Category: Photography

How to Prepare a Photography Exhibit of Your Work

There is nothing like having your work displayed up on a wall for everyone to see. Even better, is seeing little round red stickers underneath to indicate that the work has been sold. For most artists, that is their driving force and anyone who makes images that are intended for walls and display. However, where and how to go about having a photography exhibition can be harder than you think. It can also be a very expensive exercise.

This article will help answer a lot of the questions that you may have when it comes to exhibiting your work.

If I were to have an exhibition now this image would be in it.

Why do a photography exhibit?

Artists have been exhibiting their work for centuries, now is no different. The reasons for doing an exhibit can vary from artist to artist. Before the internet, it was one of the best ways to showcase your work to everyone. However, artists used them to make money. They would invite special clients or benefactors to the openings in the hope they would buy one or a few pieces.

Selling artwork is harder these days, so if your sole reason for exhibiting is to sell some, then you may be very disappointed. However, if your goal is to put your work up on a wall to show people what you are capable of, then it can be very rewarding. Having all your best work up for everyone to look at can feel like quite an achievement.

Another reason many artists exhibit is to be able to put the exhibitions down on their artists CV. The CV or Curriculum Vitae is a list of all their exhibitions, plus education and a few other things, similar to a resume. It is what galleries look at when seeing if they will have a show with an artist.

This image would be ideal if I decided to have an exhibition of just my macro work.

Costs and Budgeting

Exhibitions are not cheap and before you decide to have one there are many things you need to take into consideration. What sort of space will you exhibit in and how much will it cost? What other expenses will there be? How many images will you prepare for the exhibit and what will the reproduction outlays cost? Should you have a solo exhibition or start with group shows? These are all questions you need to think about.

Group or Solo

Solo shows are fantastic and ultimately what every artist wants, to have their own show. But they are also very expensive and you have no one to share the expenses with. Having said that, most artists build up to solo shows and often have had some success in group shows first.

For most photographers, group shows are a good way to get your feet wet and start building your artist’s CV. Find some friends who are also interested in exhibiting. Apply together to galleries to see if you can get an exhibition. Many galleries advertise for artists to participate in group shows they are holding, so look out for them and apply.

This framed image was in a group show for street photography.

Where to exhibit

This could be an endless list, but the most common places are galleries that specialize in the work that you want to show. However, there are other places, like cafes or restaurants, that like to have exhibitions which feature different artwork on their walls. There are benefits and disadvantages to each.

Cafes, Restaurants, and Foyers

These are often free for holding an exhibition. They don’t always have schedules so you could possibly have your work up for longer than you could in a gallery. These types of venues may not want a commission from the sale of work, though they may want you to handle all the sales, so you would need to leave contact information. They usually won’t take any responsibility for your art pieces, so be aware of that (loss or damage is not covered).

This is one of two images that were exhibited in a cafe down near the coast.

With a place like this, you won’t have access to a mailing list and will have to do all the advertising yourself. People can’t generally just wander in to look at the work. All the customers will see your images, but they are there for different reasons, such as to eat, and buying images isn’t one of them. While it isn’t impossible to sell a piece from a cafe exhibit, your audience isn’t there to necessarily buy what you are selling.

Your work will most likely need to be framed for hanging, and you will probably have to install it yourself at the exhibit space.

This is the other image that was exhibited in the cafe.

Galleries

There are many different types of galleries, and it is up to you to decide which one you think will work for you. They usually start with artist-run spaces, then come staffed galleries which are either non-commercial or commercial.

Artist-Run Spaces

Possibly the cheapest spaces to get are those which are artist-run. You pay less to use the space, but you are expected to do what they call, “sit the exhibition”. That means that when the gallery is open you have to be there to watch your work and manage any sales yourself.

Having to be there the entire time the gallery is open can be time-consuming. Many artists will get together for a group show, split the costs of renting the space, and draw up a roster to sit the exhibition. For artists starting out this can be a much better option. If you want to do this, but don’t know anyone to exhibit with perhaps you can contact the gallery as they may know some artists who are looking for someone to share.

You need to take on most of the expenses in this environment. The cost of the opening is covered and organized by you. You must pay for most of the advertising as well, though some galleries will have a mailing list for you to use.

Still packed up from when it returned from an exhibition last year.

Staffed Galleries

Staffed galleries are the next level. They cost more, but you are relieved of the burden of having to sit the exhibition. There are two different sorts of galleries, the commercial and non-commercial kind, and they often have different directions.

Non-commercial galleries

These are often smaller galleries that will charge you for renting the space and for their service to sit the photography exhibit for you. They are often the most expensive galleries to hire. Non-commercial galleries will help advertise the opening, but they are generally not interested in helping to promote you and your work further beyond the exhibition and the relationship is short term.

They make their money from you hiring the space, and taking a commission from any work you sell, usually around 30%. It is a good way to start getting work on your CV or finding galleries that do a lot of group shows. See if you can put work into them.

Non-commercial galleries aren’t typically picky about who they choose, as long as the quality of work is good. They are not going to mind if one exhibition is all abstract paintings and the next one is more landscape photographs. It can be a lot easier to get a show with them than the commercial galleries.

This image was also popular on social media so it would definitely be in the macro exhibition.

Commercial Galleries

These types of galleries are a lot harder to get exhibitions with as they have so many artists to choose from and usually have a particular type of artist in mind that they show. They are more interested in helping you establish yourself as one of their artists, in other words represent you. Commercial galleries will keep some of your work in a stockroom and advertise what you do. They try to get collectors to view what you have done so they can begin collecting and supporting you as well.

Commercial galleries usually have a niche market they represent. If you are a photographer and you send your work to a gallery that only deals with Indigenous art, then they are not going to be interested in your work.

When approaching these galleries you need to do your research and make sure you work fits in with the other artists they represent. At the same time, if they have another who does work that is almost the same as yours, then they are not going to be interested either.

The commercial galleries often cost a lot less for an exhibition, however they are harder to get shows in and they will take a higher commission. Here in Australia that rate is usually around 40%, compared to the 30% that other galleries take.

Another image that would be used if I were to have an exhibition now.

Submitting your work to galleries

All galleries tend to advertise when it is a good time to submit proposals. While you can send in inquiries at other times, it is best to look for submission dates, times when they are asking people to send in exhibition proposals.

Commissions and pricing your work

All galleries charge a commission and some cafes may as well. You need to consider how much the commission is when you are pricing your work. Make sure you find out how much the commission is when first inquiring about exhibiting in the space.

When it comes to pricing you should be realistic. If you are new to the art world, charging thousands of dollars for your work would be unrealistic. Only established artists can command prices like that. To get an idea look at the space that you will be exhibiting in and see how much previous artists have charged for similar work. If you are happy with the prices you could try charging the same, or similar.

As your reputation grows and more people start buying your work then you can look at charging more.

This is from an solo show I had in the foyer of a theater company.

Loss due to damage or theft

When you hire a space to show your work you also take on the responsibilities of it as well. The gallery or space is unlikey to cover any damage to your artwork or the theft of it. It is often in the contract or terms of conditions. Make sure you are aware of it, and if you are worried then insurance could be an option.

Insurance

As previously stated most places will not cover your work for damage or being stolen, so insurance is something that you need to consider when putting your art up anywhere. Do you need to take out insurance on it? Most artists don’t worry about it, but that doesn’t mean you should do the same. Look into it and see how much it will cost and if it is worth it for you

If the work has cost you a lot of money to produce, then you may want to consider getting insurance. Talk to the gallery and see if they have had problems in the past, especially with theft. If the work is going into a high traffic zone, like a walkway, where it can be damaged or someone could walk off with it, then it is worth considering.

It should be done according to the place where you are showing. If it is a café then the staff may not have the time to watch the work at all, especially during busy periods. However, a gallery is going to be in a better position to watch if they have the staff. If you have to man the space yourself, can you watch everything?

To frame or not to frame

Testing out a framer and had this macro printed on canvas.

Many places will answer the question of framing for you. tThey will either say the work has to be framed or it can be pinned to the wall.

If the work has to be framed then you must decide if that is something you can afford. Getting work custom framed can be very expensive. But what a lot of artists do is make all their work the same size (or use the same size frames and just alter the mat sizes according to the images), then go to somewhere like Ikea and buy cheaper frames. If you do the framing yourself then you can reuse the frames every time you want to do a show.

If you don’t have to frame and can pin the images on the wall, that doesn’t mean you can’t get the work framed. Again, your budget is going to determine that. However, if you choose to pin them on the wall you need to find out what is going to be the best way and if the purpose is to sell your work then pinholes in your photos might not be desirable to potential buyers (it also isn’t as professional looking or finished for the buyer, they can’t just take it home and hang it up).

What size and how many images to exhibit

If I were to have an exhibition now this would be in it along with the others.

This decision comes down to price and space. How much money you have for the exhibition can only be determined by you. But how many pieces you can make, and the size you can get your work reproduced is going to be determined by your budget.

It is also important to know how much space you have available for the exhibit. If the space is only three meters (10 feet) of wall space, then putting up three images that are one meter (39 inches) across will make it crowded and not allow enough space in between each one. However, if you have 10 meters (33′) of space, and you put up four images that are only 50cm (20 inches) across, that will give you too much space between them.

Consider the space carefully. If you think your work looks great when it is enlarged, then perhaps having fewer large pieces is better. The larger they are the more they will cost.

The same goes for the number of images. You don’t want to completely fill the space you have, as giving each image room will allow them to be shown better. Just because you have paid for the space doesn’t mean you have to fill it up. Consider the size of the frames as well, if you choose to frame.

Editioning

Trying out different papers to see which one will work best for this image.

Editioning is also referred to Limited Editions and is something to consider with photography. Printmakers have been doing it for centuries. It basically means that you are promising your clients or potential ones that only a certain number of those images (prints) will be available for sale.

Editions can be a good way to make your work more valuable. If you have an image and do an edition of 20, then you need to make sure that the buyer knows what number in the edition they are receiving, for example, 8/20. You need to keep records of it, so you know how many of the image you have sold. Once you have sold the 20 you can’t sell anymore. You made a promise to those that bought the first 20 that you would only sell 20 of them. Be sure of how many you think you might sell from the start, and be realistic.

Another thing you need to be careful about with editioning is to make sure they are all printed exactly the same. They all have to be consistent. If you put up a piece in a show and sell it a few times, people won’t be happy if the image they receive is not the same as the one they saw in the exhibition. You don’t have to get them all printed at the same time, but make sure you use the same printer for all of them and that the printer knows how to replicate them identically.

Medium for printing

What medium you choose for printing is again going to be determined by your budget, but also consider how your work will look the best. Do you want prints in frames? Perhaps canvas will work better for the type of image you are getting printed. Getting work printed on metal is becoming popular now as well, though it is also very expensive and perhaps might only suit some styles of photography.

Whatever you choose, you need to be careful that it shows off your work in the best way possible. Consider getting some images printed in different ways and then deciding which you like the best, and which one will fit into your budget.

My new printer did lots of tests for me to see which would work the best on what medium.

Curating and choosing which images to exhibit

Choosing which images to put in the exhibit is the hardest part for most people How do you know what images will be the best to show? There is no real way to tell. If you are working with a gallery that has a curator you can likely get a lot of help from them using their experience with the gallery and what sells. If a curator isn’t available you might have to enlist the help of friends, find out what are their favorite pieces. Perhaps your social media sites will help you see which images were popular online.

When it comes to curating the show, there should be a cohesiveness to the work and to the final exhibition. Make sure all the work fits together and flows. Be clear on what your vision for it is. The better it looks on the walls, the more you could sell.

If I were to have an exhibition now this is another image that would be in it.

Start planning your exhibition

Hopefully this has answered many of the questions you had and explained some of the ways that galleries work. There are many decisions that need to be made and before you start it is good to have a plan of what you want to do, why, and how you will pay for it.

Have you done a photography exhibit before? Please share your experience or post your questions in the comments below.

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January 12, 2017
10 More Photography Tips to Help Take Your Images to the Next Level

A while back I wrote an article that was quite popular: 10 photography tips to take your photography up a level. In this article, I bring you 10 extra tips from all aspects of photography. Enjoy!

#1 – What’s more than meets the eye?

Let me ask you something, what would you do? You meet someone attractive, you are head over heels, and then you start actually talking to them. You then uncover the most superficial person you have ever met. That person is all looks and not much else. You would lose interest, right? Because looks by themselves are good enough to make you interested, but if there is nothing sustaining that interest, you’re gone. This is the same thing in Photography,

This is the same thing in photography. A beautiful composition is nice, but what is in your image that is designed to keep the viewer’s attention? What is it about your image that is more than meets the eye? Is it saying something deeper? Is it making a point? Showing a concept? Add meaning to your images to keep the viewer engaged.

#2 – Know your opportunity

I believe there are only four times when you control the image. The first is at the moment of exposure (when you shoot), the second is in post-processing, the third is in sequencing and editing, and the fourth is while printing. So, when shooting, have these things in mind in order to shoot with clarity.

Example, you shoot an image and it is overexposed (because of the camera’s limitation). But it doesn’t end there as you know that you have another opportunity in the post-processing phase to recover details. Or you shoot something with a nice texture but it doesn’t have the effect you want. It doesn’t end there, you know that you can print and blow it up real big to have the effect you seek. Or you shoot an image that can’t stand by itself. Once again it doesn’t end there, you know you have another similar image that can make a diptych.

The point is that making an image is only the first step. There’s a whole process that comes afterward when you can get the effect you desire. So it’s important to know that what you have in the camera is the starting point and not the end.

#3 – Pay attention to this detail (after your background)

In the first 10 tips article, I suggested that you pay attention to the background first. Now I would like to add another thing to pay attention to before your subject – the corners. You see there is a strong dynamic with the corners, they draw you into the frame, towards the dead center and if you can align some lines there, it’s like surfing a big wave, it just draws your eye even more!

In the image above we have the guy’s hands, the shape of the tree and the shadow on the bottom right corner just pulling you into the image. So, pay attention to your background, watch your corners, and then look at your subject.

#4 – Dennis Rodman-ize it

Let’s face it, it’s hard to get attention in this ever increasing attention deficit world. Dennis Rodman had been in the NBA for years, but he was receiving few endorsement contracts. He was a good player but didn’t shine enough. Then came the Rodman with the crazy hair and style, even as a kid I knew his name because he simply looked different.

That brings us to photography, you are probably doing something a certain way, so can you Dennis Rodman-ize it? Shoot in a different way that makes your work pop above and beyond what you normally do? For example, landscapes are usually shot with a wide angle, what if you shot landscape abstracts with a telephoto? Or used a special processing technique on your images that gave them a certain look?

#5 – Work on your name

You probably know the wine experiment, where they gave people wine to drink, one was expensive and the other was cheap. Everyone, of course, preferred the expensive wine over the cheap one, even if it was the same wine. Here’s the REAL KICKER, when they scanned the brains of the people who drank the wine, their brain actually made them believe they were drinking expensive wine, and it literally tasted better. Their perception altered their reality.

With that in mind, work on your images but also on your name or brand. Try to get as much recognition as you can, it will alter people’s perception of your work. I remember a photographer who had decent work, and then that person got famous literally overnight. Let me tell you, even I, knowing all that I know about psychology, now see his work in a better light.

It’s crazy, and probably a bit sad, but that’s just the way it is. The story of Joshua Bell also illustrates this point well. This guy makes $ 1000 per minute playing on a million dollar violin, yet he got a meager $ 32 and a few cents when they had him play anonymously in a metro. Same guy, same skill – different context, different result.

#6 – Get luckier

Let’s not mince words here, luck plays a big role in photography. That Cartier-Bresson shot of the man jumping? That was 100% luck because he couldn’t even see what he was shooting through a hole.

Why is luck such a big deal? Because you DO have to be there at the right moment, and so does your subject, the light, etc. Truth be told, you need the skill and the eye to seize the moment, but if you are not there, the shot won’t be yours.

So taking into account the luck factor, shoot more often. You’ll get luckier and luckier every time you do. By making more photo opportunities, you’ll be making more images. So if you used to go out once, go out twice, etc.

I mean, who do you think will have a better chance at getting a job? The one that applies for one job, or the one that applies for 10? Skill and creativity are multiplying forces, but it doesn’t matter how skillful you are if you are a couch potato. Sharpen your skills and get out there to get lucky.

#7 – Scramble everything

There was this cool experiment where they gave this guy upside down glasses, so everything was inverted. They wanted to pour him a drink, and he turned the cup upside down (because he believed it was upside down). Imagine the world upside down and how hard it would be to live like that. The kicker? After 10 days he adapted to the upside down vision, and could even ride a bike!

Sometimes we just get used to how we shoot, we get complacent, that’s normal. So scramble things up. If you normally shoot color, try b/w, if you like portraits try street photography, if you are a film shooter, try digital, etc. It’s like the “Dennis Rodman-ize” tip, but this is more designed to shake you out of complacency rather than to bring attention to your work.

#8 – Revisit your images

Two photographers can look at the same scene, and yet see two different things. The difference is their knowledge about photography. You probably have some hidden gems in your images that you’ll probably never uncover if you do not revisit your images. You made them, but when you revisit them you do so with new eyes, and you will see them differently.

You will be amazed at what you find. Images that you believed were boring and/or ruined will be seen in a new light. You may ask yourself, “How did I miss that?!? There are quite a few images that I have overlooked, that’s why I have a no-delete policy. Maybe I can’t see what my future self will see or what my future self will be into.

#9 – Let go of preconceptions

I receive emails daily from photographers around the world. The one thing many seem to struggle with is that they don’t live in a big city. It is understandable, but just because you can’t find the images you have in your mind doesn’t mean they are not there. You just need to let go of your preconceived ideas and be more open to what is in front of you.

Some people tell me they wish they had more money to travel. Evidently, the image in their mind is of travel, but an image doesn’t need to be travel photography to be good, does it? It’s good to have a general idea of what you want, but also to be open to the possibilities.

Some people get hung up on relationship breakups, passing by great, if not better opportunities in front of them. Likewise, seeing what is possible right in front of us allows us to maximize our opportunities as photographers.

#10 – Remember it’s all plastic

It’s a hard concept to grasp, especially as a beginner, but remember that photography is plastic. Exposure? Plastic. Colors? Plastic. White Balance? Plastic. Sharpness. Who said every image needed to be averagely exposed, with white balance set perfectly by grey card, and super sharp? The first thing I do as a photographer in Lightroom is to clip my blacks. I LOVE clipping my blacks. I never set my white balance with a grey card, I just look at the image and hear what it creatively calls for, then do that.

Photo of a bride and groom? Probably needs to be on the warmer side so that the viewer can get some emotional cues from that. Shot these plastic surgeons? I’ll put my white balance on the cool side to reinforce the surgical cleanliness. Whatever you are doing right now, remember all of it is plastic. Who said images needed to be in a square or rectangle? Who said portraits have to contain faces? Who said colors had to be realistic (see above)? Who said paper and canvas was the only printing options…..you get the gist!

Conclusion

There you have it, 10 more photography tips to help you in your photography journey. I hope you resonate with some of them. Be yourself, stay focused and keep on shooting.

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The post 10 More Photography Tips to Help Take Your Images to the Next Level by Olivier Duong appeared first on Digital Photography School.

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January 12, 2017
How to Create a Dynamic Zoom Burst Photograph
Who doesn’t love warp speed? In this article, you’ll go hurtling into the future at warp speed nine, and you don’t need any federation star fleet spaceships to do it! A DSLR camera with a zoom lens and a tripod is the only equipment you’re going to need for this exciting technique. There are similarities to light painting by camera rotation, and the zoom burst is indeed another form of kinetic light painting. Let’s take a look at this technique, what it will give to your photos, and how to do it.

In this photo, a friend stood still in front of Marine iCty in Busan.

What does this technique add to your photograph?

Put simply, this gives a still frame a much more dynamic edge. This article will look at how you can apply zoom bursting to architectural photos and is best used in an urban environment. The nature of still frames is of course that they’re a single moment, by changing the focal length during long exposure you can add movement and urgency to your frame. The zoom also produces leading lines within your frame that all lead up to your main subject within the frame.

How to take zoom burst photographs

Taking a zoom burst photo is a simple technique, in fact, you can even do this handheld. The effect is achieved by changing the focal length of your camera lens during a long exposure. Follow these steps:
1. Choose a scene that has mixed areas of light. You can use a forest with mottled light, or an apartment building where some lights are on and some are off.
2. The exposure should be between half a second and 2 seconds long.
3. You can take this photo handheld but it’s better to use a tripod.
4. Change the focal length of the lens during the exposure. Zooming out tends to work better during the night for longer exposures, and zooming in works better during the day.
A photo that uses zoom with no stationary phase. This photo is colorful and abstract.

How to take zoom burst photos that show structures

Now that you know how to make a simple zoom burst, which looks abstract in nature, it’s time to move a step further. Now you are going to see how you can introduce architectural structures into this frame.

1 – Choose the correct location

Not all locations work well for zoom bursts, especially if they’re too cluttered. You need to choose a building that’s well lit and not surrounded by others. There are other options you can look at as well such as Ferris wheels or sculptures. Any location you choose should allow you to zoom into the structure, and then zoom out on the lights that surround it.

When there are too many building in the frame, the zoom burst shot can get busy.

2 – Set the camera on a tripod

If this is going to be a long exposure of 25 or 30 seconds, you will have to use a tripod. You need to secure the tripod in position, making sure it doesn’t move about. A lot of tripods let you hook your camera bag to the extendable center, doing so will steady the tripod. Apply the same logic you would use to attain a sharp image. The focal length movement of the lens will prevent you getting maximum sharpness, though.

3 – Select the right lens

The best lens for this type of photo is a super zoom, one that goes from 18mm-300mm. A super-zoom gives you maximum flexibility over composition and allows for more creative photographs. If you don’t have a zoom with this kind of range, you can use a kit lens. The 18-55mm lens works very well for the zoom burst.

4 – Focus the camera using Live View

Now compose your photograph in the position you intend to finish your zoom burst. The final composition will be at the wider or widest end of your lenses focal length. Turn the camera’s Live View function on, and zoom into the central structure you wish to focus on. Use the lens’s manual focus so that the image on the Live View screen is sharp. Keep the camera lens in manual focus to prevent loss of focus during the exposure. Keep a mental note of the focal length where you focused, especially if that isn’t the widest part of the lens.

In this photo, Nagoya castle was focused on using a zoom. I zoomed into the castle.

5 – Zoom into the target area

Select the area of the scene you want to have as the center of your zoom, this should have been decided already during initial scene composition. Ensure that all your settings remain the same, as this is the final step before you begin the exposure. Set the camera to expose for 25-30 seconds, at f/8 or f/11. You can use a smaller aperture if you need to in order to get a longer exposure.

6 – Carry out the zoom burst

Set the camera to the 2-second timer (or 10 seconds if you want to prepare yourself for the zoom). Hit the shutter button to begin the countdown to the exposure. At the point when the shutter is about to open begin slowly zooming out. As the camera is exposing, continue to zoom out keeping it as smooth as possible to avoid camera shake.

You should be zooming out for between two and five seconds, the longer the zoom is the more pronounced the light trails will be in the image. As you zoom keep an eye on the focal length of the lens so you finish at your composed position.

The Ferris wheel is a great subject for zoom bursts. The middle is empty, and there is a ring of light to zoom out.

7 – Allow the camera to finish the exposure

Once you have finished the zoom remove your hand from the lens, without moving the camera. The camera will continue to expose for 20-25 seconds depending on the exposure time you used. The image will now show zoom burst lights and architectural structures in the same exposure.

8 – Carry out post-processing work on the photo

The result in-camera will look nice, but adding contrast in post-processing is important. The image has “lost” five seconds of exposure time, so adjusting the contrast helps. You can use NIK color efex, which has a filter called pro-contrast and is an excellent choice for this type of photo. The centered position of the zoom can’t be adjusted in camera, though cropping the photo in post-processing allows you to move the zoom to an off-center position.

The bridge lit with many lights is a good subject for a zoom burst.

Where should I go to take zoom bursts?

The best place to take this type of photograph is in a city, one that’s well lit, and has interesting architecture. A Ferris wheel is a great structure to use as it’s circular, which helps with the centered nature of the zoom burst. Other architecture can also work as long as it’s alone and not surrounded by other structures. A cityscape with many buildings can look too busy with too many light streaks in one frame.

You can even take zoom burst photos during the day, but you will need an ND filter to do this. An ND filter that allows you to shoot for 30 seconds will allow you to create a zoom burst using the steps listed above, though the zoom should last longer.

I look forward to seeing your photos using this zoom burst technique, please post any images you have in the comments section below.

This is a good example of a lone building with lights on.

In this photo only zoom was used, there was no stationary phase.

This photo shows how a zoom burst and static phase produces an image combining light streaks and architecture.

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January 11, 2017
19 New Beginning Images for a Fresh Start to the Year

Well, a new year is yet again upon us. It’s a time for a new start, fresh beginnings.

That can make many things to different people. Let’s see what new or beginning means to these 19 photographers with their fresh “new” images.

By smilla4

By robert voors

By Darlene Hildebrandt

By Nico Cavallotto

By Mark Gunn

By Christian Siedler

By zeitfaenger.at

By Incase

By oregon ducatisti

By ?eagan

By Brookhaven National Laboratory

By Margus Kulden

By U.S. Geological Survey

By Kala Bernier

By Mikael T

By MFer Photography

By Kylie_Jaxxon

By Samuel John

By Johan Neven

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Digital Photography School

January 11, 2017
Weekly Photography Challenge – New Beginning

As the first photography challenge of 2017, I thought it would be fitting if we go with a theme for new beginnings. Like these 19 images show – there are many ways to interpret that theme.

By Francisca Ulloa

By Shellie

Weekly Photography Challenge – New Beginning

So, however you want to run with this idea is up to you. It could be about babies, kittens, or eggs. Or it could be around a new beginning you want for yourself this year. Maybe even a goal or resolution you want to achieve.

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.

By Micolo J

By Andy Reago & Chrissy McClarren

By Craig Sunter

By elycefeliz

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

Digital Photography School

January 11, 2017
How to Create and Use Smart Collections in Lightroom
Collections are one of Lightroom’s most powerful features, giving you a way to bring images from many folders together. Generally speaking, they’re just like boxes you sort your physical stuff into. Nothing goes in unless you put it there, and nothing comes out unless you take it out. What if I told you there was another far more powerful type of collection that can sift through all your photo information and build a collection automatically based on a subset of that information? Well, there is, it’s called a Smart Collection.

Using Smart Collections

You’ll find the easiest way to get to grips with Smart Collections is to begin with a few simple ones and then expand to more complex ones. Let’s start with a couple simple ones.

Creating a Smart Collection

You can create a Smart Collection in a number of ways. First, you can click on the little ‘+’ in the Collections panel header, situated in the Left Panel of the Library Module.

From the flyout menu, choose Create Smart Collection.

This brings up the default Smart Collection panel (below).

Begin by giving the Smart Collection a name. If you don’t, you’ll end up with a list with Smart Collection, Smart Collection 1, Smart Collection 2, and so forth. Use a name that describes what the collection will contain. For example, you could call this one “3 Stars or Above”. Below this you can choose to add the Smart Collection to a Collection Set (which needs to be created in advance). You could add it to the Smart Collections set, which is a default set created by Lightroom.

Adding the rules

The next part is the key to creating the Smart Collection. It’s the rules section that defines what will be in the collection. In the Match flyout, you’ve three options:
1. All: Every rule must match for a photo to be included.
2. Any: As long as a photo matches one of the rules, it’s included in the collection.
3. None: As long as a photo doesn’t match a rule, it’s included.
If you’re trying to narrow down to a limited set of photos, you’ll most likely be using the All option. As your first Smart Collection is a simple one, set the Rating to 3 stars, with “is greater than or equal to” applied in the pull-down menu. There are other options in the list including; is, is not, is greater than, is less than, is less than or equal to, is in the range. These all allow you to refine what appears in the collection. Click Create to make the collection.

The newly created collection will appear in the Smart Collections set, already selected, and the Grid View will show all matching photos. If you change the rating of one of the images visible to be a 2-star photo, it would automatically drop out of the collection. Why? Because it no longer matches the collection rules (3 or more stars).

Adding more criteria

Let’s start to narrow down the images you’re seeing. You can either double click on the collection to edit it or create a new one. I’ve double clicked for this example to edit. At the end of the Rating line is a + icon (outlined in red below) which you can click to add another rule. As soon as you do, a minus (-) icon appears, allowing you to remove this rule at any stage. There must always be at least one rule, though.

Let’s narrow down the collection to show only more recent 3-star images.

The new rule has Rating selected by default. You can change this by clicking Rating and choosing from the possible rule options in the pull-down menu. To get recent images, you need to choose Capture Date from the Date menu.

You’ll notice there’s a different set of options for dates in the figure below. As you want recent dates, choose “in the last” from the list. Next, you enter a number, then choose from days, weeks, months and years. For speed, enter 30 with the default “days” option. See below:

Next, change the name to reflect the new options and click Save. The collection will now display only the most recent photos (taken in the last 30 days) with 3 stars.

Smart Collection uses

Right now, what you’ve just created could be done using the Filter Bar, so what use is a Smart Collection? Well, they’re great for helping you complete workflow tasks such as:
- Add Copyright: Create a Smart Collection with the rule “Copyright Status”, the option “is” and the choice ‘”unknown”. If you use Metadata Presets, generally you’ll have one that sets the copyright information and sets the Copyright Status to “copyrighted”. Add this preset to the files in the Smart Collection to add that information.
- Add Keywords: To sort images not keyworded. From the Other Metadata menu, choose Keywords, then set the option to “are empty”. Use this to add keywords to an image. Just remember that as soon as you hit enter in the keywords panel, the image will drop out of the Smart Collection.
- Event work: For event work, you’re generally delivering most of the image, except blinks or out of focus shots. Usually, this work is edited quickly. Create a Smart Collection with the rules; Capture Date, is in the last, 1 days, and Pick Flag, is, unflagged. Now run through and reject the duds using the shortcut key X. Export the rest for your client.
- Labels for workflow stages: Labels can be used to imply a status with your photos. For example, you could use red to mean “selected, but needs editing”, yellow to mean “processing” and green for “final image”. By creating smart collections for each stage, you can see what needs to be done with each image. Combined with setting a date, you can keep on top on what needs doing!
- Adding Captions: Coupled with a recent date range, you can create a Smart Collection with “Other Metadata>Caption” and “is empty”. This shows recent images in need of a caption. Couple with ratings, etc., to narrow down which images need to be worked on.
Advanced Rules

The Any, All and None route does allow a great selection of options, but it’s missing a trick. What if you need 4-5 rules for sure (All), but also need one or two rules that are more like an Any set? That can’t be done using the method you’ve seen so far.

Rejoice . . . There is a way! It’s a little bit hidden, but if you hold down the Alt/Option key, the + icon turns into a number (#) sign. You can click the # to create a subset of new rules. These allow; Any of the Following, All of the Following and None of the Following – so you can mix in options as well.

For example, you could specify an “Any of the following” are true and have two options for File Type, one for JPEG, and one for TIFF. This means all the other rules must apply, but either JPEG or TIFF will also apply. (note I’ve changed to 60 days here for a better set of photos to match for the example).

The Smart Collection now shows both TIFF and JPEG images with 2-star or higher ratings, taken in the last 60 days.

Other options you could use are red or yellow labels, or even non-continuous date ranges. Alternatively you could use the option to exclude information. For instance, you could have a date range of “in the last 1 year” and using “None of the following” could have “in the last 1 month” to exclude the most recent month. Combined with ratings/flags or stars, this could help locate older material still in need of editing.

Finally

As you can see, Smart Collections are a great tool in your file management arsenal, helping you drill down to specific sets of photos easily.

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The post How to Create and Use Smart Collections in Lightroom by Sean McCormack appeared first on Digital Photography School.

Digital Photography School
January 11, 2017
4 Reasons Why You Should Photograph Concrete

When people ask me if I have a favorite subject to photograph, they are often surprised by my response. See, I really enjoy photographing abstract urban environments, and most of all, I love photographing concrete. Yep, that’s right! Plain old concrete.

As the most common urban material, concrete shapes buildings, lines pathways, forms pipes, columns, bridges, and driveways. Anywhere you look you’ll see concrete, it’s as endless in variety as the reasons I love photographing it. You could say that car parks are a wonderland for me.

This slab of concrete takes on the appearance of a Rorschach test.

However, concrete is often overlooked for more obvious or eye-catching subjects. If you google “urban photography” there are thousands of beautiful photographs of skyscrapers and streets, urban patterns, and underground train lines. But rarely do you see photographs of just concrete itself.

And why would you bother? A photograph of a concrete bollard sounds pretty boring, right? Wrong! Here are a few reasons why concrete can be a photographic wonderland if you simply take the time to look.

The strikingly bold mark on this slab of concrete is the remnant of a red car that got a bit too close.

1 – Concrete is a time capsule

Concrete is popular in construction because it builds durable, long-lasting structures that will not rust, rot or burn. In short, it stands the test of time. This means that concrete construction will invariably wear the markings of the surrounding environment and the people who consciously or unconsciously interact with it.

It is a time capsule and photographing it means documenting the story of what makes up an urban environment. From the freshly laid feature wall, to the roughly poured foundations of an underground car park, or names etched into pathways and paint scratches from cars, it all tells a story.

2 – Abstract expressionism

If photography is like painting with light, then concrete is a sturdy urban canvas. Another reason I enjoy photographing concrete so much is it has parallels to abstract expressionism. Abstract art, mostly characterized by painting, focuses on the process, the medium, the shape and the color within the frame of the canvas. Through their paintings, abstract expressionists create a visual arena documenting an artist’s movements, thinking and process without relying on the depiction of figurative imagery. Like abstract art, concrete lays bare the visual results of spontaneity, time and the limitations of physics. The lack of figurative references also allows the viewer to explore the image in greater depth, lending their own meaning to the work – which creates a deeper connection with the audience.

Like abstract art, concrete lays bare the visual results of spontaneity, time and the limitations of physics. The lack of figurative references also allows the viewer to explore the image in greater depth, lending their own meaning to the work – which creates a deeper connection with the audience.

The lack of figurative references creates the appearance of an almost alien landscape

3 – Minimalist beauty

Concrete itself is like an abstract expressionist’s canvas, but the act of photographing such a bold subject is actually very minimalist. Photography, when you drill down to the basics, is about light, shade, surface, tone and line. Photographing concrete surfaces doesn’t seek to depart from this, but rather, emphasize it.

Photographing a seemingly menial subject like concrete not only draws attention to its beauty but hearkens back to the simple elegance of photography by documenting the incidental and intentional brushstrokes of the urban environment.

4 – Variety!

No two panels of concrete are the same. Concrete acts as a canvas for a myriad of air bubbles, paint, scratches, graffiti, wear, watermarks, leftover adhesive, etc. Concrete itself forms waves and arches as it is poured. Finishing effects vary too, depending on the type of concrete and the pouring technique. Any portion of concrete maps out the history of that particular time and place with hypnotizing whorls and abrasive texture.

The familiarity of the subject is no deterrent either. Often, as I’m photographing a wall or pathway, passers-by do a double-take, trying to see what it is that I’m photographing. It’s something they may never have considered photograph-worthy before, and it interests them. The beauty is already there, waiting for someone to draw attention to it. Viewers often remark that they never knew concrete could be so beautiful until now!

Conclusion

Concrete is an incredibly variable and dynamic subject, and whats more, it keeps still! As an almost constant presence in history, the use of concrete has evolved with humans to shape our environment. Concrete is a time capsule of intricate details and hidden stories that illustrate the way we interact with the world.

It’s an often overlooked, but delightfully accessible subject, always ready for a photographer to take notice. Next time you are out and about with a camera, take time to look at what concrete has to offer. You may surprise yourself with how fascinating the canvas of the urban landscape can be!

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The post 4 Reasons Why You Should Photograph Concrete by Megan Kennedy appeared first on Digital Photography School.

Digital Photography School

January 11, 2017
5 Tips for Creating Romantic Portraits of Couples

When I hear the word romantic, what comes to mind is a dreamy, poetic, passionate image, full of unspoken affection and sometimes, a touch of mystery. However, when it comes to romantic portraits of couples, I don’t want romantic to translate as cheesy or cliche. I think I would want something a little bit more artistic but definitely leaning more on the natural side.

I photograph weddings and often do an engagement shoot with the couple beforehand. For many of my couples, it’s their first time being photographed together in an intimate way where they are expected to be super affectionate and loving towards each other in public. I would feel very awkward if I were in their places. As part of my job, I aim to make the whole experience pain-free for them, hopefully, fun too, and still end up with some super romantic shots without being too corny, cliche or cheesy.

The warm-up

The first 15-20 minutes of the shoot is always a warm-up. I do give them some suggestions which you can find here; Tips for Taking More Natural Engagement Portraits. I then tell the couple I’m just going to start taking photos and that there is no pressure for anything to be perfect. Instead, we will have a warm-up to get used to the camera, to feeling really silly about it all and that they can laugh as much as they like at themselves and how silly they may feel.

They are given permission to feel awkward and laugh at themselves. I encourage them to be themselves and help them throw off any self-conscious feelings. I tell them to just laugh it all off, not to mind passers-by, and to ignore any stares. After all, they will never see those people again.

I take plenty of shots during the warm-up for them to get used to me but I’m always intentional in what I’m looking for – that fleeting glance at each other, the split-second expression, a warm squeeze and cuddle they allow themselves to have. It’s the in-between moments that are crucial to capture. It’s that moment when they start to relax into each other’s arms after the first few seconds of feeling rather tense or self-conscious.

I also talk to them a lot and give them directions as clearly as I possibly can. Reminding them that on the wedding day they will hardly see me at all so for the engagement shoot I ask them to indulge the camera. I thank them for being very amenable having me pretty much in their face during the entire photo session.

Here are my five tips for creating romantic portraits of couples.

#1 – Find or make the perfect light

Romantic light is a poetic light that evokes that cocooning feeling. Early morning and late afternoon light is soft and dream,y so if possible schedule your shoot during those windows. I try and avoid flat light or harsh overhead light which tends to kill any romantic ambience.

By flat light, I mean a light source which is directly in front of them so that it eliminates gradations of shadows and tones of light fall-off on the sides of their faces. Look for directional light, usually coming from the side or at an angle. To achieve this, position your couple in relation to the light, or move around yourself so that you are in the best place to capture the directional light.

If there is no such light, especially if the location is quite dark or the lights are all overhead, I tend to use my flash. Remember to bounce it so that there is directional light coming from the flash. The important thing is to avoid flatness and create an atmosphere of light and shadow.

Window light is one of the best natural directional light sources available. However, don’t make your couple face the window as that becomes flat light on their faces. Instead, position them at an angle or sideways where there is some light on one side of their face and the other side has shadows.

#2 – Consider the location, background, or scenery

The location or setting has a lot to do with how romantic a picture turns out. Sunsets, although in danger of being cliche, especially sunset silhouettes, produce strong and striking images.

Don’t forget that you can leverage location and all the elements within the setting and not completely rely on light alone. For example, what season of the year is it? If it’s autumn, take advantage of the changing colors of the leaves, use the outfits of the season that make your couple feel warm and cozy – long boots, scarfs, hats.

If it’s winter use the whiteness of the snow or the bleak bare branches of the trees to create a romantic story for your couple. Go to a cafe and take pictures of your couple having a nice hot chocolate with marshmallows by the crackling fire to keep warm. If it’s summer, find the early and late light to avoid the harshness of the midday sun or use props such as parasols, flowers, balloons, kites to celebrate the warmth of the sunshine.

When you are shooting in the city, wait until that light hits the buildings or some iconic landmarks, or in the country, feature the soft rolling hills or vastness of the landscape. If you are shooting in the spring, look for cherry blossoms, maybe the first bud of the season, the first crack of ice or the last of the frost. The goal is to put your couples in context and leverage that to create their romantic story.

#3 – Hide and use layering in your shots

In this article on creative ways to improve your photography, I have written about layering. Layering is a great tool for romantic images. It lets you hide behind something and makes you invisible. The great thing about it is that it puts the viewer of the photo in your place as if they are just passing by and happen to catch a glimpse of the couple.

Layering is one of my favorite tricks and can even be done without you hiding from the couple. You can shoot in a completely open space and still utilize layering. Just grab something, put it in front of your lens and pretend that the camera is peeking through a gap. Layering can be as simple as that. I often pick up a leaf and use it as a layer between the camera and the couple. A bit of fabric, cellophane wrapped around the lens, a prism dangled in front of the lens to create a sun flare all add layers…the possibilities are endless.

#4 – Encourage contact between the couple

To me, the epitome of romantic photographs is when it evokes total privacy – there is no one there other than the couple. In normal portrait situations, I would want a connection between the viewer and the subject. Eye contact with the camera is great for that. It draws the viewer in and invites them to have a conversation with the image. However, for romantic portraits, I prefer no eye contact, except between the couple alone.

There is no one there sharing the moment with them; it is their very own special private time. The goal is to capture the scene as if it were true and real. There must be a strong connection between the couple, whether that be looking directly into each other’s eyes, hands touching, or whispering in each other’s ears, but absolutely no contact with anyone else. This is my personal opinion of course and I’m sure it’s different for other photographers.

#5 – Write a story in pictures

A picture that tells no story has no soul. With practically a limitless number of photos you can take with a digital camera, you can write a novel. Go to a session with a story in mind – a beginning, a middle, and an end. That is the way I approach every engagement shoot and wedding that I photograph.

These don’t have to be very specific pictures, that would depend on where you are. Rather, it’s more of a mindset. What would be your opening scene in a novel? Is your couple walking hand in hand, having a coffee, whispering sweet nothings, or reading a book? What happens in the middle of the story? Are they shopping in a market, admiring some landmarks, doing an activity they both love?

How does the story end? Do they walk away from you into a tunnel or cinema? Or do they sit and relax, put their feet up on a bench after a long day? Do they kiss? Or do they have a dramatic ending like a silhouette or looking out into the horizon with the sun fading or the moon rising?

Each couple has their own unique story. When you meet them you will get a feel of their personalities, their likes, and dislikes. Soon, you will be able to piece that story together and it will be like no other.

I hope you find the above tips helpful. Do share other tips for capturing romantic portraits of couples in the comment section below.

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The post 5 Tips for Creating Romantic Portraits of Couples by Lily Sawyer appeared first on Digital Photography School.

Digital Photography School

January 11, 2017
Review of the New Sigma 500mm F4 DG HSM OS Sport Lens
The Sigma 500mm F4 is a big lens. I shoot with bigger lenses because I need the longer focal lengths when I’m on the wild horse ranges but this is a really big lens – the biggest I’ve ever used, actually. It’s a big ticket item too, as my dPS editor Darlene gently reminded me. Be extra careful.

Sigma has their lens safely back and I didn’t trip, fall, drop or dunk it so I guess it’s okay to share now that I’m very hard on my gear. This lens withstood two weeks with me and emerged unscathed. Bonus points to Sigma. This lens is built like a tank.

Finch on feeder, Chicago Botanic Garden, Glencoe, IL
Canon 5DIII, Sigma 500mm F4, ISO 6400, 1/1000th, f/8, monopod with a gimbal head.

What I really wanted to know when I tested this lens

When I tossed my name in the hat as a reviewer for this lens, what I really wanted to know was if a large 500mm prime lens is a practical focal length for the rigors of photographing horses, birds, and wildlife? How is it to shoot using support, rather than hand held as I normally do? Is the autofocus responsive? Does the lens make ultra sharp images?

I tested it in as many situations as possible in the limited time that I had it, starting with a few birding trips to the Chicago Botanic Garden. Birding was followed by visits to the Lincoln Park Zoo to get up close with the lions and tigers. I wrapped everything up by using it for the “at liberty” portion of an equine portrait session with four polo ponies. I love my results. Read on to find out why.

Striding goose, Chicago Botanic Garden, Glencoe, IL
Canon 5DIII, Sigma 500mm F4, ISO 400, 1/1000th, f/6.7, monopod with a gimbal head.

A few technical specs
- Weight/Size: 7.3 pounds (3.3 kg), approximately 5.7″ wide x 15″ long (144.8 x 380.3 mm)
- Focal length: Fixed 500mm prime, the lens does not extend further when focusing.
- Maximum aperture: F/4.
- Filter: Rear drop-in, 46mm.
- Mount: Available for Canon, Nikon, and Sigma
- Recommended uses: Nature, wildlife, sports and action
- Price: $ 5999 USD
- Release date: December 2016, shipping January 2017.
You can read more detailed specifications here.

Shop for the Sigma 500mm F4 for Canon or for Nikon mount at B&H Photo Video.

Detail of Sigma 500mm drop-in rear filter slot.

Supporting the lens

When photographing animals, birds, and wildlife, your typical gear is probably similar to mine. I mostly use the affordable Canon EF 100-400mm f/4.5-5.6L IS II USM lens with either the Canon 7D Mark II or Canon 5D Mark III. If I’m a bit further from my subject, I add a Canon Extender EF 1.4X III. Normally I shoot handheld.

Comparison of my 100-400mm lens with the Sigma 500mm F4.

Comparison of my extended 100-400mm with the Sigma 500mm F4.

The Sigma 500mm lens with my Canon 5D Mark III (which also has an L-bracket on it) weighed approximately 10 pounds. That’s about three pounds more than my typical gear. It initially seemed possible to hand hold but fatigue and a resulting loss of sharpness set in quickly. My solution was to use a quick release plate to attach the foot of the Sigma 500mm F4 DG HSM OS Sport lens to my heavy-duty Feisol monopod with a Jobu gimbal head.

This combination supported the weight of the lens/camera combination while allowing me to position the lens exactly where I wanted it. It wasn’t as flexible as hand holding, but far more so than using a tripod.

Backward glancing goose, Chicago Botanic Garden, Glencoe, IL
Canon 5DIII, Sigma 500mm F4, ISO 400, 1/1000th, f/6.7, monopod with a gimbal head.

Using support, I was able to shoot for a lot longer without fatigue – and without the shaky shots that come from fatigued hands. I also found the gimbal/monopod combination very portable and easy to maneuver when using this lens.

I would recommend using a sturdy tripod (rather than a monopod) to anyone setting up in a blind, with the intention of waiting for wildlife to approach a known watering hole or feeding spot. Over time, balancing this lens and camera combination on a monopod did take its toll on my shoulders. You wouldn’t want to miss a shot that you’d been waiting hours for, because your body was too fatigued from supporting your gear on a monopod, so use a tripod in that situation.

Horse profile with fence, Somewhere in Suburbia, IL
Canon 5DIII, Sigma 500mm F4, ISO 500, 1/1000th, f/8, monopod with a gimbal head.

Profile of two horses with fence, Somewhere in Suburbia, IL
Canon 5DIII, Sigma 500mm F4, ISO 500, 1/500th, f/8, monopod with a gimbal head.

Three “guilty” horses II, Somewhere in Suburbia, IL
Canon 5DIII, Sigma 500mm F4, ISO 500, 1/500th, f/8, monopod with a gimbal head.

Performance in adverse weather

Illinois in the fall is mainly cool. It’s rainy sometimes but more dry than humid. It is also often very windy. I did not have a chance to test the Sigma 500mm F4 DG HSM OS Sport lens in rainy conditions but it shot flawlessly in the cold (the coldest temperature tested was about 30 degrees Fahrenheit, -1 celsius). Wind was more of a factor because of the large profile of the lens. Some gusts would really grab it and that movement caused a loss of sharpness.

Of course, this isn’t an issue specific to this lens – any larger, longer focal length lens will be affected by gusty winds. Solutions would be to shoot in a more protected area, to use higher-than-normal shutter speeds, or to wait for a less windy day to shoot (which is what I would have done if I wasn’t reviewing the lens in a limited timed frame).

Japanese Macaque (Snow Monkey), Lincoln Park Zoo, Chicago, IL
Canon 7DII, Sigma 500mm F4, ISO 800, 1/100th, f/10, monopod with a gimbal head.

Autofocus performance

The autofocus on the Sigma 500mm F4 DG HSM OS Sport lens is flawless.

First, you can turn the annoying autofocus beep off with a simple switch right on the barrel of the lens. Turning the autofocus beep off is essential when photographing wildlife since the noise can make your subjects anxious. Thumbs up to Sigma for putting this feature in such an accessible location.

Detail of Sigma 500mm F4 option switches.

There are also settings for autofocus, manual focus, and manual override. The point of the manual override mode is to have the lens in auto but be able to easily switch it into manual by grabbing the focusing ring. Because I could manually override the autofocus at any time, even when the lens was in auto mode, that’s the mode I preferred to use.

Stabilization

I tested the Sigma 500mm F4 DG HSM OS Sport lens with and without the stabilization turned on. There are two options; OS1 for handheld photography, and OS2 for panning and tracking. While using my monopod and gimbal head, I didn’t see a noticeable difference in sharpness between OS1 and OS2. There was, however, a noticeable difference in sharpness when OS was turned to the off position. Ultimately I switched it to OS1 and left it there.

More convenience at your fingertips

In addition to the stabilization, beep, and autofocus options there is a “focus limiter.” This switch allows you to choose within which range you need the lens to focus. For example, if you know you aren’t focusing on anything close to you, you can set the lens to focus only from 10 meters to infinity. Setting this limiter allows the lens to focus a smidge faster and that gives you a better chance of sharply capturing fleeting moments.

My favorite feature

Detail of the Sigma 500mm F4 Recall Button.

Perhaps my favorite feature is the group of four rubber buttons circling the front of the lens.

To use them, find a location you want to have as a primary focusing point, hold down one of the buttons and hit the set button on the lens barrel. This action programs the lens to focus on the specific point you selected. The focus lock on that point is based on distance so if you move, you need to reset your buttons.

If you are stationary, sitting in a blind photographing birds or wild animals, this is an amazing feature. You can essentially compose four different shots in four different locations by assigning one of these buttons to each location. When a bird lands in one of your four locations, press the button for that focus point, press the shutter and grab your shot. I tested this with some of the spunkier zoo inhabitants and it worked like a charm.

Again, the advantage here is that this is a little faster than asking the lens to refocus. That millisecond is a precious advantage when photographing wildlife.

Approaching lion, Lincoln Park Zoo, Chicago, IL
Canon 7DII, Sigma 500mm F4, ISO 1000, 1/640th, f/8, monopod with a gimbal head.

Image quality

Image quality is a subjective thing but without it, state-of-the-art features and well-placed buttons don’t mean a thing. I was blown away by the images I produced with this lens.

Straight out of camera the colors rendered beautifully. They were soft, nuanced and creamy. Backgrounds blurred softly away creating a clean canvas for wildlife compositions. The separation between elements was also phenomenal. I had a lot of fun experimenting with “layering,” like the series of four monochrome equine images above and the zebra image below.

Layered zebras, Lincoln Park Zoo, Chicago, IL
Canon 7DII, Sigma 500mm F4, ISO 2500, 1/640th, f/8, monopod with a gimbal head.

Images made with this lens are tack sharp. Details of eyes, fur, and feathers are crisp and well-structured. There is no visible distortion and only very minimal vignetting. For wildlife images, I prefer the range of f/8 to f/11 but I didn’t find any unusable apertures. I could have happily shot at f/4 if the circumstance called for it.

Because I was so happy with the quality, all of the wildlife and bird images included in this review were very minimally processed in Lightroom CC. I sharpened the RAW files, adjusted the white balance, and made a few targeted adjustments to enhance details.

Transporting and carrying the lens

While the weight and length of Sigma’s 500mm F4 lens aren’t unusual for this lens category (the Canon version is almost exactly the same weight and dimensions, and also $ 3000 more!) it is a factor when using it. First, you need to be careful about how you carry a large lens like this to prevent damaging your camera’s lens mount. During a typical shoot you might normally hold your camera by its grip, and let the weight of the lens hang off of the camera body. With a lens this large, that isn’t recommended. Instead, make it a habit of holding onto a lens of this size by the foot, and support the camera’s weight with your other hand. You can also cradle the lens like a baby, which I did often (I didn’t sing it any lullabies, though).

You also need to consider carefully the logistics of hiking to your destination with such a large lens. Investing in a special large lens backpack like this one might be a solution for ease of carrying. Lastly, if you have weight and bag restrictions when you travel, you’ll have to find a workaround for that.

Baby zebra portrait, Lincoln Park Zoo, Chicago, IL Canon 7DII, Sigma 500mm F4, ISO 1600, 1/640th, f/8, monopod with a gimbal head.

Zebra with turned head, Lincoln Park Zoo, Chicago, IL
Canon 7DII, Sigma 500mm F4, ISO 2000, 1/640th, f/8, monopod with a gimbal head.

Bottom line

This lens performed very well for me. Images were sharp and overall quality was excellent. For me, because I am often hiking (or recently, biking!) to locate and then keep up with very mobile herds of wild horses, the size and weight of the lens were a bit difficult to manage. Horses are also unpredictable and I often need a shorter focal length to capture all of their behaviors as their curiosity overcomes them and they start to approach me.

If you’re like me, I’d recommend the Canon 100-400mm I mentioned earlier in this review. For an affordable option with an even longer focal length, try Sigma’s own 150-600mm that weighs in at around 4 pounds for under $ 1000.

I would recommend the Sigma 500mm F4 DG HSM OS Sport lens for a birder, or any type of wildlife photographer that stations herself in a blind, and waits for the animals to come into view. If you’re that photographer, sign up at B&H to be notified when this lens will ship (here for Canon mount, or click here for Nikon) to ensure you get one of the first copies. You won’t be disappointed.

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Digital Photography School
January 10, 2017
The Pros and Cons of Black and White Versus Color for Street and Travel Photography

The question of whether to shoot street and travel photos in black or white or color is an eternal one that isn’t going to go away. But one of the interesting things about digital photography is that it lets you decide whether to process a photo in black and white or color after the photo has been taken. Unlike film photography, there’s no need to commit to one or the other until you open the photo in Lightroom.

But is that a mistake? I think it is because black and white photography and color photography are two different mediums. If you are working in color, then you need to pay attention to the colors in the scene and how to use them to create an interesting composition. But in black and white, you need to pay more attention to textures, contrasts, and shapes in order to create a strong composition.

That’s on top of the task of capturing the expressive moments that the best street and travel photos reveal.

There’s a lot to think about, and as black and white and color photography require different mindsets, it’s a good idea to make the decision about which you are going to shoot before you press the shutter button.

Having said that, it is also helpful to think about the following factors when you are processing photos. It may be that you were working in color, but realize afterward that a particular image would work very well in black and white. The same considerations apply, except that you have more time to think about it.

3 Reasons for working in black and white

1. To capture character

Many street and travel photographers, street photographers especially, chose to work in black and white. If your aim is to make a candid portrait that captures something of the person’s character or soul, then black and white is an excellent choice. There is something timeless about black and white that helps reveal character.

That’s why I shot the following photo in black and white.

2. To simplify the composition

Black and white is a form of simplification. Skilled street photographers learn to create images that are uncluttered and that contain as few distractions as possible. Color can be extremely distracting, and sometimes it’s easier to ignore color completely and work in black and white.

For example, let’s say you make a portrait of somebody on the street, but there is a red poster on a wall behind them. In a color photo, that’s likely to be very distracting. But convert it to black and white and the distraction goes away. The viewer’s attention goes back to the person, where it belongs.

If you are working in an area with lots of potentially distracting colors, working in black and white may be the way to go. For example, this scene in Bolivia was quite colorful, and I felt that black and white removed the distractions of those colors.

3. To evoke atmosphere

Color photos can be tremendously evocative, but so can black and white ones. I think it’s because a black and white image leaves something for the imagination, or perhaps because we associate it with photos taken in the past. So, if you are working somewhere with lots of old buildings, then black and white photos can be a tremendously moody way of capturing the atmosphere of that place.

I chose black and white for this photo, taken in the Argentina, because the stirrup is handmade, and looks ancient, as if it were made many years ago.

3 Reasons for working in color

Color is very powerful and used wisely it can elevate your images to another level. Yet, if it is not used thoughtfully, it can take away from the impact of your photos.

1. The colors of the location are part of its character

For example, last year I visited Beijing and noticed that red is a very common color in that city. It denotes power and wealth and has an important part in Chinese culture. I realized that it is possible to create a series of interesting photos with red as the dominant color.

For example, this photo (below), taken in the Forbidden City in Beijing, makes use of the striking contrast between the red walls and the yellow tiles (matched by the boy’s shorts).

2. The light is beautiful

Color photos are at their strongest when the light is beautiful. This is usually during the golden hour close to sunset, or early morning just after sunrise. The light at these times is warm and golden, and tremendously evocative. This could be a good time to work in color.

I took this photo close to sunset. The light was soft and its warmth helped lift the scene.

3. You are shooting at dusk

Dusk and early evening are good times to work in color as it gives you the opportunity to work with the natural color contrast between the orange light cast by tungsten light bulbs and the natural blue color of the ambient light.

This photo below was taken in the early evening. The hat and t-shirt of the man in the foreground are colored blue by the ambient light outside, while the rest of the scene is lit by artificial light. I retained the orange color in post-processing to keep the atmosphere.

Commit

The process of deciding to shoot in black and white or color involves assessing the scene and the situation, and deciding which one to use, taking into account the reasons listed in this article and your personal preferences. The key is then to commit to the process. Work the subject and do your best to create the most powerful images possible.

If you’re working in color, think about the colors present in the scene and how you can use them effectively. Your mind will engage and start looking more deeply at the colors around you.

If you’re working in black and white, look for interesting textures, tonal contrast, and shapes. Again, once you commit your mind will start looking for compositions that work well in monochrome.

Your turn

What do you think? Do you prefer to make street and travel photos in black and white or color? Let us know in the comments.

If you enjoyed this article and would like to learn more about street and travel photography then please check out my ebook The Candid Portrait.

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The post The Pros and Cons of Black and White Versus Color for Street and Travel Photography by Andrew S. Gibson appeared first on Digital Photography School.

Digital Photography School

January 10, 2017