Category: Photography

  • How to do Tilt-Shift Portraits

    Photography gives you an awesome opportunity to present to the world your vision of it rather than its absolute reality. At their best, photos can evoke the feel of a moment without being an exact representation of it. Think of the last time you fell in love. Most likely, your memories aren’t clear, linear progressions, but rather a series of moments, blurred together by a high-dose cocktail of dopamine and romance. Life can be a blur and feel so good. For me, that’s where tilt-shift portraits come in.

    tilt-shift-photography-8-of-1-13

    tilt-shift-photography-8-of-1-6

    Tilt-shift lenses are most commonly used for architectural purposes, meant to fix converging verticals when shooting tall buildings in order to reduce distortion in the final photo. You’ve also probably seen the miniaturized versions of city streets shot from above where even a city as grand as New York can seem positively dainty. Tilt-shift portraiture however, involves carefully selecting focus and letting anything that isn’t the subject of your photo fade into obscurity. This allows the viewer to be swept into your alternative realty. In my view, it’s a portrait that can be a truer representation to how a moment actually felt.

    Tilt-shift portraiture however, involves carefully selecting focus and letting anything that isn’t the subject of your photo fade into obscurity. This allows the viewer to be swept into your alternative realty. In my view, it’s a portrait that can be a truer representation to how a moment actually felt.

    Tilt-shift portraits = high risk, high reward

    tilt-shift-photography-4-of-1

    Most of my tilt-shift portraits are taken wide-open (using the largest aperture setting) with the lenses shifted as far as possible. This means that my focus point is tiny and the chances of me missing it are huge. This means that if I want the eyes in focus, I have to slow down, concentrate, play with my focus ring and maybe take a few shots just in case.

    When the focus is even just a little bit off, you lose the ability to the guide the viewer. That said, when you do nail the focus, the subject jumps out of the frame surrounded by bokeh.

    Note: if you do not own a tilt-shift lens, look into renting one from a local camera store.

    Wait, what’s a tilt-shift lens?

    tilt-shift-photography-8-of-1-10

    The tilt-shift is a specialty lens that allows the photographer to bend and distort light by tilting and/or shifting the lens itself.

    Shifting implies that the lens actually shifts its position (and the view through it) either up or down, left or right. This can minimize distortion especially with wider focal lengths. Tilting is when the front lens elements literally tilt (again, up or down, left or right) to get selective focus in a given plane.

    tilt-shift-photography-8-of-1-12

    So how do you use this lens to take an interesting portrait? Here is a step by step guide:

    Step #1 – Visualize it

    tilt-shift-photography-8-of-1-11

    Because of the precision and manual focus, you need to visualize your shot before you take it. You need to know exactly what story you want to tell. Do you want the viewer to zoom in to the subject’s eyes or perhaps your shot is about the flow of her dress or how he’s placed his hand. Most of the time, with tilt-shift, you gotta pick one thing to tell your story. What do you want that to be?

    Step #2 – Shift it

    tilt-shift-photography-8-of-1-8

    Tilt-shift lenses can become rather mundane without a shift. Sure, you can use your tilt-shift to take shots straight on with neither tilt, nor shift, but where’s the fun in that? I recommend shifting your lenses before framing your shot as your sweet spot on your lens will help determine your framing. With that, I should mention…

    Step #3 – Know your lens’s sweet spot

    tilt-shift-photography-8-of-1

    Every tilt-shift has parts of the lens that it captures better when tilted or shifted. Know where to place the subject in your frame to get it in focus.

    Step #4 – Manual focus

    tilt-shift-photography-8-of-1-5

    If you’re used to relying on autofocus, switching to manual focus can feel like jumping into the driver’s seat of a stick shift car after years of only using automatic. You’ll be a rusty at first and are sure to stall out once or twice, but soon enough, you’ll get the hang of it.

    On most dSLRs you have two options to view your focus. The first is right through the viewfinder, just make sure that the dial (the diopter) next to the viewfinder is set to match whatever your eye needs or you will have a hard time getting focus pinned down. The second is through Live View Mode on the back of your LCD.

    At times, Live View is a better option as it provides a larger screen but also it allows you to zoom in to your precise focus point and make sure you’re right on.

    Step #5 – Take a deep breath

    tilt-shift-photography-8-of-1-9

    Tilt-shifts are not quick and easy lenses to use. You need to spend time to set up your shot. Relish in its slowness. Just before taking the shot, take a deep breath. Not only will it help steady your shot, but you’ll feel darn good after clicking that shutter.

    Step #6 – There’s more to life than just faces

    tilt-shift-photography-8-of-1-2

    Portrait artists can get overly fixated on eyes. Yes, eyes are incredibly satisfying and captivating things to focus on, but so are fabrics, texture, movement, etc. In life, all of these things at times can be the sole focus of our attention and that story needs to be told too.

    tilt-shift-photography-3-of-1

    Conclusion

    Tilt-shift lenses make it so we can’t get anxious about precision but rather let the feel of photograph take center stage. They can open up a whole new way of viewing not only the world but your photographic style. Now go forth and play!

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    The post How to do Tilt-Shift Portraits by Laura Sullivan appeared first on Digital Photography School.


    Digital Photography School

  • 20 Airborne Images of Objects in Flight

    There are many things that take to the air in flight. Humans need a device like a plane or glider, whereas other creatures take off on their own steam.

    Flying things can be hard to photograph. Photographers have to make choices to freeze their motion or create a blur. Let’s see how these 20 photographers decided to photograph these flying objects.

    Aleksander Markin. ????????? ??????

    By Aleksander Markin. ????????? ??????

    Jim McCulloch

    By Jim McCulloch

    Gianluca Micheletti

    By Gianluca Micheletti

    Steve Corey

    By Steve Corey

    Victoria Nevland

    By Victoria Nevland

    Howard Ignatius

    By Howard Ignatius

    RejeanJ Deschenes

    By RejeanJ Deschenes

    Steve Corey

    By Steve Corey

    Aleksander Markin. ????????? ??????

    By Aleksander Markin. ????????? ??????

    Darlene Hildebrandt

    By Darlene Hildebrandt

    Cat Burton

    By Cat Burton

    Stan Lupo

    By Stan Lupo

    Andy Morffew

    By Andy Morffew

    Jblaha

    By jblaha

    Michael Jefferies

    By Michael Jefferies

    Nicolas Raymond

    By Nicolas Raymond

    Farrukh

    By Farrukh

    Pat Gaines

    By Pat Gaines

    ERIC SALARD

    By ERIC SALARD

    Darkday

    By darkday

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    The post 20 Airborne Images of Objects in Flight by Darlene Hildebrandt appeared first on Digital Photography School.


    Digital Photography School

  • Weekly Photography Challenge – Flight

    Things that fly or defy gravity have always fascinated humans. These 20 images of airborne objects capture flight perfectly.

    Susanne Nilsson

    By Susanne Nilsson

    Weekly Photography Challenge – Flight

    What sorts of subjects can you think of that take flight, or glide through the air? How about these:

    • Birds
    • Planes
    • Kites
    • Gliders
    • Flying squirrels
    • Paper airplanes
    • Bugs, butterflies, dragonflies, etc.
    • Balloons
    • Hot air balloons
    • Ski jumpers?
    • Skate boarders?

    Can you think of any others?

    Simon Plestenjak

    By Simon Plestenjak

    William Warby

    By William Warby

    Chris Harrelson

    By Chris Harrelson

    Heather

    By Heather

    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.

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


    Digital Photography School

  • The Five Most Essential Camera Settings and How to Use Them

    Modern cameras, from phones to high-end DSLRs, are designed to make decisions for us. And for the most part, they do a pretty darn good job of it. Slap your SLR into AUTO mode and more often than not you’ll get images that are sharp with decent exposure. If you are just looking to document your world, then go for it, snap away. The drawback is that images taken in AUTO tend to look similar to one another, with a uniform depth of field and exposure. If you want to move beyond the automatic camera settings, you need to understand your camera, how to use it, and most importantly, what impact changing those settings will have on your final image. Here are five of the most essential camera settings, what they mean, and how they impact the photograph.

    Five Most Essential Camera Settings

    ISO

    Five Most Essential Camera Settings

    This night image required I use a fast shutter speed to retain detail in the flame, so I had to use a high ISO (3200). In the next detail shot, you can see the noise, in the original RAW file. (By the way, this image shows what happens when you free methane from a bubble in the ice of a frozen pond in the boreal forest, and then set it alight.)

    First, the acronym ISO is terrible, because it’s basically meaningless in terms of photography. It stands for “International Standards Organization” a European non-governmental organization that makes sure industries apply the same standards. In the case of photography, they want to make sure that an 800 ISO on a Canon is the same as on a Nikon, Sony or Fuji. If that standard didn’t exist, then settings wouldn’t be applicable across camera brands. So if I set my Canon to make an image at 1/100th sec at f/2.8 and ISO 400, and you set your Nikon to the same setting, we wouldn’t get the same exposure. Thankfully all the major manufacturers do subscribe to the ISO standards.

    Yeah, yeah, but what is ISO? It is the measure of the sensitivity of your camera’s digital sensor to light. The lower the number the lower the sensitivity, the higher the number the more sensitive the sensor becomes. If you are shooting in a low light situation, say a poorly lit room or a dusky evening, an ISO setting of 100 will require that more light reaches the sensor than if you were to use a setting of 400, 800, or 1600.

    Five Most Essential Camera Settings ISO

    Note the noise in the detail of the person’s clothing and in other shadowed areas.

    Drawbacks of high ISO

    So why not shoot at high ISOs all the time? Two reasons: 1. High ISOs often create digital noise on the image, (though camera sensors are getting better and better) and 2. Sometimes you may want to force a slow shutter speed, in which case you want low sensitivity to light. This may be the case when you are trying to capture blurred motion such as water, wind or to create pleasing blurs in sports photography.

    1. High ISOs often create digital noise in the image, (though camera sensors are getting better and better)
    2. Sometimes you may want to force a slow shutter speed, in which case you want low sensitivity to light. This may be the case when you are trying to capture blurred motion such as water, wind, or to create pleasing blurs in sports photography.

    In short, ISO is one of the three tools you have at your disposal to manipulate your exposure.

    Shutter Speed

    The length of time your camera’s sensor is exposed to light is the shutter speed. Many cameras have a mechanical shutter that snaps open and closed allowing light to reach the sensor, others use a digital shutter that simply turns on the sensor for the set period of time before switching it off again. Shutter speed has a huge impact on the final image. A long shutter speed will create blur in moving subjects. As a landscape photographer, I use long shutter speeds often to blur water, expose starlight, or capture wind motion.

    Five Most Essential Camera Settings

    For this image, I used a 0.5 sec shutter speed to blur the waves somewhat, but retain detail.

    Five Most Essential Camera Settings shutter speed

    A 30-second shutter speed blurred the Yukon River in this image, into a mirror-like surface.

    Short or fast shutter speeds have the effect of stopping motion. Use a shutter speed of 1/2000th of a second and the motion of a runner or a cyclist will be stopped dead.

    Five Most Essential Camera Settings shutter speed

    This image of a bike passing used a shutter speed of 1/500th of a second. It was just enough to be sharp overall while retaining some sense of motion in the spinning tire.

    Your use of the shutter has to be thoughtful to create a good image. Think about the final image you want to create. Does it have blurred components or is it all sharp? Do you want to stop, or convey the sense of motion? Consider, experiment, then decide on your shutter speed.

    Aperture

    Five Most Essential Camera Settings aperture

    An f-stop of f/11 at 17mm was sufficient to make the entire image, from inches in front of the lens to the cliffs in the distance, sharp.

    The aperture, or f-stop, may be the most confusing aspect of photography for many photographers because it affects images in unexpected ways. Essentially, the aperture is how big the hole in the lens is. The smaller the hole, the less light is allowed in, the larger it is, the more light gets through. What often confuses people is the numbering system: the smaller the number, the larger the hole. So f/2.8 is a larger opening than f/4, f/5.6, f/8, f/11 and so on. Lenses with a wide maximum aperture (a small number like f/2) are considered “fast” meaning they are capable of allowing in more light.

    But it’s not just about light, and how wide a lens can open. The aperture also affects image sharpness. Most lenses (dare I say all?) are sharper, a few stops down (called the sweet spot). A lens with a maximum aperture of f/2.8 will create a sharper image at f/8, then at f/2.8. The higher quality the lens, the less this matters, but it is noticeable on most lenses.

    Five Most Essential Camera Settings aperture

    A very shallow depth of field in this image brings the grouse hiding in the brush into focus while the surrounding chaos of branches blurs into a haze.

    Depth of Field and application

    Next, the aperture also controls the Depth of Field. The DoF is the amount of the image from close to far that is in focus. A lens, when set wide open, say f/2.8, will have less DoF than when the same lens is set to f/11.

    Like shutter speed, your use of aperture should be purposeful. Have a landscape image that you want in focus from front to back? You better select a high f-stop (like f/11). How about a portrait where you want a clean, soft background but a tack-sharp eye? Then use a small f-stop (like f/2.8 or f/4) and watch that focus point.

    The aperture has a direct impact on shutter speed. A large f-stop will require you to use a longer shutter speed to attain proper exposure. Just as lower f-stop, will allow you to use a fast shutter speed. These two are completely interrelated, there is no escaping it, so you NEED a strong understanding of both.

    White Balance

    White balance, like ISO, relates to the sensor, but in this case, it has to do with the color of the light, rather than its brightness.

    Different light sources have different color tones. Our eyes often don’t detect these differences, but you can bet your camera will. Have you ever seen a photo of a home interior lit by soft-white bulbs, but including a window? Usually, the interior of the room looks natural while the light outdoors looks artificially blue. That’s white balance. The camera (or photographer) decided to use the interior light (the warm-toned bulbs) as the natural color, but then the natural light

    The camera (or photographer) decided to use the interior light (the warm-toned bulbs) as the neutral color, but then the natural light outdoors appears blue. When the white balance is set wrong, the colors are off. They look too yellow, blue, or orange. When it’s correct, everything looks natural, or as our eyes detect it.

    Five Most Essential Camera Settings white balance

    Here is the camera’s AUTO selection for the White Balance. The colors of the aurora borealis appear too purple and yellow.

    Five Most Essential Camera Settings white balance

    In this version, using the same post-processing for exposure, I adjusted the white balance further into the blue range, making the colors of the lights appear more natural and pleasing.

    What about Auto White Balance?

    I’ve got a confession to make here. I almost always use the AUTO white balance setting on my cameras. Cameras are pretty darn good at assessing color tones and deciding on the appropriate white balance. When it does get it wrong, I can check the image on the LCD and make the correction for the next shot. Second, I shoot exclusively in RAW format which means that I can make adjustments to the white balance in the computer. I trust the image on my computer screen more than I trust the tiny LCD on the back of my camera.

    That said, there are times to adjust the camera’s white balance settings. The first is if you are shooting JPEGs. That image format will not allow you to effectively adjust white balance later, so it’s got to be right in the camera. The second is when stacking images either for high contrast scenes or for panoramas. When stacking images, slight changes in color tones will make combining them into HDR or panoramas much more difficult or impossible. You can also use White Balance if you purposefully want to make an image look cool or warm, or if you are using artificial lights. (Now THAT subject warrants an article of its own…)

    Be mindful of your White Balance, know what it does and how it will impact your image, then decide how, or whether to use it.

    Exposure Compensation

    ak-homer-109266-sunset-139

    Here I used Exposure Compensation to make sure that the image was bright enough to show details in the foreground while assuring that the bright sunset in the background was not blown out.

    These two images show how useful Exposure compensation can be. The image below was made in bright sunlight, but a purposeful underexposure of three stops reduced the mountains to black but retained detail in the sky, making a surreal image.

    Know your camera well

    Exposure Compensation is a tool you should know how to adjust without even lowering the camera from your eye. Exposure compensation allows you to very quickly, add or subtract light from an image. Too dark? Use Exposure Compensation to add a stop of light. Too bright? Exposure Compensation can quickly reduce the exposure. How it is set depends on your camera settings.

    I use Aperture Priority mode most often on my camera. That means I select the aperture, and the camera decides the shutter speed. If I adjust my Exposure Compensation, the camera will retain my chosen aperture and simply adjust shutter speed up or down to get the desired exposure. If I were to use Shutter Priority, as I sometimes do, the camera will adjust the aperture. In AUTO the camera will make that decision for me.

    I use Exposure compensation constantly. It is my go-to method for fine-tuning my exposure in the field. On my Canon DSLR, I can adjust it with a simple twitch of my thumb on the rear wheel of the camera. Other cameras have their Exposure Compensation controls on the front, a wheel near the shutter button, or some other system of buttons on the back. Know how your camera works, and learn to adjust this quickly and efficiently. Understanding this important tool will mean you don’t miss your chance to get the shot right when you are working in the field or studio.

    Conclusion

    These five camera settings are the most important things to understand on your camera. Experiment with them so you know how they affect your final image, and know how to change each quickly and without fuss. Once you do, you’ll have taken charge of your photography, and be on your way to creating purposeful images.

    If you have comments or questions please share post them below.

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    The post The Five Most Essential Camera Settings and How to Use Them by David Shaw appeared first on Digital Photography School.


    Digital Photography School

  • 3 Photoshop Elements Tutorials to Help You Correct and Enhance Your Images

    We’ve noticed on our current reader survey (if you haven’t filled it out already, please do so here) that many of you are using Photoshop Elements. So I rounded up some video tutorials to help you use Elements (15 or any older version) to help you make corrections and enhancements to your images.

    #1 How to brighten and improve a dull photo

    George Peirson from How To Gurus walks you through several steps you can apply to make a dull photo more exciting. He covers things like working with adjustment layers so you can work non-destructively, adding more color in certain areas, layer blending modes, and more.

    #2 How to remove people using the clone stamp tool

    Sometimes you can get unwanted people in your shots. In this video you can learn how to remove them using just the clone stamp tool in Photoshop Elements.

    #3 How to create a motion blur effect using Elements

    In this final video learn the steps to add motion to an image using different blur effects in Photoshop Elements. The example used is a race car that was frozen with a fast shutter speed.

    If you use Photoshop Elements I hope these videos have helped you out, and you have learned a couple new things. Many things that you can do in Photoshop, can also be done in Elements. Some of the tools and menus are a bit different but many of the features are similar. Elements also offers a “guided” user experience to help you walk through doing some common things.

    If you want to learn more try the Adobe website where they have more tutorials and articles on Elements.

    For more Photoshop help try these dPS articles:

    • How to Add a Sun Flare to Your Images Using Photoshop
    • How to do Non-Destructive Editing in Photoshop
    • An Introduction to Photoshop Layers Possibilities and Properties
    • Tips for Using the Blur Filters in Photoshop
    • 2 Simple Methods for Adding Color to Your Images Using Photoshop
    • A Guide to Black and White Conversion in Photoshop

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    The post 3 Photoshop Elements Tutorials to Help You Correct and Enhance Your Images by Darlene Hildebrandt appeared first on Digital Photography School.


    Digital Photography School

  • Introduction to Taking 360 Degree Photos

    The rise of Virtual Reality has brought about an unexpected innovation in the world of photography, the 360° photo. You may have come across a 360-degree photo or video on Facebook, which began accepting the new type of photo early this year. 360-degree photos allow the viewer to interact with the image and explore the entire environment around the camera that captured it.

    Anyone can create 360 photos and share them on social media, but to do so you’ll need to invest in a purpose built 360° camera. These cameras have two or three lenses each facing a differing direction; the 360 photos are created by stitching the images captured by each individual lens to create a full 360° image.

    This is what a 360° photo looks like before it is stitched together:

    360 degree photo unstitched

    Using automatic software, a 360-degree camera can stitch each side of the image together to create a full 360° image that will look like this:

    Why would you use 360° photos?

    So what is the point of 360-degree photos? Is it just a fad or is the medium here to stay? 360-degree photos present an opportunity for people to capture entire rooms, landscapes, and scenes in a single shot. Imagine the difference between photographing a beach using a normal camera compared to photographing the same beach with a 360-degree camera. A normal camera is limited to capturing the space where you point viewfinder, roughly 90° or so. The 360 camera will capture the whole scene, allow you to look up at the sky, behind at the sand dunes and forward towards the ocean, all in one seamless image.

    You’ve probably used google street view to explore different places around the world, a 360 photo can be viewed exactly the same way. In fact, businesses have used 360 photography to create internal immersive tours of their properties for years. If you want you can even upload your 360 photos to google where other people can view them on street view.

    So it seems like 360-degree photos are here to stay, with large companies like Facebook, YouTube, and Flickr all adapting their photo sharing services to accept 360 images. New cameras being released all the time, and this new type of photography is at last accessible to the casual photographer.

    360° Cameras

    You may be wondering if 360 photos require advanced equipment and years of training to produce. A few years ago this may have been the case, but the relentless advance of technology means that taking a 360 photo is just as easy as shooting with a compact camera.

    This year has seen the release of several consumer 360 cameras aimed at everyday people who want to take immersive 360 photos. These cameras are user-friendly, priced competitively, and only require a few minutes to learn how to use effectively. Some brand names you might like to note down include the Samsung Gear 360, the LG 360 Cam and the Ricoh Theta S; these are all 360 cameras that have proven popular and they are relatively inexpensive.

    In almost all cases you’ll need a smartphone to make the best use of your 360-degree camera, as each one has an accompanying app that allows you to preview the image and control camera settings. The camera and app connect wirelessly and then you simply use your phone screen as you would a normal camera screen.

    Tips and tricks for shooting 360 photos

    One of the exciting things about 360-degree photos is that they require a new set of skills to shoot successfully. For a start, you need to remember that the camera will capture everything surrounding it, so if you don’t want to be seen you will need to hide out of view and make use of the timer feature.

    When setting up a 360 photo, consider the fact that the viewer will be able to explore the whole image, so try and find a location with plenty of interesting features.

    A must have accessory, that should be used with every 360-degree camera is a good tripod. It is essential that the camera is stable and still when shooting in 360 degrees, otherwise, the image may become distorted. I recommend using a tripod that has little in the way of gears and levers at the top, or they may be visible in the 360 image. I have found that a studio light stand is very well designed to be a tripod for a 360 camera.

    When shooting a 360 photo try and ensure that there are no objects too close to the lens, this makes it much more difficult for the camera to stitch the images together accurately.

    Your turn

    These basic tips will get you started, but the only way to become a proficient 360-degree photographer is to get out and start shooting yourself. The reward is the opportunity to create truly unique images.

    Have you tried this kind of photography before? Please your thoughts, questions and images below.

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    The post Introduction to Taking 360 Degree Photos by Daniel Pharaoh appeared first on Digital Photography School.


    Digital Photography School

  • How to Build the Ideal Tripod

    When I got into photography more than 20 years ago, I remember spending all my hard earned money on a brand new camera. It was a shiny beautiful brand new Pentax K1000 with a great 50mm f/1.8 lens. I was almost flat broke and all I could afford to buy after that was a roll of B&W Ilford HP5 film to try the camera out. Some time went by until I could afford to buy anything else photography related, but I remember that the next item on my list was a tripod.

    I bought one of those cheap aluminum tripods that lacked a lot on the steadiness side. It served me well for a few years until one day it totally fell apart with my precious camera mounted on it. Of course, nothing serious happened because those cameras were built like a tank. It’s amazing the kind of abuse they could take and just keep on working flawlessly like a Swiss clock, but that day I promised myself I would never buy another cheap tripod again in my life.

    Building the Ideal Tripod

    What is the perfect tripod?

    As I started growing up in the photography business, I tried out a lot of different things, from really light carbon-fiber tripods to huge studio columns for large format cameras. The fact is that there is no perfect tripod out there.
    Different cameras and different situations require different tripods.

    You have to accept that it is a compromise between lightness, steadiness, and versatility, and make your choice.

    Honestly, I own more tripods than I would like to admit. The fact is that I always have a really hard time picking the right tripod every time I have to go out on an assignment. So recently I put myself on a quest to search for a nice tripod that would fit most of my needs and would not break my piggy bank.

    Building the ideal tripod

    The shopping list I am about to describe was made after some serious research. I kept in mind the best price, quality products, and the kind of work I do, which ranges from portraiture to architecture, with a lot of landscaping in between, mostly done on the go. So these choices may not be everyone’s cup of tea, but they work great for me.

    Best tripod 01

    The Fotopro CT-5i tripod.

    If you take a look around, you’ll see that there are hundreds of tripod manufacturers on the market. If you eliminate the top brands and focus on the regular consumer brands, you’ll see that many times the same product is sold under different brand names, many times with very different prices.

    The thing is that most of these products are made in China, and then exported around the world and sold under the name of local brands. To buy this kind of product is a game of chance because they range from fairly well-made to really bad knock-offs of famous brands made with cheap materials.

    Starting with the Fotopro CT-5i tripod

    The Fotopro CT-5i I decided to buy is a really good compromise of a good product with a really nice price tag. This particular tripod configuration is used by different manufacturers. You can find this product being sold under different brand names with slight differences.

    It is a four-section aluminum tripod that weighs 1.38kg (3.04 pounds) and is as small as 43cm (16.9 inches) when folded. It is able to support up to 8kg (17.6 pounds) and extend up to 1.57 meters (5.15 feet).

    These specifications are perfect if you want a transportable tripod that is sturdy enough to hold a DSLR with a heavy lens, with the ability to remove one of the legs and convert it into a monopod, which is a major plus in my opinion. It also comes with a transport bag and a few handy accessories such as:

    • A belt holder for transport or for a monopod steady stand
    • A couple of hex wrenches for tripod maintenance
    • Hand strap
    • A sturdy hook to hang some weight and make the tripod steadier

    Best tripod 02

    It has a moveable central column and a really clever latch design that opens the legs in three different angles.

    Best tripod 03

    Customizing my ideal tripod

    Even though the design of the product is really good, after using it for a couple of months, I realized I could improve it with a few simple modifications that would make my job easier.

    The first task was to remove the original rubber feet and replace them with a set of spigots with a 3/8″ thread.

    Best tripod 04

    Best tripod 05

    With a little bit of grinding they get a tight fit inside the tube, and now they just give me new attachment possibilities, like these spikes or rubber feet that I can use in different types of ground.

    Best tripod 06

    Or I can add a 3-legged locking base to the monopod.

    Best tripod 07

    It’s a simple modification that adds a lot of versatility, enabling features that are only seen in really high-end brands.

    Best tripod 08

    The monopod can also be used as a boom arm or, if I’m in a rush, I even use it as a light stand attached to something like my hard case with a heavy duty clamp.

    Best tripod 09

    You can also improve the steadiness of the tripod by just hanging something on the hook of the central column like for instance your photo bag.

    Best tripod 10

    Accessories

    The ball head is a medium size one, with an Arca Swiss style plate able to perform smooth panning movements, even though I have to admit that the knobs don’t offer the best grip, but they do the job.

    The bubble levels on the plate base are a good help when you need to check your horizontal or vertical indicators. It seems very well balanced and steady with a DSLR with a heavy 70-200mm f/2.8 lens using the collar attachment.

    Best tripod 11

    It doesn’t perform that well when you use the camera base screw attachment and turn it to the vertical position, making it totally out of balance. This is the reason why I use an L-Bracket most of the time.

    Best tripod 12

    The bracket keeps the camera in line with the tripod column, making it balanced and not tilted off-side when you use it in the vertical position.

    Best tripod 13

    Bottom Line

    Sometimes you have to adapt the tools you use to your needs. These customs modifications and add-on accessories just made this tripod a lot more useful to me, making my job much simpler when I have to use one.

    What about you, have you done any custom adaptations to your tripod? Please share your ideas in the comments below.

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  • dPS 12 Days of Christmas: Save up to 85% on Some Great Photography Training and Tools

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    In 24 hours our dPS 12 Days of Christmas celebration begins!

    This is when you’ll score HUGE savings on our most popular products and MASSIVE discounts with some very special dPS partners so that you have the best resources to reach your photography goals for 2017.

    It works just as you’d expect. Over 12 days, we’ll announce a brand new deal every 24 hours.

    To get notified of each deal just add your email address below.

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    Each day you’ll receive an email from us with a special offer from us or a partner.

    Many of our deals are offering 70% to 85% off the normal price.

    We’ll also share the deals on our Facebook page, but the best way (so you don’t miss a thing), is to sign up for the emails above.

    On signing up you’ll also get a special free downloadable gift from dPS – our mini-guide and checklist for photographing the holidays.

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    Our annual 12 days of Christmas is the most anticipated event on the dPS calendar – and this year is going to be bigger than ever! It starts in less than 24 hours and is always lots of fun. We hope you’ll join us.

    We can’t wait to unveil the first deal with you…just 24 hours to go!

    Again – to get the deals via email just sign up below.

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  • How to Convert a Camera to Infrared for Black and White Landscape Photography

    Get Andrew’s The Black and White Landscape eBook bundle at 30% off now over at Snapndeals, only until December 20th (AUS time).

    Do you have an old digital camera that you don’t use much anymore? If you do, one way to make it useful again is to convert it to infrared for black and white landscape photography.

    How to Convert a Camera to Infrared for Black and White Landscape Photography

    Why would you want to do this? For me, the main reason is that it gives me a new way of working in black and white. Yes, infrared converted cameras can give you color images as well as black and white ones, but for me, the strange colors are more of a gimmick than a useful tool. With black and white, it’s different. In infrared photography, the tonality of the photo changes, giving you new and interesting ways to capture the landscape.

    What is infrared photography?

    The simple (non-technical) explanation is that infrared light is a kind of invisible light, formed of electro-magnetic waves that are undetectable to the human eye.

    Human skin reflects a lot of infrared light, so does vegetation. These these things appear very bright in black and white infrared photos. Inanimate objects, such as roads, stones, and buildings, don’t reflect as much infrared light and can look remarkably similar to regular black and white photos when photographed in infrared.

    How to Convert a Camera to Infrared for Black and White Landscape Photography

    What is an infrared conversion?

    Digital camera sensors are sensitive to ultraviolet (UV) light and infrared light as well as the visible wavelengths of light. Because of this, digital cameras have filters to block both ultraviolet and infrared light. The infrared filters on most cameras do let some infrared light through, but not enough to affect the image.

    During an infrared conversion the technician removes the infrared filter so that the sensor can now see infrared light, and replaces it with a filter that blocks visible light, so the sensor can only see and record infrared. The process isn’t complex, and because of that isn’t particularly expensive. If you are technically minded you could even try it yourself. There are videos on YouTube that explain how. You just need the right tools and parts.

    The usual caveats apply. If your camera is still under warranty that will be voided, and bear in mind that you can damage your camera if you don’t know how to do it properly. You should only attempt it if you know what you are doing!How to Convert a Camera to Infrared for Black and White Landscape Photography

    The infrared conversion on my camera was done by Protech Photographic in the UK (they also handle orders from mainland Europe). LifePixel and Kolarivision are US based companies that also do infrared conversions. If you know of any other reliable companies, please let us know in the comments section below.

    Types of infrared conversion

    There are several types of infrared conversion. These are some of the most common.

    Full spectrum conversion

    The UV and infrared filters are removed. Your camera’s sensor can now see UV and infrared light as well as visible light. You control the effect by using filters (on the lens) to block different amounts of visible and/or infrared light. This may be interesting if you like to experiment, but the disadvantage is that you need to buy filters, adding to the cost. Filters also block light, so you need to use slower shutter speeds or higher ISOs to compensate.

    infrared-camera-conversions-6

    720nm conversion

    The technician places a filterin front of the sensor that blocks all wavelengths under 720nm (nm = nano-meter and is a unit of measurement equivalent to 1/1,000,000,000 meter used for measuring wavelengths of light). In other words, it only lets infrared light through. It’s the type of conversion best suited for landscape photography, giving you a color image that’s easy to convert to black and white. This is probably the most common type of infrared conversion and the one you should go for unless you have a specific need for one of the other types.

    830nm conversion

    The sensor is fitted with a filter that blocks all wavelengths under 830nm. This gives a more intense type of infrared effect, with very little color. It’s ideal for dramatic black and white landscape photography.

    Some companies offer different types of conversion in addition to these, so check their websites for details.

    How to Convert a Camera to Infrared for Black and White Landscape Photography

    Camera types and infrared conversions

    When it comes to converting digital SLRs to infrared there is something you need to bear in mind. Infrared light focuses at a different point to regular light. Your camera is calibrated to focus visible light, which means that if you try to focus on something using a wide aperture (which gives less depth of field) then your focus may not be accurate. It is possible to calibrate a lens to focus accurately with infrared, so check with the company that is going to handle your infrared conversion for details.

    But for landscape photography, where most photographers use wide-angle lenses and stop down the aperture for sharp focus, it is not so important. If your camera offers some sort of contrast detect autofocus in Live View (where the camera focuses by taking a reading from the sensor rather than using the camera’s phase detection autofocus system) then you will have accurate focusing in Live View (just not when using the viewfinder).

    infrared-camera-conversions-5

    Mirrorless advantage

    Mirrorless cameras have an advantage over digital SLRs for infrared because they are able to focus from the camera’s sensor. That means that if you plan to hand-hold the camera and look through the viewfinder to take photos (rather than put the camera on tripod and use Live View) then a mirrorless camera is an excellent choice as you won’t get any focusing errors.

    Another advantage of cameras with electronic viewfinders is that when you set the camera to its black and white mode the camera displays the scene in black and white in the viewfinder. This makes it easy to visualize how the photo will come out in black and white with the infrared effect applied.

    infrared-camera-conversions-7

    Lenses and infrared photography

    Another consideration is that not all camera lenses are suitable for infrared photography. Older lenses in particular tend to show a hot spot at the center of the frame, especially at wide aperture settings. Before converting your camera you should check and see if there are any reported problems with the lenses you intend to use with it. Kolarivison have a comprehensive list of infrared compatible lenses.

    Infrared filters

    Another option, if you don’t want to convert a camera to infrared, is to buy an infrared filter that blocks out visible light and just lets infrared light reach the camera’s sensor. The Hoya R72 filter is a great option and not very expensive, especially if you have smaller lenses. It blocks wavelengths below 720nm, just like a 720nm infrared conversion.

    Note: shop for the Hoya R72 Filter on Amazon.com or on B&H Photo’s site. 

    infrared-camera-conversions-8

    You may remember that digital cameras have a filter that blocks most infrared light. An infrared filter is opaque, so the result is that not much light reaches the sensor. In effect, an infrared filter is a strong neutral density filter as well as an infrared filter.

    The strength varies according to the camera used, but don’t be surprised if you lose 16 stops of light. A tripod is essential. Luckily, this is not necessarily a bad thing for landscape photographers. If you are prepared to work within this limitation then an infrared filter could be for you.

    infrared-camera-conversions-11

    Test first

    The infrared filter on some cameras is so strong that no light reaches the sensor at all. This makes using an infrared filter impossible. There’s a simple way to check to see if your camera’s sensor can detect infrared light. Do this test first before buying an infrared filter.

    Set your camera to Live View and focus on the end of a television remote control while pushing down one of the buttons. If you can see a light (the infrared communication in action) then it is sensitive enough to infrared light to use with a filter. It’s probably easiest if you ask somebody to hold the remote control for you.

    Black & white infrared landscape photograph

    This photo (below) was taken with a Hoya 72 filter. It required a shutter speed of 180 seconds, even though the cliffs were lit by the light from the setting sun.

    Black & white infrared landscape photograph

    All the other photos in the article were taken with a Fujifilm X-Pro 1 converted to infrared.

    Conclusion

    That concludes our overview of converting cameras to infrared for black and white landscape photography. Have you tried this yourself? What camera did you have converted and how did it work out? Please let us know in the comments.

    Get Andrew’s The Black & White Landscape eBook bundle at 30% off now over at Snapndeals, only until December 20th (AUS time).

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  • How to See and Photograph Light – 6 Tips to Help you Take Better Photos

    I was teaching a class recently and someone asked me how they could have made a particular set of landscape images better. Should they have used a different aperture, shutter speed, etc.? “You couldn’t have made those photos any better because the light was terrible.” I explained. You must learn to see and photograph light to take better photos.

    How to See and Photograph Light - 6 Tips to Help you Take Better Photos

    Blossoms at dawn, Paris.

    There are times when interesting photos can be made in bad light. But I will unequivocally say that in most cases (as there are always exceptions to the rules, right?) when you have boring light you will have boring photos.

    Interesting light transforms any subject. It reveals and enhances the subject’s natural qualities. In many ways, it brings your subject to life. If you follow only one piece of advice in photography it should be this:

    “Light makes photography. Embrace light. Admire it. Love it. But above all, know light. Know it for all you are worth, and you will know the key to photography.” George Eastman.

    How to See and Photograph Light - 6 Tips to Help you Take Better Photos

    Moonset on the Seine.

    In this article, I am going to explore light in many forms, but it’s not a technical article. This is about the how you compose with light, how its different forms affect your subject, the emotions that light communicates, and how when you really chase light you’ll learn to create more compelling and memorable images.

    In every single one of these photos, I will say that the subject is the light. The light might be subtle, or very obvious, but what compelled me to snap that shutter was what the light was doing. Here are some tips to get you more involved with capturing the mesmerizing qualities of light.

    1) Notice light

    “It’s not what you look at that matters, it’s what you see.” Henry David Thoreau

    How to See and Photograph Light - 6 Tips to Help you Take Better Photos

    This first step seems like a stupidly simple piece of advice right? I mean who doesn’t notice light? Most people notice the obvious aspects of light – it’s a sunny day, it’s stormy, it’s twilight. There is so much more to light, though. It’s a rich, varied and complex entity. Light is creating hundreds of different effects all around us all the time.

    The first piece of advice I always give to all my students is – look for what the light is doing and look for light sources. You’re out and you see a beautiful shaft of light on a wall. Ask yourself – where is it coming from? Is it direct or is it being reflected off of something? Is it bouncing off the wall and doing something else?

    As you move around light alters – as you enter a square, go under a tree, move behind a building – it’s bouncing and reflecting off so many things. Light is being filtered through leaves, through different urban and natural materials. It’s this constantly changing aspect that you need to become very familiar and intimate with. Light is always changing – as clouds drift across the sun, as the hours pass, as weather systems move.

    How to See and Photograph Light - 6 Tips to Help you Take Better Photos

    See the shadows on the clouds?

    Become a light detective

    There are, of course, many times when the light is super flat. We have many days in London where cloud cover is very dense and the light is very flat and gray. Or back in California, where I grew up, in the height of summer at midday the light is hard and almost flat in its piercing white intensity. Then you have to work harder to look for alterations in light. But like life itself, change is something we can consistently rely on.

    You’ll also start to notice that when the light outside changes, it also changes the light inside. A drop in the vibrancy of the light outside will make the light inside seem warmer and stronger.

    Becoming a good photographer is like becoming a light detective. What is light doing to your subject? What is it revealing about your subject?

    How to See and Photograph Light - 6 Tips to Help you Take Better Photos

    Los Angeles downtown at dawn.

    2) Use light to create emotion in your images

    “A great photograph is a full expression of what one feels about what is being photographed in the deepest sense and is thereby a true expression of what one feels about life in its entirety.” Ansel Adams

    For me, light always creates an emotion, a feeling, or a sense of mood. It doesn’t have to be a strong feeling or even a positive one, but it does have to create an impact with me that goes beyond the initial pleasingness to the eye. I am constantly searching to capture a feeling in my images. Light is a very powerful way to communicate emotions.

    So I want you to look at the light in the following photos and ask yourself – how do they make me feel? Light can be a powerful and dramatic element in your photos, creating a deep feeling of awe, about the grand beauty of the world.

    How to See and Photograph Light - 6 Tips to Help you Take Better Photos

    Dawn over the Grand Canal Venice, Italy.

    Light enhances the subject

    Of course, the photo above would have been interesting without the dramatic sunrise, after all, it is Venice and the subject is incredible. What the beautiful light adds, though, is a big pop of color, adding a layer of depth and enhancing the awe-inspiring feeling of these amazing buildings. The dramatic color and light matches and enhances the dramatic subject.

    It doesn’t have to be big subjects, though. This simple shot of pretty flowers would be quite boring if it didn’t have this lovely dappled light on it. It’s simple but very evocative. If you are starting out, or trying to refresh your basic skills, focusing on detailed shots like this, and what light is doing to the elements in the world around you, is a fantastic way to start playing with, and capturing the magic of light.

    How to See and Photograph Light - 6 Tips to Help you Take Better Photos

    Tulips in bloom Istanbul Gulhane park

    I have mentioned interesting and beautiful light. So what is interesting light? Well, to me it’s any light that communicates an emotion, a feeling, or a mood. It’s light that makes you feel something. Even if that’s melancholy.

    How to See and Photograph Light

    Lone tree on a foggy morning on Hampstead Heath London, at dawn.

    I shot the photo above on a cloudy autumnal morning. The light was very diffuse, very subtle, but it was still pretty and interesting to me. It matched the location I was in – the wild heathers and grass along with the stark leafless tree standing alone.

    Can you see how the light emphasizes the natural qualities of the tree? How the amazing wild branches, stripped bare, almost like someone’s mind going crazy, are enhanced by the soft light?

    In the photo below, to me, the light is offering an amazing feelingof foreboding.

    How to See and Photograph Light - 6 Tips to Help you Take Better Photos

    Dark days ahead, London.

    3) What is the color of light?

    “Light, that first phenomenon of the world, reveals to us the spirit and living soul of this world through color.” Johannes Itten

    Color from light is produced when white light is split by a prism into the colors of the rainbow. You also get artificial effects created by the myriad of things that light reflects onto and bounces off.

    For me, color is the second most powerful force in my photography, and getting a sense of the color of light is a great way to start using light and color in your compositions.

    Compare the color of the light in the following three images.

    How to See and Photograph Light - 6 Tips to Help you Take Better Photos

    Dawn over Death Valley, California

    How to See and Photograph Light - 6 Tips to Help you Take Better Photos

    Sunrise over the Bosphorus, Istanbul Turkey at dawn.

    How to See and Photograph Light - 6 Tips to Help you Take Better Photos

    Near Hackney Wick station London at dawn.

    Light is always full of color – even if it’s piercing white. And it’s doing something to the color of your subject.

    4) Light can make even dull and boring subjects interesting

    “In the right light, at the right time, everything is extraordinary.” – Aaron Rose

    Interesting light doesn’t have to just be natural, or even beautiful. Light of all kinds creates mood and feeling within a photo. Your aim is to ensure that the light helps to create a story of some kind for your image, that it tells you something about what it’s like to stand right there, where you were.

    How to See and Photograph Light

    Hotel room, Madrid, Spain.

    Above is a great example of harsh light that usually I wouldn’t go near – but it works in this photo because it works well for the subject. I rarely take photos using such unflattering hard lighting. But in a grim hotel room in Madrid, it enhances the feeling of loneliness that the twin (disconnected) beds give off, with the bleak looking paint color. That burst of light wraps up the photo into a nice melancholy package. See, even horrible light can be interesting (in the right circumstances)!

    Then you also have the issue of beautiful, gorgeous light making rather dull subjects suddenly quite interesting.

    How to See and Photograph Light - 6 Tips to Help you Take Better Photos

    Gas pumps for boats in Venice, at dawn.

    Without the rich blue light, this would not be an interesting photo. Plus what gives it another layer of interest are the pops of artificial light.

    This following photo has a fascinating subject. But imagine this scene on a gray, drab Parisian morning, when all you want to do is dive into a cafe and eat several pains au chocolat?

    How to See and Photograph Light - 6 Tips to Help you Take Better Photos

    A dawn Idyll on the Seine, Paris.

    The light is bringing everything to life – the gray stone buildings, the grayish-green water, the black and browns of the boats. This would be a totally boring photo without that magical light and sky.

    5) Use light to tell a story

    “There is only you and your camera. The limitations in your photography are in yourself, for what we see is what we are.” – Ernst Haas

    I think photographs are at their strongest when they enhance the inherent qualities of the subject you are photographing when they add another layer of story to the photo.

    What story do you want to tell?

    I photograph a lot of cities at dawn; it’s my main subject at the moment. Dawn, though, becomes very repetitive to photograph. It’s often so pretty, but just how many epic sunrises can you photograph? So one of my favorite things to do is to juxtapose that beautiful, ethereal light of dawn with the broken, used or decaying elements of our cities.

    How to See and Photograph Light - 6 Tips to Help you Take Better Photos

    Ancient vista, Istanbul at dawn.

    I think it says so much. The hopeful light of dawn, with the heavy feeling you get from the urban scene, and feeling of human impact.

    I also love to photograph dawn when the street lights are still on. That mix of the best light nature produces, with that hard functional light we humans create for our cities, is a very interesting thing to play with. The light is telling you more about what it’s like to be exactly where you are – it’s helping to tell the story of your subject.

    How to See and Photograph Light - 6 Tips to Help you Take Better Photos

    Last light on gravestones, Stroud, England.

    In the photo above I was in this graveyard on a winter’s afternoon. I noticed that the sun was starting to set and realized that if I waited, the sun would fall perfectly between the trees, lighting up the gravestones. This stream of light through the trees only lasted a minute or two, but it shows that when you really pay attention to light you can start to anticipate what it’s going to do, and how it will affect your photos. Without that stream of beautiful light the scene would have been really boring.

    6) Chasing light is an adventure

    “Photography is a love affair with life.” – Burk Uzzle

    Photography is such an amazing creative pursuit. I love how it connects me so much more to the world around me. Learning to pay attention to light and how to capture it is one of the best ways to elevate your photography. Becoming intimate and familiar with light will help you become really present with the beauty and wildness of this amazing world.

    How to See and Photograph Light - 6 Tips to Help you Take Better Photos

    I would encourage you to photograph light – just for the sake of it. It’s a wonderful, thrilling adventure to always be chasing the light.

    I’d love to know if you how you go about capturing light and use it in your photos. Please comment below, I love hearing your ideas.

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