upper and lower-case letters you’ve photographed. To separate the tally of each letter more easily, I use a highlighter. That way you won’t get mixed up or add a mark under the wrong letter.

Scouting for letters

How to do a Photography Alphabet Project

A rusty bus zone sign makes for an unusual addition to your alphabet stockpile.

How to do a Photography Alphabet Project

Like many subjects, once you start looking for something, you become attuned to the sight of it. This honing-in on detail is an invaluable skill for photographers, who often have to decipher both the detail and greater landscape simultaneously.

For starters, try collecting letters to make up a phrase. Then go on to building the whole alphabet. The more variety the better. As an extra challenge, try photographing a different source for each letter or add numbers to the mix.

I found plenty of material from traffic and warning signs alone. You may notice that many signs are made up of eye-catching colors. Red and yellow shades draw attention, so they are commonly used for warnings. By incorporating these bright colors into your collage, you’ll create a very attractive composition. You could even photograph the labels on tins and packets of food. Though if you’re doing this in a supermarket or grocer, be sure to check with the manager first.

Signage, graffiti, names etched into concrete, there is an endless supply of letters for you to photograph. Post your results in the comments below and nobody gets hurt!

The post How to do a Photography Alphabet Project by Megan Kennedy appeared first on Digital Photography School.


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Review: Sigma 100-400mm F5-6.3 DG OS HSM Contemporary Lens

29 Oct

I believe it was Robert Capa who said, “If your pictures aren’t good enough, you’re not close enough.” While this is not incorrect nor is it bad advice, the fact remains that there will be times when our feet simply can’t do the zooming for us. To facilitate getting up close and personal without actually being up close and personal, photographers rely on telephoto lenses to bridge the gap between themselves and their subject.

Review: Sigma 100-400mm F5-6.3 DG OS HSM Contemporary Lens

The Sigma 100-400mm F5-6.3 Contemporary Lens

With each lens I evaluate with every passing year, I am fortunate enough to bear witness to the staggering advances lens manufacturers are making in the world of photographic optics. Today, there are many instances where aftermarket “non-native” third-party camera lenses either meet or even surpass the performance of their more expensive cousins manufactured by their respective camera brand. We now have a high-grade glass without the high-grade price tags. This is especially true when it comes to long range telephotos and fast primes.

So, when the opportunity arose for me to get my hands on one of the newest budget-conscious telephotos, the Sigma 100-400mm F5-6.3 DG OS HSM Contemporary lens, I lept at the chance. I have a couple of friends who spoke quite favorably of this particular lens, so I had to see it for myself. Take a few minutes, sit back and relax, and let me tell you exactly why the Sigma 100-400mm might be a good choice for you if your bag is missing a good long-range zoom lens.

Build Quality

The main housing of the Sigma 100-400mm lens is made from a solid-feeling hard plastic. Being from the Sigma Contemporary line, it lacks the metallic-feeling TSC (thermally stable composite) construction of their Art series lenses. Even without this type of material, the lens feels incredibly solid in the hand and feels great. The zoom and focus rings are both rubberized and work smoothly.

The Sigma 100-400mm is exceptionally balanced. Overall, for a lens of this size, it feels surprisingly nimble when mounted on my Canon 7D.

Review: Sigma 100-400mm F5-6.3 DG OS HSM Contemporary Lens

Review: Sigma 100-400mm F5-6.3 DG OS HSM Contemporary Lens

Oddly enough, the balance seems to improve when the lens is extended out to its maximum focal length of 400mm. The lens hood included with this lens also offers a great hand-hold which facilitates easy “push/pull” zooming.

Review: Sigma 100-400mm F5-6.3 DG OS HSM Contemporary Lens

The lens sports a zoom-lock switch which is quite useful for carrying around a telephoto lens. This prevents gravity from slowly extending the lens while hiking or walking. The zoom-lock switch on the Sigma 100-400mm firmly locks the lens into place at its 100mm focal length.

Review: Sigma 100-400mm F5-6.3 DG OS HSM Contemporary Lens

Weather sealing

The folks at Sigma have beefed up the weather sealing of their lenses considerably. As primarily an outdoor and wilderness shooter, I am constantly at the mercy of the elements. The weather sealing of this lens is superb.

Something that I love to see is a visible rubber gasket on the lens bayonet mount. This type of extra assurance and protection against dirt and moisture making their way to my camera’s sensor makes me feel all warm and fuzzy inside even when the conditions outside are decidedly not.

Review: Sigma 100-400mm F5-6.3 DG OS HSM Contemporary Lens

Review: Sigma 100-400mm F5-6.3 DG OS HSM Contemporary Lens

One thing to note on the overall design of the 100-400mm is that it certainly has a lot of external switches. While these switches are each quite actionable and serve a purpose, they also make it difficult to manipulate the various lens functions without looking. With high range zoom lenses such as this such problems aren’t uncommon.

Review: Sigma 100-400mm F5-6.3 DG OS HSM Contemporary Lens

Image Quality

Sharpness

The sharpness of the Sigma 100-400mm is wonderful for the price range of this lens. In fact, I was stunned to see just how crisp the images produced at the maximum apertures actually were. Both at 100mm and 400mm the sharpness was impressive.

 

Review: Sigma 100-400mm F5-6.3 DG OS HSM Contemporary Lens

400mm at f/9.

Review: Sigma 100-400mm F5-6.3 DG OS HSM Contemporary Lens

100mm at f/6.3.

Review: Sigma 100-400mm F5-6.3 DG OS HSM Contemporary Lens

400mm at f/6.3.

There was slight edge softening while at 100mm f/5 and at 400mm f/6.3. The incredible thing about the sharpness, which I feel speaks to the true quality of this lens, was only noticed while I was examining test images for this review at 3:1 magnification. Look closely at these two photos. The first was made at 100mm.

Review: Sigma 100-400mm F5-6.3 DG OS HSM Contemporary Lens

100mm

The second is the same scene but zoomed to 400mm.

Review: Sigma 100-400mm F5-6.3 DG OS HSM Contemporary Lens

At 400mm.

Look closely at the left side of the clock tower. Here, let me help you. Below is the same image magnified in post-processing to about 1:1.

Review: Sigma 100-400mm F5-6.3 DG OS HSM Contemporary Lens

The Same image viewed at 1:1 (100%) in Lightroom.

Yes, those are wasps or some other type of insects swarming around the clock tower! Considering the small size of the insects coupled with the distance, approximately 600 yards, the resolving power of this lens is exceptional.

Chromatic Aberration

Chromatic aberrations detected with the Sigma 100-400mm are barely worth mentioning. At 100mm using a relatively wide f/5 aperture, there is a minutely observable purple/magenta fringe in high contrast areas. Other than that, there is nothing remarkable to speak of with this lens.

Autofocus Performance

Fast and responsive is the best description I can give to the 100-400mm Sigma autofocus. The AF performed well and focused locked well while in AI Servo mode on my Canon. The autofocus was quite silent and worked great for not disturbing “temperamental” wildlife.

Review: Sigma 100-400mm F5-6.3 DG OS HSM Contemporary Lens

Can you spot the hiding deer?

Review: Sigma 100-400mm F5-6.3 DG OS HSM Contemporary Lens

There she is, A 400mm reach helps out immeasurably.

Optical Stabilization

The point of vibration reduction, sometimes referred to as optical stabilization, is where the Sigma 100-400mm didn’t exactly impress. Not that the OS didn’t work but the overall improvement was not as drastic as I have observed with some other lenses of this type.

Review: Sigma 100-400mm F5-6.3 DG OS HSM Contemporary Lens

With no stabilization.

Review: Sigma 100-400mm F5-6.3 DG OS HSM Contemporary Lens

With OS1 Mode turned on.

There are two OS modes present on the 100-400mm not including the “Off” mode. They are OS1 and OS2. The OS1 mode is general OS. This serves to reduce multi-directional camera shake and what I generally left the lens set to during my tests. OS2 is geared exclusively towards panning with the 100-400mm and works to reduce single plane vibration.

Customization

Sigma offers a USB dock so that firmware and custom modes can be uploaded directly to the lens via computer with the Sigma Optimization utility. That’s where the custom mode switch comes into play. You can customize Autofocus and Optical Stabilization functions within the lens. I have never used the functionality but if you want ultimate control over every aspect of your gear, this is a great option.

The Tripod Collar Conundrum

The common complaint I’ve gathered about the Sigma 100-400mm F5-6.3 is concerning the lens’s tripod collar; there isn’t one. This comes as somewhat of a surprise to some photographers, myself included. Although, it seems to be of more importance to some than others.

Personally, the lack of a tripod ring is not a huge problem for me. The featherlike balance of the lens negates the need for a tripod mount in my opinion. Still, if you plan on using the lens with a smaller, adapted camera body, the weight of the lens could be an issue. If you want a lens with a tripod ring or collar, this might not be the choice for you.

Final Thoughts on the Sigma 100-400mm F5-6.3

So, what’s the bottom line on the Sigma 100-400mm F5-6.3 DG OS HSM Contemporary Lens?

First of all, the sharpness is outstanding. Even at its widest aperture, the sharpness is exceptional with very little edge softening.

The build quality is more than capable of serving as a “go-to” telephoto for sports and outdoor work and the beefy weather sealing only enhances the workability of this lens.

If you absolutely MUST have the capability of a tripod collar then look elsewhere because the Sigma 100-400mm lens simply doesn’t have one. If you don’t care about that, then for around $ 799 USD, this telephoto from Sigma won’t fail to impress.

The post Review: Sigma 100-400mm F5-6.3 DG OS HSM Contemporary Lens by Adam Welch appeared first on Digital Photography School.


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6 Reasons You Should Hang Out With Other Photographers

29 Oct

Solo indulgence in any form of creative expression can leave you in a vacuum unless you are completely confident and never lack inspiration. I don’t think I know anyone like that. Being a photographer, whether for a living or as a hobby, is often something people do on their own. Here are 6 reasons you should hang out with other photographers, they’re cool.

6 Reasons You Should Hang Out With Other Photographers

#1 – Build Photography Friendships

If you are interested in photography, meeting other photographers is a great way to make new friends. It’s easier to talk with people who have the same interests as yourself. A conversation about common topics flows more readily and remains more engaging.

One of the greatest advantages of being friends with other photographers is going places together. You can enjoy spending more time taking photos without being harassed that you’re taking too long. Which is what usually happens when you go places with people who don’t have a camera.

6 Reasons You Should Hang Out With Other Photographers

#2 – Enjoy Diversity

Meeting other photographers who have interests in different subjects can lead to fresh inspiration. For example, if you love photographing landscapes and become friends with someone who loves photographing people, you can inspire, encourage and challenge one another. This is a wonderful way to learn and explore different subjects, methods, and styles of photography.

Getting together with photographers who have more or less experience than you brings lots of opportunities to learn, and teach. You will see things differently and use alternative camera settings than other photographers.

6 Reasons You Should Hang Out With Other Photographers

Talking about what you do and how you do it can be a fun learning experience. Spending time making photos with others and sharing your experiences and ways of working will help you become a better photographer.

#3 – Share Experience

If you are new to photography, being around other photographers is one of the best ways to learn more. Naturally, it’s advantageous to read and do courses, but photographing with others and sharing the experience is also valuable.

How you each set your camera, choose what to photograph, how to compose an image and loads of other things can seem overwhelming when you’ve just bought your first camera. Talking about these things with other photographers will teach you more effectively than just reading or doing courses.

Reviewing your photographs with someone you trust will also be encouraging and help you grow in your creative expression. If you only ever look at your photos alone and do not get any feedback on them it’s very easy to stagnate and not develop creatively.

6 Reasons You Should Hang Out With Other Photographers

Having someone more experienced help you choose your best photos and give you constructive feedback can lead to new understanding and different ways of taking photos that you may not think of on your own.

#4 – Collaborate

Collaboration on photographic projects is a lot of fun. Spending time working on the same subject with a common purpose, maybe a gallery show, book or website, with other photographers can really stretch you creatively and help you grow. Each photographer will see things differently and your styles will complement or contrast the other, and add a richer dynamic to your project.

6 Reasons You Should Hang Out With Other Photographers

#5 – Best Friends

I bought my first camera (a Nikkormat FTN) from a friend who wanted to upgrade. We have another friend who loved photography and the three of us would go out often to different places to take photos together. I learned a terrific amount from these two guys and we had a lot of fun together.

We’d also review the photos we’d made on previous excursions.  That usually meant sitting around a slide projector for hours enjoying one another’s photos and planning where to go on our next photography outing.

Over the years I have had photographer friends, some professional, some hobbyists. They’ve been some of my best friends. Now I am married to a photographer and it’s wonderful always having someone to share the experience with, getting constructive informed feedback and continually encouraging one another to do better.

6 Reasons You Should Hang Out With Other Photographers

#6 – Meet Photographers

There are many ways to meet other photographers and make friends. Local meet-up groups, camera clubs, online groups and forums (like the dPS facebook group). I’m sure if you go down to your local camera store and talk with the owner they would know other keen photographers they could introduce you to.

6 Reasons You Should Hang Out With Other Photographers

Concluding Recommendations

One other recommendation I would make is to hang out with other photographers who have a similar way of enjoying photography.

Some people love to go out as much as possible and explore new ways of making great photos. Other people like to spend time discussing equipment and what their next purchase will be. Others still discuss technical details for hours on end.

6 Reasons You Should Hang Out With Other Photographers

Finding yourself with people who love the tech side of photography if you’re one who loves to just get out and photograph can be discouraging, so choose your friends carefully. Have fun!

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How to Super-Charge the Spot Healing Brush Tool in Photoshop

28 Oct

The Spot Healing Brush Tool is often used in portrait photography to remove blemishes, wrinkles, and other distracting elements. By default, this tool works great, but sometimes you will need to add an extra level of control to get the results that you want.

In this tutorial, you will learn how to use the Spot Healing Brush Tool with Content-Aware to quickly remove blemishes and other imperfections from your photos.

Getting Started

First, create a new layer to work non-destructively (Shift + Ctrl/Command + N).

Then select the Spot Healing Brush from the Toolbar. Make sure that “Content-Aware” is the selected Type and that “Sample All Layers” is checked in the Options Bar.

How to Super-Charge the Spot Healing Brush Tool in Photoshop

Spot Healing Brush Tool – Normal Mode

With the Spot Healing Brush Tool active, just paint over any distraction to remove it. In most cases, the Spot Healing Brush Tool will do an excellent job in eliminating the problem.

02 spot healing comparison

However, there are times where the Spot Healing Brush Tool will destroy the original detail and texture found in the photo, giving you very unrealistic results.

In the example below, the Spot Healing Brush Tool removed the wrinkles under the eye by adding a skin texture that made the image and problem worse.

03 spot healing normal

Left before using the Spot Healing Brush. Right – after using it in Normal mode.

Using Modes to Enhance the Spot Healing Brush

For a more realistic result, you need to keep as much of the original detail as possible and only remove the distracting element.

To do so, first consider the blemish, wrinkle, or distraction you are trying to remove. Is it darker than the skin tone? Or is it brighter than the skin tone?

If the distraction is lighter, select Darken from the Mode in the Options bar. If the distraction is darker, select Lighten. In this case, the wrinkle is darker than the skin tone. That means that we want to lighten the wrinkles. So in the Options Bar, under Mode, select Lighten.

04 lighten

With the brush mode set to Lighten, Photoshop will only replace pixels that are darker than the good portion of the skin. Since the wrinkles and other skin distractions in this photo are darker than normal skin tone, only the distracting elements are removed, leaving more of the original texture surrounding it intact.

Notice that as you paint over a wrinkle, you don’t lose the original highlights and you keep a lot of detail. The example below shows the results between using Normal and Lighten to apply the same correction.

05 spot healing normal

Comparing results from different brush modes. Left: Spot Healing Brush in Normal Mode. Right: Spot Healing Brush in Lighten mode.

Additional Notes

To work faster, keep in mind that you can switch between Modes by holding the Shift key and pressing the + or – keys.

This technique also helps you remove blemishes in areas that contain detail that you would like to keep.

In the example, below you can see how by using the Lighten mode we were able to remove the skin blemishes while leaving the white hair strands intact.

06 spot healing forehead

This technique works in this case because the hair strands are lighter than the skin tone, and the blemishes are darker than the skin tone. The Lighten Mode makes the Spot Healing Brush target only darker pixels, so the fine white strands of hair are left intact.

This tutorial is part of my Content-Aware series on YouTube. There are more videos there if you would like to learn more about how content-aware works in Photoshop.

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Video – How to Shoot Stunning Photos at Sunrise and Sunset

28 Oct

In another video from Practical Photography, get some really good tips on how to shoot at sunrise and sunset to get the most epic images.

Follow along as two photographers go head to head in a little friendly competition to get the best sunset and sunrise photos. Get some practical tips that you can use in your photography at these magic hours as well.

Need more sunrise and sunset tips? Try these dPS articles:

  • 4 Reasons Shooting at Sunrise and Sunset Will Help You Take Better Photos
  • 8 Simple Guidelines for Capturing Spectacular Sunrise and Sunset Images
  • 7 Uncommon Tips for Winter Sunrise Photos Near Water
  • Tips for Location Scouting to Get the Perfect Sunset Photograph
  • Tips for Doing More Spectacular Sunset Photography
  • 5 Tips to Take Better Sunset Photos – and Why Not to Photograph the Sunset Directly

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Weekly Photography Challenge – Sunrise Sunset

28 Oct

Shooting the sunset or sunrise is a great way to come back with spectacular images. This week it’s time to get out there at dawn or dusk and make some magic.

Sunset in Nicaragua.

If you need some tips to help you on this one you can find a good video here and links to several articles on shooting the sunrise and sunset.

Remember you don’t have to have the sun in your photo to make it an effective shot. Use the nice soft directional light at these times of day to your advantage.

Sunrise in the beach in a fishing village in Nicaragua. I used the soft warm light to show the subject – this young girl taking home a fish for her efforts helping the fishermen on the boats coming in.

Another Nicaraguan sunset. Add an interesting subject in front of your sunset for a more dramatic photo.

Weekly Photography Challenge – Sunrise Sunset

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.

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Announcing the Winners of the Corel “Colors of Fall” Contest

27 Oct

A huge thank you to everyone who entered our recent contest to win a $ 500 Amazon™ Gift Card and a Corel Software Package. The second-place winner wins a full Corel software package and the third-place winner wins a copy of PaintShop Pro 2018 Ultimate. The software package includes PaintShop Pro 2018 Ultimate, AfterShot Pro 3, VideoStudio Ultimate X10 and ParticleShop.

This was a “Colors of Fall” themed competition, and so many of you shared your beautiful photographs, that we encourage everyone to go back and scroll through the comments section to view these wonderful images.

As a bonus to the entire dPS Readership, Corel is offering a 10% discount on their PaintShop Pro 2018 Ultimate leading Photo Editing Software through November 10, 2018, and as a bonus, you will receive ParticleShop Plugin FREE, a $ 39.99 value. Just click here.

Yet again, the response was absolutely wonderful! But now, onto the winners! Drum roll please, and the winners of the Corel PaintShop Pro 2018 Ultimate Editing Software and the $ 500 Amazon Gift Card are:

Grand Prize Winner: Rick K

I love the new PaintShop Pro 2018’s improved navigation and bigger icons. It allows me to better express my creativity with Editing the RAW image. The reason for submitting an IR image edited with PaintShop Pro 2018 is to show that PaintShop Pro 2018 can easily handle editing RAW IR images. Editing RAW IR images is a multistep process involving a red/blue color swap and precise color saturation and white balance settings. Using PaintShop Pro 2018 the editing process is very easy and the steps can be saved allowing for fast repeatable editing of several RAW images quickly. The picture I am submitting for the contest was taken on the first full day of Fall 2017 using a Canon T1i converted specifically to take IR images. This image was taken using a 665nm IR filter on the Canon T1i. The camera was positioned on the Doyle road covered bridge in Jefferson, OH and pointed at Mill Creek.

Second Place Winner: Kristin G

I’m new to digital photography post-processing, but I downloaded the free trial from Corel and used it to edit this photo that I took back in October 2011 in Acadia National Park in Maine. I watched many of the tutorials on the Corel site and they are a good way to feel ones way around the program and get a taste of the possibilities. The program is powerful yet does not seem overly complicated to learn. I definitely am excited to use Corel to take my photos to the next level. Thank You!

Third Place Winner: Charlie Hoffman

Colors of Fall ~ Wow….Having used Corel products for years the new PaintShop Pro 2018 Ultimate makes my work output a snap. This photo was taken overlooking the Lackawaxen River in the Pocono Mts. of Pennsylvania.

We were all very happy with the entries. You made us smile, but most importantly, you made us want to do more of what we do; provide you quality information and guidance to become a better photographer. We were so pleased to see that you came from every part of the world. Thank you all for your entries!

Again, for those of you that didn’t win, Corel is offering a 10% discount off their PaintShop Pro 2018 Ultimate leading Photo Editing Software, and as a bonus, you will receive ParticleShop Plugin FREE, a $ 39.99 value. Just click here.

The Winners will be emailed with details of how to collect their prize. Please make sure to look for our email. Thank you again for all the wonderful submissions and to Corel for sponsoring this competition.

Learn more about PaintShop Pro 2018 Ultimate HERE.

Disclaimer: Corel is a paid partner of dPS.

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4 Tips for Beginners to Food Photography

27 Oct

Food photography is everywhere – restaurants, bars, advertisements, shop windows, billboards, blogs, menus, books – the list is endless. Interestingly enough, when done right these images not only catch your attention but may have an impact long after you’ve seen them.

4 Tips for Approaching Food Photography

The work that goes into food photography is no small feat and usually starts with a story. Is it something you are trying to sell? Is it food you created and want to convey that it is your best recipe yet? Does your food story have a cultural side or is it a moody, artistic piece? Food photography is a vast intricate topic, but if you are just starting out, here are a few things to keep in mind:

1) Light to accent the food’s character

Controlling light can elevate your food photography easily as it helps you take charge of your end result. A good starting place to set up is near a window with lots of natural light – a look that is often simulated when shooting food in a studio – with light skimming across at an angle.

4 Tips for Approaching Food Photography

This scene evokes feelings of food just made and laid out, waiting to be consumed. No matter what light source you use, keep the subject in mind and modify the light if needed. Modifications can be as simple as changing color temperatures to be more flattering or diffusing your light.

Back or side lighting usually works well for food, so try them both and see what works best for your subject.

2) Textures and Layers

While textures and layers are two different aspects of food photography, they sometimes have a symbiotic relationship.

Textures are an easy way to add personality and character to your image and layering helps you tell the story. Textures range from using your work surfaces, contrasts in the food itself or even by bringing in a prop or two.

4 Tips for Approaching Food Photography

Your composition can benefit from layering elements in the photo that portrays your food – props and ingredients for example. Further, introduce textures and layers by using contrasting backgrounds on your work surfaces, e.g., a metal baking tray on a tiled counter top or wooden table.

By building up layers you give the final image interest and depth. You want the food to look delicious and interesting, not lifeless or unappetizing.

4 Tips for Approaching Food Photography

A nice rule is to keep layering and styling your subject until you want to eat it.

3) The power of neutral backgrounds

Keeping the previous tips in mind, a good starting place is a neutral background to build on. It can be plain or even textured, but when you start neutral you can create many different looks with a few simple changes.

Use the food and layers to introduce color, shapes, lines and more texture. The background is not intended to be the main focus but is used to add interest and enhance your final image.

4 Tips for Approaching Food Photography

If you are creating food image for stock photography, you will see many images done on solid white or black backgrounds. This is done intentionally so that the food is the focus and not the storytelling element.

4 Tips for Approaching Food Photography

4) All about the angles

The most recommended angles for food photography are directly above, straight on, or at a forty-five degree/three-quarter angle (can vary slightly). Determine how close you want to get to the food. Do you want to show something specific or an entire scene?

Keep the subject in mind – some food looks very good close-up, while others benefit from the environment and story.

4 Tips for Approaching Food Photography

Bonus Tip

When you start doing food photography, it will not take you long to realize that it is not as easy as it looks. Many food photographers use a food stylist to help them materialize their vision, as styling is a skill in its own right.

If you are just starting out, by all means, experiment. But if you can use a food stylist, there is a great deal you can learn from the way they work and develop your own style and technique.

Conclusion

4 Tips for Approaching Food Photography

Food photography is an extremely satisfying genre because of all the attention to detail it requires. It is an expansive topic with many tips and tricks needed to create that perfect delectable shot. These are just a few to consider as you start your journey. Feel free to share any tips you have come across or used in this delicious genre in the comments below.

Check out some of our food photography video tutorials tips as well.

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5 Camera Settings Every New Photographer Needs to Know

26 Oct

The first time you pick up a camera it can be pretty confusing. With all the bells and whistles crammed inside even entry-level DSLRs nowadays, knowing where to start is anyone’s guess. Teaching yourself, through trial and error, is one of the best means-tested ways to come to grips with your camera and learn how to use it. But sometimes that takes a while, so here are some of the camera settings that I think every photographer needs to know about when they get their hands on a DSLR.

1. Live View Stops Mirror Slap

That satisfying, reassuring “clunk” sound you hear when you press the shutter button isn’t actually the shutter firing on the camera. In fact, that is the mirror moving up and down to expose the sensor to the world. But that relatively aggressive motion of the mirror can introduce camera shake into your images.

It’s something you might notice if you’re shooting a long exposure, but there’s an easy way around it. Switch the camera into Live View mode, forcing the mirror to raise permanently (until you turn off that mode) so that you can see the image on the LCD screen. This means that when you do actually press the button, only the shutter itself is moving – no need to worry about that mirror thudding up and down anymore.

Long exposures are better shot in Live View. 5 Camera Settings Every New Photographer Needs to Know

2. Auto ISO and Manual Mode Helps You Learn

Lots of photographers stay in Automatic mode because of the fear of missing images when they switch to Manual mode. To remove this fear, try shooting in Manual mode with Auto ISO enabled. This means that the camera is still in control of one of the three factors affecting exposure (aperture, shutter speed, and ISO) so that it can balance out the settings with the ISO. But now you get to control the aperture and shutter speed yourself, changing them around to see what effect they will have on your photo.

5 Camera Settings Every New Photographer Needs to Know

Use Manual mode and Auto ISO to experiment safely with the other camera settings.

Try slowing down the shutter speed, or narrowing the aperture of the lens, safe in the knowledge that auto ISO will do a pretty good job at balancing the exposure (unless you slow your shutter down a lot). Being able to experiment freely like this will help you to get a practical knowledge of the exposure triangle and how it works.

3. Disable Area Autofocus Modes

The first thing you should do is disable any Area (zone) Autofocus modes. This is where the camera picks and chooses where it focuses, as it will rarely be at the point you would want. Instead, try using single-point focus. This allows you to be precise and line-up the black square over the target area in the scene.

5 Camera Settings Every New Photographer Needs to Know

Here I used single-point focus to nail the focus on the eye.

If you were taking a photo of a dog, for example, it’s much better to focus on the eyes than to rely on the camera to find that spot for you. Most likely, the camera would be focused on the end of the dog’s nose – not very good for an impactful shot.

4. Mute Your Camera

As a wildlife photographer, one of the really annoying things to hear in a quiet hide or nature reserve is the beep of someone’s camera. Whenever I get a new camera, it’s not long before I dive into the menu and disable all of the autofocus beeps, menu selection beeps, and any other noises the camera might feel so inclined to make.

5 Camera Settings Every New Photographer Needs to Know

Mute your camera to avoid disturbing sensitive animals – or people!

Not only is it pretty pointless, it could alert an animal to your presence! So, wildlife photographers, don’t do it.

5. Pay Attention to the White Balance Setting

The White Balance setting is one that can totally transform your images in a second, but it’s one that most people ignore for quite a while and just leave in auto mode.

If you’re shooting in JPEG file format, and not raw, then the White Balance choice you make in the camera does matter. If you’re shooting raw, you can adjust this later during post-production.

5 Camera Settings Every New Photographer Needs to Know

Adjust your white balance for proper color replication.

Why not Auto White Balance? I find that it never gets things right. Colors always look much flatter and dull, whereas the daylight or cloudy presets add an immediate punch to your shot. Try it, and you’ll probably find things really do change for the better.

You can also look at the manual White Balance setting (measured in degrees Kelvin) if you want to have a much more fine-tuned control over this setting.

Summary

Hopefully, these five tips will help you to navigate through the minefield that is a new DSLR camera. There are of course so many more things to know – and that’s where Digital Photography School can help you, of course. But these are some things that I think will make life easier for you as a new DSLR user.

Let me know in the comments if you have any other great tips or camera settings for new DSLR users!

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4 Tips for Low Light Photography During the Winter

26 Oct

With fall here and winter fast approaching as well, the sun sets earlier in the day and most of us will be confined to shooting indoors. Whether you are shooting during the day or in the evening after the sunset, adapting and embracing shooting in low light will be beneficial to help you continue working on your photography skills and other personal photo projects.

If you are like me and work all day and come home in the evening to pick up your camera, you may be further limited to shooting right around sunset or utilizing artificial light sources only.

Low light indoors winter 10

There was a time not long ago when I used to hate photographing my kids in low light. I was nervous about increasing the ISO and adding noise in my images or worried about reducing the shutter speed and causing camera shake. But slowly over time, I started to get used to working with various light sources around me creatively and utilizing them in my images.

If you are new to shooting in low light, here are some simple tips that could be helpful without the fear of shooting indoors in low light or using artificial light.

1. Shoot wide open and/or use a slow shutter speed

Although this may not be the best solution all the time with multiple people in the image indoors; but shooting wide open (as much as your camera allows) helps you get more light in the image. Making sure your focal points are aligned on the subject where they need to be, this could help you with that low light shooting you are struggling with.

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Another option would be to consider using a slow shutter speed. A shutter speed of 1/200th or slower to 1/100th doesn’t always produce camera shake when handheld and lets more light in as well. There’s always the option of using a tripod, however, keep in mind that this may not be feasible when photographing kids in action.

Low light indoors winter 3

2. Crank up that ISO and embrace noise

Having a camera with low light capabilities sounds great. However, if you are on a budget and need to work with what you have, consider cranking up your ISO as high as you can after adjusting your shutter speed and aperture.

Consider embracing the noise or grain produced and using it in your images creatively. Converting an image to black and white during post-processing also helps hide any yellow light indoors you may have from artificial sources after hours.

Low light indoors winter 4

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Low light indoors winter 7

Consider using alternate artificial light sources such as an iPad light, refrigerator light, desk lamp, etc., for extra creativity.

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3. Find pockets of light

Open up windows, blinds, and curtains. Pockets of light and shadows add to the drama and create depth.

Once you get home from work in the evening, look around to find any little pockets of light that you can use. This may be right around the golden hour (one hour prior to sunset) and you will find some amazing light peeking through the windows if you time it just right. Utilizing this light will produce some amazing shadows and you can create some moody images as well.

Low light indoors winter 11

Low light indoors winter 12

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4. Dust off your flash and practice using it

When all else fails and I need to turn my lights on after hours, I rely on my Yongnuo flash unit and simply bounce it off the nearby walls. A lot of times I hear from other photographers (who limit themselves from shooting indoors during evening hours) that using flash is really complicated. I set my flash unit on ETTL and power it accordingly to get more or less light in the image based on how many artificial light sources I have turned on in the room.

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Conclusion

In conclusion, all of the tips above are not always an either/or situation. Most of them can be used together such as combining a slow shutter speed along with increasing the ISO while shooting in a pocket of light with the blinds open when you really have those corner rooms with less light!

While doing the above and balancing your exposure creatively, you can create moody images with some drama. In summary, shooting in low light or the use of artificial light doesn’t have to be that intimidating. Give it a trying show us what you come up with in the comments below.

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