Category: Photography

  • 6 Tips for Capturing Action in Your Wildlife Photos

    Even with the fastest lenses and top-end DSLR cameras, catching fast movement in your wildlife photos can be tricky. The physical speed of your autofocus may not be able to keep up with and track a moving subject. Away from the limitations of your equipment, you may find that you miss a flutter of wings or fight between two animals.

    action-wildlife-photos-6

    Luckily, there are some things you can do to overcome both problems. Here are my top tips for successfully capturing action in your wildlife photos.

    #1 Pay Attention to Behavioural Cues

    Animals are great at giving away information about what they are going to do next. If you pay real attention to the subjects you a photographing, then chances are you’ll be able to predict the future and have a better chance at capturing something awesome on camera. You can often apply a general rule to a class of animals, rather than having to learn hundreds of different cues from all sorts of different species. For example, when a bird is about to fly off, most will first lean forwards and appear “twitchy” before taking flight.

    When photographing this greenshank, I saw it bathing in a puddle in a field. From my experience, I know that birds will fluff their  feathers or shake off water after bathing and preening. I composed the image properly then sat in wait with the subject in focus and my finger on the trigger. Eventually, probably after about 20 minutes of waiting, the bird stretched out its wings and I clicked the shutter.

    wildlife photos

    Being able to anticipate this behaviour made catching this moment possible. If I had tried to jump into action having seen the stretch, the action would have been over before I could even focus the camera. The same principle applied to the following image. I saw a black-headed gull dipping its head underwater washing itself. Soon after it finished, it threw droplets up into the air. Waiting in position made it possible.

    action-wildlife-photos-7

    #2 Don’t Use Live View

    The live view mode on your DSLR camera shouldn’t be touched with wildlife photos. It makes tracking very difficult, and whenever you engage autofocus the live view goes off as the mirror flips down. Because of the way you end up holding the camera, things become unstable too. Instead, stick to using your viewfinder. It is so much easier to react quickly and track your subject that way.

    Two hooded crows engaged in a scrap.

    Two hooded crows engaged in a scrap.

    #3 Use a Sufficient Shutter Speed

    It goes without saying that if you have enough available light, then you should use a fast shutter speed to freeze movement. A general rule to avoid camera shake is 1 over the focal length of your camera. For example, a 400mm lens should have a shutter speed of at least 1/400th second to avoid camera blur.

    However, this rule may not give you a shutter speed fast enough to freeze the subject. Animals often move quickly, so adjust it as required. 1/1000th second or more is a good bet for fast running or flying creatures. It’ll depend on what you are photographing, and how exactly you are shooting it, as to what shutter speed you should go for.

    action-wildlife-photos-5

    1/2000th, f/4, ISO 320

    A good tip is to review your images, when possible, to check that your shutter speed is fast enough. Zoom in on the LCD and look for motion blur. If you spot any, then just increase your shutter speed.

    #4 Don’t Stick to Your Tripod

    If you are comfortable with handholding, then maybe you can ditch your tripod. Some tripod heads, like ball heads, can make things restrictive when you’re trying to follow a moving subject that stops and starts. Having to undo knobs to be able to move the camera slows you down.

    Releasing your camera from the grips of your tripod will allow you to move freely. If you have it, then engage vibration reduction on your lens. This will help to get rid of camera shake, but you should be using a fast shutter speed so that shouldn’t prove a problem at all.

    A lesser black-backed gull pins down an Atlantic puffin and steals its catch of sandeels.

    A lesser black-backed gull pins down an Atlantic puffin and steals its catch of sand eels.

    #5 Use Continuous Focus

    Switch your camera to continuous focus mode so that you can track focus with a moving subject. If you continually have to refocus manually because your camera locks onto a spot once it achieves focus, then you’ll probably find you’re always one step behind the animal. Continuous focus mode will keep the plane of focus shifting.

    Be sure to dive into your camera’s menu and find the setting which chooses whether achieving focus or pressing the shutter gets priority. Set it to the shutter, and then you can ensure you are able to fire off frames at the opportune moments.

    #6 Lay in Wait

    If you find that your equipment’s focusing motors are too slow and you can’t keep up with a moving animal, then you should change your approach. Look for patterns of behaviour, such as a route an animal may take regularly. Chances are there will be places where they pause. Focus there, and point your camera straight at it. Lay in wait, and once the animal moves into view, fire the shutter.

    An Atlantic puffin (Fratercula arctica) coming into land at its burrow on the Farne Islands, Northumberland.

    An Atlantic puffin (Fratercula arctica) coming in to land at its burrow on the Farne Islands, Northumberland.

    If you’re following a bird in flight, try setting your focus to a plane the bird will pass through. Pan along with the animal (you’ll need to be in manual focus by this point), and hold down the shutter to utilise burst mode as it passes you. Hopefully, one of the shots will be in focus if you’ve timed it right. You’ll need to do this a number of times to adjust the focal plane to the optimum distance, and then have a bit of luck on your side!

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    The post 6 Tips for Capturing Action in Your Wildlife Photos by Will Nicholls appeared first on Digital Photography School.


    Digital Photography School

  • Handlebars to Spokes – 20 Impressive Images of Bikes

    One of my favorite things to look for and to photograph is bicycles. They have a great shape, make interesting shadows and you can shoot them standing still or moving.

    I think it’s a common subject of many photographers including these:

    Maryl Gonzalez

    By Maryl Gonzalez

    Thomas Meier

    By Thomas Meier

    Darlene Hildebrandt

    By Darlene Hildebrandt

    Vaidotas Mišeikis

    By Vaidotas Mišeikis

    Meena Kadri

    By Meena Kadri

    Carlo Scherer

    By Carlo Scherer

    Riccardo Cuppini

    By Riccardo Cuppini

    Mike Boening Photography

    By Mike Boening Photography

    Markus Spiering

    By Markus Spiering

    PhilHendley

    By philHendley

    Bernat Casero

    By Bernat Casero

    Julian Schüngel

    By Julian Schüngel

    Francesco

    By Francesco

    Petur?

    By Petur?

    Shinobu Sugiyama

    By shinobu sugiyama

    Clement127

    By clement127

    Todd F Niemand

    By Todd F Niemand

    Photographer

    By Photographer

    Hopeless128

    By hopeless128

    Owen's

    By Owen’s

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    The post Handlebars to Spokes – 20 Impressive Images of Bikes by Darlene Hildebrandt appeared first on Digital Photography School.


    Digital Photography School

  • Weekly Photography Challenge – Bicycles

    We already saw some other photographers’ images of bikes here.

    Martin Fisch

    By Martin Fisch

    ·júbilo·haku·

    By ·júbilo·haku·

    Weekly Photography Challenge – Bicycles

    Now it’s your turn. There are bikes everywhere in all different shapes, sizes, and colors. Go find some interesting ones and photograph them. Think outside the box of the usual shots, go macro, shoot a shadow, process it in black and white.

    Thomas Hawk

    By Thomas Hawk

    Robert Couse-Baker

    By Robert Couse-Baker

    R. Nial Bradshaw

    By r. nial bradshaw

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


    Digital Photography School

  • 4 Tips to Leverage Natural Light Using Just your Camera and One Lens

    In photography light is everything. Without light, whether that be artificial or natural, there is no photography. The problem is that sometimes there is just too much or too little, and in both cases, artificial light may need to be added. But what if you don’t have any artificial light available to you? And what if all you have is literally a camera with a lens and nothing else? This article focuses on how you can leverage natural light using just one lens and working without a reflector or a speedlight.

    #1 Position your subject in relation to the light

    Let’s take a look at these photos below. It was a very sunny day and I wanted to capture the blueness of the sky and the sea as well as the people in the shots. I had a D700 which has a base ISO of 200 and the 50mm 1.4 lens. I have provided the settings below for each photo.

    creative-ways-available-light-with-the-50mm_0000

    f/5.6 ISO 200, 1/2000th

    creative-ways-available-light-with-the-50mm_0000

    f/5.6 ISO 200, 1/1250th

    creative-ways-available-light-with-the-50mm_0000

    f/6.3 ISO 200, 1/2000th

    These settings are okay on a very sunny day if you shoot with the sun positioned behind you shining towards your subject. In this case the sea and sky, which also illuminated the people that I wanted to be in the photo.

    Lighting position

    While these photos are fine, there are a few issues. First, put simply, when this is the lighting position, anyone, and any camera can take these types of photos. You can shoot in automatic mode and the photos would look the same. Mobile phones nowadays can take even more amazing photos in this situation where there is a huge amount of light hitting the subject and the background directly.

    I love these types of photos for travel photography, high contrast shots and snapshots that would make me remember such scenes. But if I am after portraits, would I hire a professional photographer who would give me photos that anyone can take? Definitely not! Sure, the occasional lifestyle snapshot in this lighting is acceptable such as this one directly below shot at f/2.5 ISO 200, 1/2500th. But I would not want proper portraits of my family to be taken in this lighting situation.

    creative-ways-available-light-with-the-50mm_0000

    creative-ways-available-light-with-the-50mm_0000

    creative-ways-available-light-with-the-50mm_0000

    Harsh shadows

    The second issue is the harsh shadows. As a professional photographer, this would never be my lighting position for people or portraits. Even if the sun was coming in at a side-angle, undiffused sunlight directly hitting the subject still produces harsh shadows and hotspots. I would prefer for the sun to be behind the subjects, also known as backlighting, rather than directly in front of them.

    If your intention is to take nicely lit portraits with a background that is not blown out, for backlighting to work, you would need to have a big enough flash or reflector to illuminate your subject to avoid silhouettes. Conversely, you can simply expose for your subject but you will have to blow out (overexpose) the background. Therefore, you end up with a white sky rather than a blue sky.

    An example of backlighting is this sunset photo below. The houses and the boats were not illuminated. I was too far away for my pop-up flash to be of any help, and I didn’t have a tripod for a long exposure and smaller aperture. But I still wanted to capture some of the soft sky color along with the sunset. Balancing the exposure was tricky and I ended up shooting this image with the following settings; f/5, ISO 200, 1/320th. While the ambient light of the sunset was captured, the other elements in the photo were too dark and ended up almost like silhouettes.

    creative-ways-available-light-with-the-50mm_0000

    What if you have nothing else but a camera and lens with you? You do not want all your photos to be silhouettes when shooting backlit, or too dark when shooting in the shade. So what you can do is leverage your surroundings by positioning your subject carefully in relation to the light. If you have to shoot backlit portraits in a situation similar to above, shoot an intentional silhouette or use your flash for fill light (more on this below).

    If you’re doing portraits where you want to focus on well-exposed faces, avoid positioning your subject where they are facing the sun which results in harsh light and shadows. On a very sunny day, you may want to wait for the golden hour – the time shortly after sunrise or before sunset –  when the sun is much lower on the horizon and the light is much softer. This yields a light that is much more flattering for portraits. If it is a bright but overcast day, the clouds act as a huge diffuser and the shadows are not as harsh so it is easier to photograph portraits in those conditions.

    #2 Look for ideal light

    Ideal light is often indirect, reflected, or subtractive light. This can take various forms:

    • Indirect lighting can be the soft diffused light coming from a window.
    • Reflected light can be that bouncing off a white floor, wall, bright sand, or from white or light-colored clothing you are wearing.
    • Subtractive light can be achieved by blocking the light with a diffuser, umbrella or a flag (any flat black object large enough to block any direct light hitting your subject).

    Get out of the sun

    As this article does not involve any equipment other than your camera and lens, instead of blocking the light, I positioned my subject in the shade. So that instead of subtracting light from my subject, I subtracted my subject from the light and put her in the shade.

    In this example below, it was a very bright day and I did not want any direct light falling on my daughter’s face. I put her completely in the shade but deliberately next to the caravan wall which was light beige. There is some reflected light from the side that helps illuminate her face and the generally shadowed area we were in.

    creative-ways-available-light-with-the-50mm_0000

    In this photo below taken in the zoo, there was no natural light at all. A fluorescent light illuminated the box where the snake was. You can see this white light reflected on the top part of the snake’s eye (catchlight). I waited for the snake to get into this position and used the light which was bouncing from the ceiling onto him to get this shot.

    creative-ways-available-light-with-the-50mm_0000

    In this photo below, there was no ideal light! We were in a pretty darkly shaded area and the enclosure was mottled with spots of sun and shade. I positioned myself where I knew I could catch a good close up of the tiger in complete shade and waited for it to pass by.  The contrast between the light and shade was so strong that had I taken the photo of the tiger with his body in half sun and half shade, it would not have come out well at all.

    creative-ways-available-light-with-the-50mm_0000

    #3 Use your pop-up flash as fill light

    Now I know that photographers are sometimes funny (and snobby) about using the camera’s built-in pop-up flash. I am one of those photographers, with good reasons. The camera’s pop-up flash blasts light directly onto your subject. It gives you a rather flat and unflattering light with a harsh shadow around the jaw and head to boot. Unless your intention is to shoot like this such as some fashion houses do (and they do it so professionally by the way), then this is a no-no in portrait photography. Ideally, you want the light bounced and angled – anything but aimed directly from the camera toward the subject.

    However, I do use my pop-up flash quite a bit! In fact, I use it when I don’t have a flash gun (speedlight) and I’m shooting backlit, especially when the sun is strong. And I have no qualms using it as a direct light in this situation because the camera’s flash is not strong enough to overpower the sun anyway. So the most you get out of it is a little bit of fill light.

    Take this photo of the monkeys below. Had I not used my pop-up flash, there would have been no detail captured on the monkey’s face at all. The sun was too powerful that the pop-up flash could never have flattened the face and created harsh shadows anyway, and I was also too far away from the monkeys for that to happen.

    creative-ways-available-light-with-the-50mm_0000

    Using the pop-up flash is a fast and easy way to add light. Just be mindful of the caveats and be circumspect when using it.

    #4 Try long exposures to capture natural light

    Shutter speed has everything to do with ambient light regardless of whether you are doing long exposures or using on-camera, off-camera, or pop-up flash. In fact, with regards to the latter three, flash exposure is completely unaffected by shutter speed.

    With long exposures, you can take photos even when very little light is available. You need a tripod, or something steady and flat to rest your camera on like a table or chair, and you’re good to go. So why would you want to slow down your shutter speed and when must you do it? Do it when you want to capture the ambient light.

    Armed with just a 50mm and the camera placed on a steady surface, I slowed my shutter speed right down to a few seconds using the bulb setting. I may have captured the moon rising but the sky is pitch black and not enough ambient light was captured. My shutter speed might have been slow but not slow enough. Ambient light was very crucial here because there were stars in the sky.

    creative-ways-available-light-with-the-50mm_0000

    In contrast to the above, the photo below is the same scene photographed with a much slower shutter speed so that the stars are visible.

    creative-ways-available-light-with-the-50mm_0000

    Even with just the 50mm you can photograph the starry sky such as below. However, don’t go over 10 seconds as you would then start capturing the star trails.

    creative-ways-available-light-with-the-50mm_0000

    Using shutter speed wisely and skillfully is a great tool for capturing mood, color, and ambient light, even when there is very little of it. There is some light you don’t ever want to kill such as the soft evening light just after sunset. These photos were taken simply with a camera with a 50mm lens at a slow shutter speed, a wide aperture, and a fairly high ISO (as I was on a slow moving boat). These images were shot at;  f/2.5, ISO 2500, 1/100th. A faster shutter speed would have killed this light and rendered the sky pitch black. Too slow I would have run the risk of blurry photos due to the moving boat.

    creative-ways-available-light-with-the-50mm_0000

    creative-ways-available-light-with-the-50mm_0000

    creative-ways-available-light-with-the-50mm_0000

    creative-ways-available-light-with-the-50mm_0000

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    The post 4 Tips to Leverage Natural Light Using Just your Camera and One Lens by Lily Sawyer appeared first on Digital Photography School.


    Digital Photography School

  • How to Publish Images Directly to Instagram From Lightroom

    The Lightroom Library module offers more than just the option to organize your images. With its Publish Services, it allows uploading content to online services from within its interface. The best known Publish Services might be connections to Facebook or Flickr built into the software by Adobe. Since the summer of 2016, you can add Instagram to this list. The LR/Instagram plugin allows publishing on the popular sharing platform through a direct connection from the Library module.

    From Lightroom to Instagram

    This comes in pretty handy since Instagram does not allow uploads from desktop computers directly. Until now you had to find ways to export images from Lightroom and transfer them to your smartphone before being able to publish them on Instagram.

    Installation of the LR/Instagram plugin

    The plugin is free to download and try, and there is no time or volume limit to the usage. The publisher, however, asks for a $ 10 payment if you like it. The payment can be done through the plugin manager in Lightroom with a PayPal transaction.

    Please also note that this plugin is programmed by a third party, neither Adobe nor Instagram can offer any support, and the plugin may fail at times when either Lightroom or Instagram change their code. So keep yourself updated through the author’s website.

    The LR/Instagram plugin acts as a publishing service within the Lightroom Library module. To install the plugin, you first need to download a ZIP file from the website and unpack that to your hard drive.

    Lightroom Module folder

    While Lightroom allows you to install the plugin from that location, I recommend first moving it from your download folder or desktop to a more permanent location. I use the “Modules” subfolder in the Application Library structure on my hard drive to store my LR plugins. But as your system may vary, make sure it is located in a folder that is related to your Lightroom installation.

    Now in Lightroom, open the Plug-In Manager through the File menu structure. Below the list of existing plugins you can find an “Add” button. Point Lightroom to the location of the plugin and tell it to “Add Plug-In”.

    Add LR/Instagram Plug-In

    How to set up your Instagram Publish Service in Lightroom

    Once it is installed, you have to set up a Publish Service using that plugin. For this, press the Plus button on top of the Publish Services section in Lightroom’s Library module. The Publishing Manager will show up and offer LR/Instagram as an additional service. You can name the new service and enter your Instagram username and password.

    Please note that the plugin does not work with a Facebook connection login, you need to have a password directly on the Instagram site.

    Setting up the LR/Instagram Plug-In

    If you now press the Login button, the plugin will show your Instagram profile picture if successful.

    Configure settings

    In the Preference section, you can limit the number of images published at once. As Instagram and its users might react negatively to one user filling up pages of images at once, it is recommended to set this to a value of around five.

    Since Instagram changed their platform to also allow non-square images, you could upload portrait or landscape oriented images to the platform. Still, some users prefer to make their images all appear in the commonly known square format. For this, you can have the plugin add a white or black padding border for images that are not natively in square format.

    However, I prefer to crop my images to square format before uploading them to Instagram. For this, I usually create a Virtual Copy of my image in Lightroom before making the Instagram crop. I might upload the original format to other platforms like Facebook and want to avoid going back and forth between different formats.

    As Instagram widely relies on #hashtags for users to find content outside of their followings, the LR/Instagram plugin offers a separate metadata field with the option to add these hashtags within the Lightroom interface. You can find the hashtag field in the Metadata section through the drop down menu selecting the LR/Instagram section.

    LR/Instagram Preferences

    In the preferences area of the Publishing Manager, you can choose to “Caption #Hashtag” as an option to publish the image on Instagram using your caption and add the hashtags from that separate field. If preferred, you can also just publish the image using Title or Caption from your metadata as you also could enter hashtags in a second stage on the Instagram platform directly.

    Publishing images to Instagram from Lightroom

    Once set up, the new Publish Service will appear in your Library module. You can now simply drag the image you want to publish to the “Instagram photos” collection. This serves as a collection like all others in Lightroom. If you prefer, you can also set this as your Target Collection which allows you to use the B shortcut to directly add images from anywhere in your library into it.

    Drag and drop images in Lightroom

    When you are finished adding images, you can now tell Lightroom to publish those images. Personally, I try to limit myself to one new image each time. But if preferred, the plugin will now publish as many images as you have recently added to its collection or the limit you have set in the Preferences as explained above. The Publish Service will now run in the background and use Instagram’s API to publish your image.

    Publishing from Lightroom to Instagram

    Instagram Stream with photo from Lightroom

    If you ever want to change the settings you have originally entered, just press the Plus button on the Publish Services section in the Library module and open the Publishing Manager again.

    You can also set up multiple different publishing streams, either with different settings or even for a separate Instagram account.

    Multiple Publishing Streams for second account

    Give it a go

    So if you’re on Instagram you might want to have a look this the LR/Instagram plugin. If you’ve used it tell us about your experience. Please share your profile so others can see your work, and follow dPS on Instagram as well.

    Read this on how to get more Instagram followers too.

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    The post How to Publish Images Directly to Instagram From Lightroom by Michael Zwahlen appeared first on Digital Photography School.


    Digital Photography School

  • How to Avoid Blurry Photos of Kids

    One of the most frequent questions that I see on the Digital Photography School Facebook Group is some variety of this: “Help! Every photo of my kid is blurry! What am I doing wrong?!” If you’ve found yourself wondering the same thing, I’ll walk you through five things that you can do to help you avoid taking blurry photos of kids.

    photographing-kids

    1. Mind Your Aperture

    When it comes to photographing children and experiencing blur, many issues can be solved by either stopping down or opening up your aperture. That said, if you’re relatively new to photography, it can be difficult to know which direction you need to go.

    sharp-kid-photos

    If you’re currently shooting with a large aperture and notice some issues. Like an aperture of f/1.4 or f/1.8 and only part of your child’s face is in focus, or only one of several children in the image is in focus even when they’re fairly close together. Then, you might want to try stopping down (making it smaller) your aperture (in other words, make the number larger like f/4 or f/5.6).

    If you’re currently shooting with an aperture of f/5.6 or greater (like f/8 or f/11) and you notice a lot of camera shake or motion blur, you may want to try opening up your aperture (make the number smaller like f/4 or f/2.8) if you can. That will allow in more light, which can help create a better balance between the aperture and shutter speed.

    2. Utilize Shutter Priority Mode

    photograph-moving-kids

    If you’re using one of your camera’s shooting modes and are currently photographing kids that are moving, you may want to try shooting in Shutter Priority Mode with your shutter speed set at 1/500th or even faster. By using Shutter Priority Mode, you’ll set the shutter speed, and your camera will select the other settings to balance out the shutter speed that you’ve selected.

    Keep in mind that you can still select your ISO in Shutter Priority Mode. You will definitely want to watch your exposure make sure you’re making adjustments to your ISO (or set it to auto). Often, leaving your ISO at 100 in Shutter Priority Mode with a fast shutter speed can result in very dark, or even black images.

    3.Use Burst Mode Selectively

    photos-moving-kids

    In the photography world, the practice of “spray and pray” where you take a series of images using burst mode and hope that one of them turns out, has received a lot of negative attention lately. Certainly, we shouldn’t use burst mode through the entirety of every session, but there are some instances when it comes in handy photographing kids.

    The other day, we took my girls to the park. They were having a blast tossing piles of leaves into the air and letting them fall down onto their heads. In that instance, I chose to use burst mode because it allowed me to capture an event in which the action/movement changed very quickly, as did their expressions.

    I sometimes use burst mode in a short series of images to capture kids twirling, running, or any time they’re moving very quickly for a limited period of time. It’s never a bad idea to practice capturing those same events without using burst mode. But when I know that my opportunity to capture a particular event is limited (a child attempting a goal in a soccer game for example), I choose to use burst mode to my advantage.

    4. Don’t Be Afraid of Autofocus

    sharp-images-moving-kids

    Somewhere along the way, a rumor was started that you’re not a “real” photographer unless you shoot in full Manual Mode all the time. I don’t know how that particular rumor got started or why it has taken such a hold on the photography world, but it’s garbage.

    If you’re trying to photograph really active kids, please don’t be afraid to use autofocus! It will make life so much easier! If you’re already using autofocus but are still experiencing problems, there are two other things to try adjusting. First of all, it has been my experience that selecting a single focus point for my camera yields far more in-focus images than allowing the camera to auto-select one. If you have the ability to select a focus point for your camera, you may want to try selecting a single point (start with the center point if you’re unsure where to begin) for your camera, and see if the focus improves.

    moving-kid-photo2

    Focus modes

    Another option when it comes to autofocus is to change the autofocus mode. If you’re trying to photograph moving children, and your autofocus mode is currently set to One Shot (Canon) or AF-S (Nikon), try switching to continuous autofocus mode – Al Servo (Canon) or AF-C (Nikon).  One Shot mode is designed to focus on objects that are largely inanimate, and consequently it’s not the best choice when you’re photographing quickly moving children.

    When you switch to Al Servo, you’re selecting continuous autofocus. In continuous autofocus mode, you can push down the shutter halfway and let the camera focus, but the camera will continue to track that subject and recompose focus (even as the subject moves) until you depress the shutter button all the way.

    moving-kid-photo-2

    Some camera models also have a hybrid setting called AI Focus (AF-A for Nikon), which is designed to fluctuate between an object that starts out as stationary but then begins to move. I have been less satisfied with the images I’ve captured in AI Focus than other modes. But each camera model works a little differently, so it’s certainly worth experimenting with the hybrid autofocus mode if your camera has that option.

    5. Use a Flash (Sparingly)

    fix-blurry-photos

    Though I prefer to shoot without a flash whenever possible, there are certainly instances in which using a flash can help to freeze the action, and help you avoid blurry images. When it comes to using a flash, my best advice is to use it sparingly.  Balance it with the available/ambient light (use only the strength of flash you absolutely need), and diffuse or bounce the flash whenever possible in order to create an image that looks crafted rather than like a snapshot.

    Photographing children can certainly be a test of patience. These five tips will help you eliminate the blur, and begin to capture photographs of your children that you’ll treasure for years to come! Do you have any other tips? Please share them, and your images of kids in the comments below.

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    The post How to Avoid Blurry Photos of Kids by Meredith Clark appeared first on Digital Photography School.


    Digital Photography School

  • Review and Field Tests of the new Canon 5D Mark IV – Is it Worth Upgrading?

    Canon recently announced the new incarnation of its 5D lineup, the Canon 5D Mark IV. I myself have owned the 5D Classic (Mark I), and I currently own the Mark III. Personally, I don’t have any plans to upgrade as I went another way instead, choosing to shift to the Fuji X-series as they are smaller and lighter for traveling. However, I am eyeing the new X-T2!

    For those of you considering an upgrade on your Canon camera body, here are some reviews and field tests I found for the 5D Mark IV. Whether you’re going from an APS-C camera up to full frame, or just looking to upgrade from an older 5D model, do your own testing and decide if it’s the right move for you.

    The Camera Store Guys

    This store is in Calgary, AB, Canada – a mere four hours drive from my city. Not the place you’d expect world class camera reviews to come from – but these guys really do some great tests, in real-world situations and they produce some great videos that are totally impartial. If they find a flaw or sticky bit, they will tell you about it. I like that.

    Let’s see what they had to say about the Canon 5D Mark IV:

    Hmmm, interesting! Watch to the end where Chris sums up his thoughts on the 5D Mark IV they may surprise you. He’s very honest about it.

    PhotoRec TV – Comparison of three cameras

    The Canon 5D Mark IV, 5D Mark III and the Sony A7RII

    Toby from PhotoRec TV has some notes for you comparing three different cameras including the 5D Mark IV’s predecessor, and the Sony A7RII full frame camera. He talks about what’s new and improved from the Mark III and how it compares to the Sony.

    Dphog discusses the new dual-pixel RAW capability

    This is a new introduction by Canon, dual-pixel RAW format. What does that mean? Quoted from Canon’s UK site:

    Using the Dual Pixel RAW Optimizer in Digital Photo Professional software, users can make use of the Dual Pixel data recorded with the Dual Pixel RAW image for micro-adjustments of the position of maximum sharpness using the depth information contained within the file.

    Is it worth it? Would you use this feature?

    Pye from SLR Lounge shot a wedding with the Mark IV

    Pye has done quite a few articles for us here on dPS, so you may be familiar with him. He took this camera to a wedding shoot and put it to work. He pushed the limits on it in many areas and tested ISO, dynamic range, the new dual-pixel RAW and some of the great new focus features.

    Conclusion

    So are you considering buying the Canon 5D Mark IV? If so you can price them out here:

    • On Amazon.com
    • On B&H Photo’s site

    I would be remiss if I didn’t mention there have been some reported issues with the 5D Mark IV. So do some research and due diligence if you are thinking about buying this camera.

    Have you tried one of these cameras out yet? Give us your thoughts in the comments below.

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    The post Review and Field Tests of the new Canon 5D Mark IV – Is it Worth Upgrading? by Darlene Hildebrandt appeared first on Digital Photography School.


    Digital Photography School

  • How to Use Light Painting to Take Incredible Car Photos

    Whether you drive a beat up station wagon from the 80s or a finely tuned Porsche, light painting is an excellent way to photograph your car and truly make it shine! Light painting results in incredibly unique and impressive images. With a bit of persistence and creativity, you can create pictures that look like commercial photoshoots – even without heavy editing.

    A photo of a car taken using the light painting style

    The reason that a light painted picture looks so incredible is because the light is literally wrapping around the subject. Normally, we see objects lit from only one angle, often the sun, which can get a bit dull at times. In addition, there will be cool reflections on the body of the car that trace the path of your light, giving the shot a highly commercial look.

    Getting started

    What’s the first step? Clean the car! Light makes every speck of dirt and grime become immediately visible. Unless you are going for a grungy style, you’ll want to make sure the car is squeaky clean.

    Since light painting involves leaving the shutter of the camera open for some time, you will need to wait until it is dark outside. If you try light painting during the day, you will get a completely white image as the sensor collects all the sunlight.

    Alternatively, if you have room in your garage, you could park your car in there and cover all windows so that there is no ambient light.

    Your light source

    One of the cool things about light painting is that you don’t need to invest thousands or even hundreds of dollars in equipment to get started. Literally, any light source can be used, whether it is a professional video light or simply a flashlight app on your mobile phone.

    For my example picture, I will be using an LEDGo Portable Video Light, which is a small but powerful light that I can hold in my hand.

    video-light-for-light-painting-1

    video-light-for-light-painting-2

    One drawback of this type of light source is that it throws light everywhere, including back at the camera. If possible, you will want to find some way to shield the light so that it is directed only at your subject. Professional light painting lights, like the Westcott Ice Light, have flaps that prevent the light from spilling everywhere.

    A light painted car where the light source is visible

    In this example, the light source was seen by the camera, which created a unique halo effect around the car.

    A light painted car with the light source not visible in the final image

    In this image, the light was shielded from the camera and pointed only at the car, so that the light path isn’t visible.

    Setting up the shot

    Perhaps the most important piece of equipment you will need for light painting is a sturdy tripod. This is because you will be taking a picture that lasts for many seconds. A tripod that shifts over the course of the picture, or that is blown around by wind, will result in some serious frustration and blurry images.

    You don’t need a special or expensive lens for light painting – any lens will do! When you are setting up your tripod, remember how zoom influences a picture. Shooting from close with a wide angle lens will make the car look fatter. Shooting from a distance with a bit of zoom will lessen the distortion.

    Behind the scenes of light painting car photography

    Behind the scenes of the setup. There is some light filtering in from the left from a streetlight, but I can use my camera settings to reduce the effect of that ambient light.

    Exposure settings

    The first goal will be to get a base exposure. This requires that you go full manual on the settings. If you leave the camera on auto, it will try to compensate for the low light and may pop up the flash.

    To make an image with a black background like the one in my example, you will want your base exposure to be very dark. If you want more of the surroundings to be visible, you can make your base exposure lighter. Be aware, however, that will mean that you are more likely to show up in the final image as you walk around the car with your light.

    1. First, select a low ISO so the sensor doesn’t collect much light from the surrounding area. As an added benefit, using a low ISO will also result in a very high-quality image.
    2. Next, you will want to choose a fairly narrow aperture. This will keep a large portion of the image in focus. It will also help to make the image darker, as needed.
    3. Last, choose a shutter speed that gives you a bit of time to paint the car. For my purpose, I chose 25 seconds.

    As you can see below, this base image is nearly completely dark. This is perfect. Now the final image will only be what I paint with my light.

    The base exposure for a light painting car image

    The base exposure for my image was ISO 100, f/9, 25 seconds.

    Let there be light (painting)

    Now we’re ready to start painting!

    You can either have a friend press the shutter button, or you can put the camera on a short timer so that you can start light painting immediately after the shutter releases.

    There will inevitably be a bit of trial and error as you try to find the right angles at which to paint the car. Pay close attention to how the light is reflecting in the body of the car and try to find ways to make it look flattering. Typically this involves moving the light at a uniform level so that there is a clean and crisp line of light reflected on the car.

    light-painting-example

    Chances are you’ll have to throw away a lot of images because parts of the car weren’t lit well enough, or the reflections looked messy. Don’t let this discourage you. The more you practice, the more you will get a feel for how to move the light.

    Don’t forget to play a little bit. Waving your light around in circles, for example, can make some cool light trails and some memorable images.

    A light painted car with light trails

    A light painted car with light trails

    How come you don’t show up in the final image?

    A camera can only see objects that have light shining on them. When you aim the light source away from yourself and keep moving the entire time the picture is being taken, you simply won’t be in one place long enough for the camera to record your image.

    If you do see yourself faintly in the final image, this can be due to one of three things:

    • You might have been caught in the light reflecting off of the car (or accidentally lit yourself up).
    • There might be too much ambient light. Try adjusting the settings to make your base exposure a bit darker.
    • You stood still in one place for too long, keep moving.

    Typically, these ghostly appearances can be fixed easily enough with Photoshop later on, though you may want to adjust some settings to save yourself some time in the editing room.

    Controlling the power of your light

    If you find that your light isn’t having so much of an effect on the final image, there are two ways to control this.

    To effectively make your light more powerful, you can choose a wider aperture (lower f-stop number) or raise the ISO. Either of these options will make the camera more sensitive to all light, including the light in your hand. Be aware that these changes will also affect your base exposure for the ambient light conditions. So you may also need to change the length of the shutter speed in order to keep the image properly dark.

    If all else fails, your last option might be to simply to purchase a more powerful light. Yes, it is possible to do light painting with a small flashlight, but if you are serious about light painting, it might be a good idea to upgrade to something with a bit more power and control.

    Making some final edits

    Often, light painted pictures look pretty awesome right out of the camera. By pulling the picture into an editing program like Lightroom, you can make some simple tweaks to complete the image.

    The original, straight from camera image of a light painted car

    This is the image straight from the camera. It has a really unique look, even before we do any edits. You can see that my feet were caught in the reflected light and will need to be edited out.

    It’s a good idea to shoot your light painting images in RAW. Shooting in RAW as opposed to JPG gives you some extra flexibility when it comes time to edit.

    General adjustments

    First, you’ll want to find a nice looking white balance. Light painted cars often look very sleek with a steely, cold white balance, but you can experiment to find a nice balance for the car you are working with.

    As I mentioned earlier, it’s important to make sure the car is clean before you photograph it. Any minor imperfections or dirty spots that might still be visible can be removed using the spot healing tool in Photoshop or similar editing programs. You may also want to use this tool to reduce or remove bright and distracting glare reflecting off the car. I used this method to remove a harsh reflection in the example picture just above the front wheel.

    Selective adjustments

    Next, you may want to take some time to selectively lighten or darken parts of the image. In the course of your light painting, it is possible that you might have spilled some light into an area of the picture that you wanted to leave dark. You can control this by using gradients or adjustment brushes to precisely control the amount of light on different areas of the image.

    For my picture, I wanted the light to quickly fall off around the car. I was able to emphasize this by using gradients and a vignette to darken the edges of the image.

    The final edited image of a light painted car

    As you can see, the final image isn’t drastically different than what came out of the camera! This final image in a combination of two of the images, borrowing some features from both shots.

    Get out there and start light painting

    Light painting is a very fun, simple and rewarding style of photography. It doesn’t take any special equipment to get some incredible and truly creative results that will amaze your friends. Give it a try and share your light painted car images in the comments below.

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    The post How to Use Light Painting to Take Incredible Car Photos by Frank Myrland appeared first on Digital Photography School.


    Digital Photography School

  • 21 Smoking Hot Images of Fire

    Where there is smoke . . .

    Olli Henze

    By Olli Henze

    There’s fire!

    Fire is a tricky thing to photograph. It comes in many forms; campfire, match, bonfire, fire spinning, sparklers, candles, etc. It can also make for some stunning images. Check these images of fire out and see if you agree.

    Jan

    By Jan

    Shawn Kent

    By Shawn Kent

    Emilio Küffer

    By Emilio Küffer

    Darkday

    By darkday

    Annie Roi

    By Annie Roi

    Darkday

    By darkday

    José Carlos Da Silva Encarnação

    By José Carlos da Silva Encarnação

    Marcos André

    By Marcos André

    Wil Molenkamp

    By Wil Molenkamp

    Vineet Radhakrishnan

    By Vineet Radhakrishnan

    Der LichtKlicker

    By der LichtKlicker

    Umberto Salvagnin

    By Umberto Salvagnin

    Chuck Grimmett

    By Chuck Grimmett

    Shan Sheehan

    By Shan Sheehan

    Fábio Pinheiro

    By Fábio Pinheiro

    Courtney Carmody

    By Courtney Carmody

    Andy Miccone

    By Andy Miccone

    Compassrose_04

    By compassrose_04

    Victor

    By Victor

    Adrian Kingsley-Hughes

    By Adrian Kingsley-Hughes

    Serge Melki

    By Serge Melki

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    The post 21 Smoking Hot Images of Fire by Darlene Hildebrandt appeared first on Digital Photography School.


    Digital Photography School

  • Weekly Photography Challenge – Fire

    First, check out these stunning images of fire!

    Now if that hasn’t got you melting already, how about this one?

    Neil Howard

    By Neil Howard

    Weekly Photography Challenge – Fire

    Fire comes in many forms:

    • Campfire
    • Bonfire
    • Match flame
    • Candles
    • Sparklers
    • Volcano
    • Forest fire (not a good thing!)
    • Fire spinning (if you attempt this please take the proper precautions and read this first)
    • Fire poi and other fire spinning type artists
    • Fire breathing dragons (if you find one let me know!)
    • A lighter
    • Burner on a gas stove
    • A torch or welder’s flame (make sure to use welder’s goggle to view and shoot with if you do this!)
    Dwiforr

    By dwiforr

    So your challenge this week is to SAFELY find and photograph some fire. It could be as simple as a few sparklers from the dollar store, or more elaborate. But please put your safety, and the safety of the people and properties around you first. Only do what is safe.

    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.

    Lisa Ouellette

    By Lisa Ouellette

    Nan Palmero

    By Nan Palmero

    Paul Hudson

    By Paul Hudson

    Aotaro

    By aotaro

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    Digital Photography School