Category: Photography

  • How to Create Abstract Photos with Fruit and Veggies

    In this article, I’ll show you a fun way to make abstract photos using stuff you have in your house already – fruit and vegetables.

    How to Create Abstract Photos with Fruit and Veggies

    Produce and photography

    They feature in renaissance paintings, religious symbolism, fine art photography and advertisements for your local supermarket. It’s your everyday fruit and veggies! Not only do they keep you full, fruits and vegetables have some remarkable detail, making for great photographic subjects.

    As demonstrated by masters like Edward Weston, produce and photography work really well together. The matter that makes up organic material has a natural and sometimes surprising ingenuity. That’s why, with very little prep time, creating abstract photos with fruit and vegetables is a such a simple and fun project with surprisingly beautiful results.

    How to Create Abstract Photos with Fruit and Veggies

    As diverse as they are tasty, fruit and veggies make for some of the best subjects you can point a camera at!

    Supplies you will need include:

    • Camera
    • Tripod
    • A selection of fruits and veggies
    • Hand towel or wipes (to remove any juice off of your hands)
    How to Create Abstract Photos with Fruit and Veggies

    I placed a clear glass sheet over the top of these strawberries and pressed down a little. The juice from the fruit started to spread, creating this liquid effect.

    How to Create Abstract Photos with Fruit and Veggies

    They can make you cry, but the intricate layers of onions can make beautiful abstract photographs.

    Gathering your produce

    So what fruit and veggies should you use? The answer is, any and all of them! One of the best things about abstract photography is the variety of subject matter available. Check your fridge, your fruit bowl, and failing that, check out your local grocer. All varieties of fruit and vegetables have their own artistic properties, let alone every individual piece. If you stick with produce, you’ll never be short on subject matter for abstract photos.

    Personally, I enjoy focusing on the textures and layers that make up organic material. That’s why I often concentrate on photographing vegetables like leeks and onions. The intricate swirls you can see when you cut an onion in half are as unique as a thumbprint, so you will never photograph the same thing twice.  Fruits like strawberries and oranges that have a very distinct pattern are great for incorporating leading lines and pattern into your photography.

    Opposite on the spectrum in terms of texture and softness, the curving lines in an onion peel and the texture of a rock melon’s skin are beautiful and intriguing at the same time. Just grab whatever catches your eye. If you decide you don’t want to photograph a fruit or vegetable later, just eat it instead!

    How to Create Abstract Photos with Fruit and Veggies

    Once you’ve selected a nice range of fruit and vegetables, it helps to pre-cut a few slices so they will be ready to photograph. Cut nice thin slices, making as level cuts as possible so they will sit square with the camera lens. Don’t cut all your fruit and vegetables up at once though, as they will brown when exposed to the air for too long.

    Setting up

    If you have your fruit and camera at the ready, you’re halfway there. To truly capture the detail in your fruit and veggies I recommend using a macro lens or extension tubes. For these images, I used my set of Kenko extension tubes with my EF 24-105mm Canon f/4 lens. Set up your tripod and camera near a good light source to illuminate your subjects. A window with natural light coming through should be plenty. Lay out your fruit on a plain, flat surface and arrange them how you like.

    Start by focusing your camera on areas that appeal to you the most. The texture or the pattern on a potato might catch your eye, or you might want to focus on the delicate gradients of color in a peach. You’ll find that the more you investigate your produce, the more you’ll have to photograph. Training your eye to recognize these subtle intricacies will prove invaluable in developing your inner photographer’s compass.

    How to Create Abstract Photos with Fruit and Veggies

    The delicate colors and lines in this image of an onion and onion skin complement each other and highlight similarities and differences

    How to Create Abstract Photos with Fruit and Veggies

    Conclusion

    One you begin to investigate the visual qualities of fruits and veggies, you’ll never look at the grocery store quite the same. And that’s great! Photography is about opening yourself up to new visual experiences. The more you explore, the more you’ll want to see. That’s what makes us photographers tick.

    Not only will photographing fruits and vegetables broaden your critical eye for detail, it might broaden your pallet too, bon appetite!

    How to Create Abstract Photos with Fruit and Veggies

    How to Create Abstract Photos with Fruit and Veggies

    The layers in a leek can be gently sprung open to reveal a shell-like structure.

    How to Create Abstract Photos with Fruit and Veggies

    The loose rings of a leek settle gently against a white backdrop. Photographing vegetables and fruits in new ways will draw a viewer’s attention to the unusual perspective.

    How to Create Abstract Photos with Fruit and Veggies

    Arranging vegetables and fruits in a pattern can bring out the intricacies and details often left unexplored.

    How to Create Abstract Photos with Fruit and Veggies

    How to Create Abstract Photos with Fruit and Veggies

    Converting an image to black and white can isolate your subject, lending a surrealistic effect to the photograph.

    The post How to Create Abstract Photos with Fruit and Veggies by Megan Kennedy appeared first on Digital Photography School.


    Digital Photography School

  • How to Use a Reflector to Improve Your Natural Light Portraits

    Reflected light can add depth and a fresh dynamic to your natural light portraits. Sometimes naturally occurring reflected light can be used, but by far the easiest way is to use a reflector. The most important thing is to learn to see the light falling on your subject and then control the strength and quality of the reflected light you are adding. Here are some tips to help you learn to use a reflector.

    Hmong woman drying skeins of hemp thread outdoors - How to Use a Reflector to Improve Your Natural Light Portraits

    Hmong woman drying skeins of hemp thread which are reflecting light back onto her face.

    Naturally reflected light

    When making candid portraits, I’m always looking to see if some reflected light is affecting my subject. At the right angle, any surface can bounce light back onto your subject. You can train your eye to see it.

    It may be light bouncing off a nearby wall or pavement, an open newspaper or skeins of yarn (as in the photo above). With the strong sunlight behind the lady as she hangs out her skeins of washed thread, the light is reflecting softly back into her face.

    Thai woman holding a bamboo tray of steamed fish - How to Use a Reflector to Improve Your Natural Light Portraits

    A fish vendor at the fresh market with light reflecting onto her from an adjacent white wall.

    Naturally reflecting light is easier to make use of if you are posing your subjects and have some control over where they are positioned. Finding a location where the sun is hitting a large light-toned neutral surface can provide you suitable reflected light for portraits.

    In this photo of the fish vendor at the local fresh market, the light is reflecting off a white painted building behind me. Behind her is an open entrance to a room with no windows, providing a dark background to nicely isolate my subject.

    Types of reflectors

    Close up of a Kayan long neck girl with traditional face painting, make-up

    Close up of a Kayan long neck girl with traditional face painting makeup.

    When there’s no naturally occurring reflected light, a folding reflector is a fabulous accessory to have on hand. These reflectors are relatively inexpensive and come in various shapes, sizes, and colors. The most efficient are the ones which have multiple reflective surfaces.

    Note: you can even DIY and build your own reflector.

    These reflectors typically have a sleeve which covers a translucent fabric attached to the foldable frame. The sleeve is removable and reversible with four different surfaces (5-in-1 reflectors). Normally they are white, silver, gold, and black. Some even have more complex reflective surfaces. Learning to use this type of reflector well can take some practice, but it’s worth while for the fresh dynamic lighting it will bring to your portraits.

    How to Use a Reflector to Improve Your Natural Light Portraits

    One of my models assisting me during a portrait session.

    How to use a reflector

    Having someone to hold the reflector is the best way to use it as the direction of light and angle of the reflector in relation to your subject is important. If the reflector is not at the best angle you will have too much or too little light bouncing onto your subject. You may need to coach whoever is assisting you and demonstrate the effect the reflector has, so they can hold it precisely right for the best lighting.

    Careful choice of reflective surface for whatever light you are working in is important too. If you are making portraits outside in full sunshine the use of the white reflector surface may be best. It’s likely the silver or gold surfaces will reflect too much light back onto your subject. Don’t be afraid to experiment though, as that is a great way to learn.

    KAren Woman Smoking Her Pipe against a black background

    Karen Woman Smoking Her Pipe against a black background.

    Using a reflector in bright sunlight

    In the bright sunshine, the person holding the reflector needs to be careful not to bounce strong light into your subject’s eyes as they are searching for the best angle to hold the reflector. That can be most uncomfortable for your subject. It’s a good idea to instruct your subject not to look directly at the reflector. If they have not seen a folding reflector before many people will look at it as it is unfolded.

    Two long neck Kayan ladies laughing together in a village in Thailand - How to Use a Reflector

    With this photo of the two laughing ladies, my wife was using a medium sized gold surfaced reflector. She is an expert assistant and photographer so she knows how to get the optimal reflected light in most situations. My subjects were standing in the shade of a tree and the reflector was also in the shade, so it was not bouncing back full sunshine.

    I find the gold surface works well with Asian skin tones. With the strong back light, the bounce light fills in the shadows nicely reducing the over all tonal range in the photo. Because the reflected light is stronger on the ladies faces, (where I was taking my light reading from,) it is more balanced with the light in the background. The bright sun reflecting off the light colored ground also adds nicely to this photo. If my wife had been standing so the gold reflector was in the full sunshine the light would have been too bright and harsh, blinding our models and creating hard shadows on them.

    How to Use a Reflector

    Reflecting light to balance with the ambient light can reduce shadows without eliminating them.

    Using a reflector in soft light

    On overcast days a silver reflector will bounce a clean, soft light onto your subject. If you can position your reflector so it balances with the ambient light, gently filling in shadows on the face but not completely eliminating them, you can obtain some very pleasing results.

    Varying the angle of the reflector in relation to the light source and your subject will vary the amount of light affecting your subject. You do not need to always have the reflector blasting out the maximum amount of light as this can look very unnatural. Using the white surface rather than the silver side will also reduce the amount of reflected light.

    Senior Pwo Karen woman smoking a pipe against a black background - How to Use a Reflector

    With the sun behind the model, an overhead diffuser and reflector to my left and the ground also reflecting light.

    Other uses for reflectors

    Black or white surfaces of very large reflectors can make great backgrounds and the translucent inner part can be used as a screen to hold above your subject to block direct sunlight. In the past, I have used this method but now prefer to use my *portable daylight studio to provide a black or white background and filtered back lighting, (in principle it’s the same thing.) I then use my large folding reflector to help control the light on the front of my subjects.

    Sunlight also reflects off the ground. Typically in a northern Thai village, the earth is a light color and creates a pleasing reflection. But if I have to work on grass we lay down some large sheets of white plastic to avoid having a green color cast in the images.

    *Reading Irving Penn’s book “Worlds In A Small Room” was the inspiration for my portable studio which I have used in many locations in the mountains of northern Thailand and occasionally when teaching our workshops.

    Portrait on a black background of a senior Pwo Karen man - how to use a reflector

    A careful balance of reflected and diffused light.

    Conclusion

    As you practice using a reflector you will learn to manipulate just the right amount of light onto your subject. At times you might prefer hard light and other times soft light will be more pleasing. Learning to see how light affects your subject and learning to control it will greatly improve your portraiture.

    The post How to Use a Reflector to Improve Your Natural Light Portraits by Kevin Landwer-Johan appeared first on Digital Photography School.


    Digital Photography School

  • 19 Vibrantly Colored Crimson Images

    Here are 19 really vibrant images featuring the color red for your visual stimulation.

    Hope you enjoy them.

    By liz west

    By Bernard Spragg. NZ

    By theilr

    By Ivan Bandura

    By Harsha K R

    By jimpg2_2015

    By Bernard Spragg. NZ

    By VaMedia

    By jasleen_kaur

    By aotaro

    By d26b73

    By Mike Beales

    By sean_hickin

    By Visha~~AWAY..VERY BUSY

    By Jim Lukach

    By inthepotter’shands

    By Sebastian Rieger

    By Johan Neven

    By coniferconifer

    The post 19 Vibrantly Colored Crimson Images by Darlene Hildebrandt appeared first on Digital Photography School.


    Digital Photography School

  • Weekly Photography Challenge – Red

    Earlier I rounded up 19 images that use the color red – you can see them here.

    Weekly Photography Challenge – Red

    By rich_f28

    By Tony

    By Tim Green

    By Lóránt Szabó

    By Steve Snodgrass

    Color is all around you – it’s your job this week to seek out and photograph anything red. Remember to follow good compositional guidelines to create impact in your images, and use lighting that is appropriate and enhances your subject.

    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 – Red by Darlene Hildebrandt appeared first on Digital Photography School.


    Digital Photography School

  • Lighting 103: Developing a Framework

    Abstract: Think about the reasons behind the color of your lights, and your palette will often take care of itself.

    When you are placing a light source, it's pretty normal to ask yourself, "What color should this light be?"

    If you step back a moment and think, the answer will often present itself. A better question to ask is, "What color would this light be?" Read more »
    Strobist

  • Tips For Drone Photos and Videos

    As we move forward in this current era of drone technology innovation, drone cameras are becoming much more advanced and feature- rich which allows you capture stunning images every time you  fly your drone high in the sky. Photo courtesy of Pixabay.com The question arises why drone photography when we already have all the high end cameras and equipment on Continue Reading

    The post Tips For Drone Photos and Videos appeared first on Photodoto.


    Photodoto

  • 19 Cool Images of Blue Subjects

    A while back we took a look at images with the primary color of summer, green. Now let’s have a peek at the color of the night time – blue.

    Of course, there are many other things which are blue as well, as you can see below.

    By StudioTempura

    By Albert Vuvu Konde

    By O. R.G.

    By Joao Clerigo

    By Maarten Takens

    By Bill Dickinson

    By Roy Cheung

    By nathan_gamble

    By Mirai Takahashi

    By Stanley Zimny (Thank You for 24 Million views)

    By Neil Tackaberry

    By Javier Díaz Barrera

    By Neal Fowler

    By Stanley Zimny (Thank You for 24 Million views)

    By Maria Eklind

    By Tom Roeleveld

    By Michiel van Nimwegen

    By Ivan Rigamonti

    The post 19 Cool Images of Blue Subjects by Darlene Hildebrandt appeared first on Digital Photography School.


    Digital Photography School

  • Weekly Photography Challenge – Blue

    Color adds mood and feeling to an image. Cool colors like blue tend to have a calming feeling, like these 19 images with blue subjects.

    By Christian Weidinger

    Weekly Photography Challenge – Blue

    This one should be pretty easy. Just go find something blue – OR even convert an image to black and white and add a blue tint to it!

    Another option is to go out at dusk and photograph during the blue hour. Here are some tips to help you do that:

    • 5 Quick Tips for Better Blue Hour Photography
    • New Photographer’s Guide to Blue Hour
    • 5 Reasons Why You Should be Doing Night Photography
    • How to Get the Correct Exposure at Night with These Helpful Tips

    By Jeff S. PhotoArt at HDCanvas.ca

    By ~lzee~by~the~Sea~

    By Fiona Shaw

    By Thomas Hawk

    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 – Blue by Darlene Hildebrandt appeared first on Digital Photography School.


    Digital Photography School

  • 7 Common Mistakes That Every Photography Business Needs to Avoid

    Everyone makes mistakes. When growing your photography business, you will make more mistakes over than the years than you can count – and some of them you will even look back on and cringe.

    Mistakes are all part of the process. But also part of the job of being a photographer is figuring out how to minimize these mistakes, especially the ones that can set you back a long way. Learn from your peers so you can avoid their mistakes.

    Photography Business Marketing

    Here are some of the main pitfalls that plague photographers. Just fixing these alone can save you a lot of money, and even more importantly, a lot of time.

    Mistake #1 – Not Charging Enough

    When you are first building your portfolio, certainly you might have to do some jobs for free or at a reduced rate as you build your skill level. That part is fine, but once you have that portfolio and are a full fledged business, you do not want to sell yourself short.

    Photography may seem to others like a passion job – that you just show up for an hour or two, take some photos, and send them over. But it is about so much more than that. It’s about building your skills, learning about light, composition, fixing mistakes on the fly, editing, and learning how to work with clients. It’s traveling to and from the location, paying your expenses, spending the time to market yourself to get the job, paying the bills to keep the lights on, and feeding your family. And it’s about having some time left over to enjoy yourself.

    Photography Business Marketing

    Create a spreadsheet and calculate these costs so you know what you have to make per job to survive and thrive. This will give you the confidence to ask for what you are worth. If you’re not able to cover all of these costs, then you’re not running a true full-time business, you won’t survive in the long run, and you’re lowering the value of the work itself.

    Stay away from the cheap jobs and the cheap clients. They will just suck your time away and demand more and more. If the requirements for a client on a particular job suddenly change halfway through, ask for more money.

    Sometimes you will want to do work for less than you are worth if it is the right type of job or the right type of client, but this should only be situational. There will be many points in your career where it will be more valuable to spend the time on your marketing and business development than on the job itself.

    Mistake #2 – Not Reaching Out to People and Being Proactive with Marketing

    Photography Business Marketing

    Jobs are not going to come to you at first, no matter how good your work is. You will have to go out and find your clients, so create a list of your ideal client types and of the best ways to reach each of them.

    Work within your personal network, canvas local businesses, attend events and offer your services to individuals. The more you put yourself out there, the more business will come to you. But at first, every job you receive will come as a direct result of you proactively contacting someone or figuring out a strategy to get your work in front of them.

    Mistake #3 – Not Collaborating and Working With Other Photographers in Your Space (i.e. Your Competitors)

    Photography Business Marketing

    Other photographers can be one of the biggest helps to you along your journey. They’ve been there before, they have a lot in common with you, and they could become great friends. Learn from them and offer to help them.

    Often you will get some of your first jobs from other photographers, whether it be assisting them or taking some of their overflow. Many established photographers still have a portion of their income come from helping out other photographers in their community.

    In addition, accountability can be extremely important for your growth. Find a photographer in a similar place (level and business-wise) as you and work together. Have strategy sessions and share what is working and what is not. Having someone in your life like this can be integral to your success and for getting you through the hard times.

    There will be a portion of photographers who see you as a competitor. They will not want to talk to or worth with you. That’s their problem, and the collaborations that you do with the willing photographers will help you both jump ahead of the ones who don’t.

    Mistake #4 – Not Responding Quickly Enough

    Why don’t photographers respond as quickly as possible to job inquiries? Either way, it makes things easier for us when the competition is slow to respond. I hear it all the time, how surprised people were by how quickly I responded to them, both at the beginning and throughout the entire job process. This shows a level of dependability, and in addition to helping people to want to work with you, it will also make them want to refer you. The more dependable you are, the more your clients will want to help you out however they can.

    Even if it’s not a job inquiry, respond quickly. You never know when a casual conversation or advice that you give will turn into a job or reference. Often, it will turn into nothing, but when those one or two out of 10 turn into jobs, in the long run, those will add up.

    Mistake #5 – Not Spelling Out the Terms of a Job from the Very Beginning

    Photography Business Marketing

    Being a skilled photographer is not just about creating beautiful pictures. A big aspect of the photography business is how you handle the job from start to finish, and often the most important part is the very beginning when you spell out the terms and requirements.

    It is really tough to know exactly what a client is envisioning for the job, so it helps to ask a lot of questions. This will even help them figure out what they want, as many of them will not have any experience with hiring a professional photographer. It will also help you justify your price when you talk out the steps of a job with them.

    Make sure they know that if the parameters of the job change (through their decisions), you will have to charge more for the extra work. Most clients will think it is not a big deal to add something that was not specified ahead of time, but this is just more work they are giving you that was not spelled out originally. It happens a lot of the time, so it’s very important for your photography business to learn how to handle it correctly.

    Mistake #6 – Not Having a Contract

    Similar to the last point, while you both need to come to an agreement on the scope of any photography project, you also need to spell out those terms in a contract. Without a contract, you can easily be screwed over, and many photographers learn this the hard way. Hire a lawyer to give you advice, and look into thelawtog.com, which provides a variety of photographer contracts. These can save you a lot of time and money.

    Read this on contracts: The Biggest Legal Mistake Photographers Make

    The contract is important for setting the boundaries of the project. It will be easier to ask for more money if the scope of a job changes when you have a contract that spells out the exact requirements that were drafted.

    Mistake #7 – Not Having an Efficient Workflow

    Photography Business Marketing

    Efficiency is one of the most important aspects of running a photography business, and unfortunately, speed is something that is learned over time. Create a speedy and organized system for how you work. Import a job, cull the selects, crop, do the post-production work (light, color, contrast, etc.), export, deliver, and invoice. The more efficient you are with this, the less you will procrastinate. There is nothing that will cause a photographer to procrastinate more than staring at a mountain of unedited images.

    While this tip may sound simple, jobs that might take beginning photographers three hours to edit, can take an experienced photographer an hour. It took me much longer to edit a job when I started, and this organization and efficiency can give you so much more time to spend on everything else.

    Also read: Photography Workflow Tips – From Memory Card to Computer and Beyond

    Always tell a client that you will get a job to them a couple days later than you think you can. This will allow you time to screw something up and still get the work to them on time. Usually, you will get it to them early which will make you look even better (this is called under promise, over deliver).

    Mistake #8 – Bonus Tip: Learn When to Say No

    Photography Business Marketing

    It’s hard to say no as a photographer, especially if you are growing your business and are under booked, but some jobs or some clients are just not worth it. If you are not being paid enough and the job is not good for your portfolio, if the client is tough to work with and overly demanding, save that aggravation and pass.

    Some of these clients will prey upon young photographers to squeeze as much out of them before the photographer wises up. Just avoiding these jobs alone will save you so much time, and allow you to put it towards marketing and business development efforts that will set you much further ahead than by taking a less than desirable job.

    Your time is very, very important, so don’t waste it. Saying no can be one of the best decisions you make.

    If you have a photography business and have any other tips for newbies just getting started, please share in the comments below.


    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 7 Common Mistakes That Every Photography Business Needs to Avoid by James Maher appeared first on Digital Photography School.


    Digital Photography School

  • Three Tips for Overcoming a Photographic Plateau

    Let’s face it…growing up isn’t always easy. There are lots of hurdles to overcome during our journeys as photographers. At one time or another, we all hit rough spots with some aspect of photography. Take heart though, whether it’s a problem with technique, gear, or simply finding your own creative uniqueness, I can personally guarantee that someone else is struggling with that same problem.

    But there’s one situation too often encountered by beginners and even pro photographers alike – the dreaded “plateau”. This is a stage that often happens when we feel like our photography has a reached a point where it is no longer improving. It’s a terrible feeling.

    Three Tips for Overcoming a Photographic Plateau

    Fortunately, overcoming a photographic plateau is easy once you identify and diagram the source of the problem. It’s here where you can run into trouble because critiquing your own performance in order to self-diagnose why you have plateaued is an exercise in self-realization. Here are three common reasons why photographers plateau in their work and some solutions that can push you into a new phase of growth.

    Here are three common reasons why photographers plateau in their work and some solutions that can push you into a new phase of growth.

    You’ve stopped learning new techniques

    I get it. I really do. There comes a time when you reach a level of confidence in your craft. You feel comfortable in the techniques you practice and more and more of your images turn out just as you imagined them in your head. In itself, confidence that you know what you’re doing is a huge accomplishment in itself. The problem arises, and thus the plateau happens when you stop looking for new things to learn.

    Three Tips for Overcoming a Photographic Plateau

    How to overcome it

    I used the word “comfortable” earlier. Becoming comfortable in your photography can be a creative death sentence. Simply put, don’t become overly comfortable to the point where you think there’s nothing else to learn. There are always advancements being made in the world of photography.

    Three Tips for Overcoming a Photographic Plateau

    Someone is refining a new method of shooting with a filter. There are more things to learn in the digital darkroom during post-processing. There’s always something new to learn. Learning new techniques not only keeps your mind limber but also improves your craft and the potential of your photographs.

    Ignoring needed gear upgrades

    I’ll admit it, I love photo gear. There are few artistic mediums where technology advances more quickly than it does in photography. The way your gear facilitates your work is a careful balance between mechanical capability and your personal skill level.

    Three Tips for Overcoming a Photographic Plateau

    The most expensive camera in the world will not make you a top notch photographer. At the same time, there may come a moment in your journey where your skill legitimately surpasses the capability of your gear. This can cause a plateau due to the fact that your lens will not become physically sharper and your camera’s maximum ISO rating of 6400 will never be able to shoot at 24,000.

    How to overcome it

    Learn what gear meets your current skill level and still leaves room to grow. However, the remedy for gear top out is not to automatically run out and buy the latest and greatest camera or lenses or anything else for that matter.

    The very first thing you need to do if you’re a gear shopping photographer is to begin researching. Research and research some more. Read unbiased gear reviews and talk to other photographers who shoot with the same equipment you’re considering purchasing. The reason for this is so you know exactly what you need and you spend your money ONLY on those things and nothing more.

    Shooting the same thing over and over

    We all have certain things we love photographing. There are genres of photography which draw us in for one reason or another. For me, it is landscape and wilderness/adventure photography.

    Three Tips for Overcoming a Photographic Plateau

    For others, street photography is their love, while still others thrive on doing portraits in the studio. Whatever your passion may be, there will likely be a point where you find yourself shooting the same thing over and over and over again. While this is not always a bad thing, it can cause you to hit a creative wall and ultimately, plateau.

    How to overcome it

    This problem perhaps has one of the most polarized solutions of all. Simply go photograph something that you normally wouldn’t consider shooting. I know, sounds easy, right? It practically is, but completely switching gears and branching out into new areas of photography can feel unnatural, awkward, and downright scary.

    Three Tips for Overcoming a Photographic Plateau

    Still, shooting a few portraits here and there when you’re used to shooting only landscapes can be a great creative palette cleanser. Getting out into nature and slowing down can be a welcomed break for street photographers who generally shoot only in concrete jungles. Whatever change of pace you temporarily switch to, it will usually breathe new passion into your original modality and help you move past that plateau.

    Some closing thoughts

    Sooner or later, to some degree, we all will hit a plateau in our photography. How we handle that moment when it comes can make all the difference.

    Usually, understanding the problem is a huge step in solving it and moving on with your photography. Try new things. Research and see if your work does, in fact, need that full frame camera sensor. Branch out and try a style of photography that you generally don’t practice. The key to overcoming a photographic plateau is the realization you need recharging once in a while. It’s a normal part of becoming a stronger and more capable photo maker.

    The post Three Tips for Overcoming a Photographic Plateau by Adam Welch appeared first on Digital Photography School.


    Digital Photography School