Category: Photography

Overview of the Lensbaby System – Is it for you?

Are you interested in taking your photography to another level? Do you like the bokeh effect, or images that have a painterly look to them? Then perhaps you might want to give the Lensbaby lenses and optics a try.

Taken in the garden with using the macro converters, giving this image a very soft, painterly look.

Lensbaby is a system that allows you to insert, and use, different optics to a base lens. The most common one is the Composer Pro which has a rotating ball so you can use different angles when taking photos. You can get interesting effects with them by using selective focus, great bokeh, and you can achieve very painterly style images.

The company, Lensbaby, makes the lenses for cameras with interchangeable lenses, like DSLRs and mirrorless bodies. They have been designed to help you photograph the world in a new way. You can achieve some amazing results and can very quickly become addicted.

How long has Lensbaby been around?

Their story began in 2004 when one of their founders, Craig Strong, “joined an old Speed Graphic lens with a short Shop-Vac hose to shoot images otherwise impossible with an DSLR lens, which inspired the original Lensbaby lens.” From there the company has continued to grow and develop the lens swap system.

What is a Lensbaby?

The idea behind Lensbaby is an optic swap system. You get one of the systems that can use various optics, such as the Composer Pro. This is the part that connects directly to your camera, like a lens. There are two components to it, which are joined via a metal ball, that allows the second part to rotate so you can change your point of focus.

The Lensbaby lenses I have, 1) The Composer Pro, 2) Edge 80 Optic, 3) Double Glass Optic with f/4, 4) Macro Converters, 5) The containers they come in that are also tools, and 6) lens cap.

You put the optics into the Composer Pro. There is a range of options available that allow you to use the lens as a normal lens, a fisheye, a macro lens, etc. Each of the optics give you different effects. For this article the optics used where the Edge 80, Fisheye Optic and the Double Glass optics.

There is also a range of optics available for the iPhone. You can put them on your phone to get similar results.

Lensbaby also has a new lens now, the Velvet series. They look like real lenses, but deliver a soft, glowing effect at larger apertures. They don’t have optics that you swap in and out, however, and are also manually focused.

What do the lenses do and what effects do you get?

With the different optics you can get a lot of different effects. You can create images that have a tilt-shift look, so the subject in the image looks miniature. You can isolate certain areas, or the subject. For example, if you want to photograph a flower that is in amongst many others, you could isolate it so only that one flower is in focus.

One thing it is great for is bokeh. That same flower can have a fantastic blurred background by using a large aperture. The out of focus areas often look like they were painted as well, which, again, depends on the optic and the aperture that you use.

You don’t really get what you expect with normal photography or lenses, meaning really sharp images. You have to take a different approach to using a Lensbaby. If you are the type of photographer who is very technical, where the light and sharp focus is very important, you may not like these. However, if you like to experiment, see what you can achieve, and like dreamy painterly images, then you will love the Lensbaby.

The Edge 80 Optic is also good for creating tilt shift images, to make your subject seem miniature.

What do you need to use a Lensbaby?

When compared to normal lenses the price is not too bad. But it does depend on how addicted you become, and how many different ones you want to try. I was given quite a few different optics, but I still went and purchased more.

However when starting with the system, you can begin with something simple, such as the Spark. It comes with one optic, and you can just go out and use it. The Composer Pro can also be purchased with an optic, and is perhaps the easier of the two to use.

To decide which one is for you, take a look at the Lensbaby gallery on their website. See what looks appeal to you, and which products were used to create them. Start there.

Using the Double Glass Optic again, it has given focus to just a small part of the old car.

How easy are they to use?

They take a bit of getting used to, and there is a steep learning curve. You can’t simply put them on your camera and begin. To get the best results you need to do some research and learn how to use them. Once you have a good idea, then it is just a matter of getting out there to try it. You need to experiment a lot, and you will delete many photos, but as you gain experience you will get images that you are proud to show.

The focusing system seems to be the hardest to get used to, at least it was for me. Having to manually focus the lens is a task in itself. For some of the optics it is easy though. Once the focus is sorted at the start, you can just move the composer pro around on the ball, and get it to the point and look that you want.

As with anything new, there is some trial and error. So be prepared to mess up a lot. It isn’t a good idea to take your new Lensbaby somewhere really important the first time you use it, like a wedding. Get to know it first before using it for anything critical.

Focusing on just a small part of the shearing shed to emphasis where the viewer should look.

Why are they better than other similar effects?

The results you get with the lenses are quite unique to the system. You can try and emulate the effects in Photoshop, but they don’t quite work the same.

Who would use them?

Anyone who is interested in trying something different, and to test themselves, should give Lensbaby a try. If you are interested in trying new types of photography, then you will love the Lensbaby. The effects are different every time, especially when you use different angles.

Through the lens, you see a whole new world. As you find yourself succeeding at taking photos with them, you will become addicted. The softness of the blur is very different, and being able to concentrate attention exactly where you want in the scene is wonderful.

The Double Glass optic has helped to lessen the effect of the distracting foreground so you focus only on the windmill.

Manual focus

All the lenses are manually focused. If you aren’t very good at doing that, then the Lensbaby may not be for you. However, if you don’t have an issue with it, you will have a lot of fun as you experiment.

One problem was the aperture rings. The further you close it down, the darker it gets in the camera viewfinder, and it can be hard to focus. This is especially the case when you are using the Edge 80 optic with the Composer Pro. When the aperture is wide open you can see through your viewfinder quite well. But as you start to close it down to around f/8, the light dims and it is harder to see, and therefore focus.

The farther away the subject is, the easier it is to focus. Anything up close is harder, and requires a lot of practice. If you have trouble focusing and holding the camera still, use a tripod. There is some literature out there that says you can’t use a tripod with a Lensbaby, but that is not true.

Perhaps using the lens straight on will also be of benefit at the beginning. Learn to use them in a basic way first, then you can start to see what is possible as you experiment.

A macro flower taken using the Double Glass Optic in the Composer Pro. The camera was on a tripod to ensure sharp focus.

Are they for you?

If you have read this far, then you are probably interested in trying them out. The Lensbaby website has some great resources for helping you to learn about their products. There are also lots of tutorials on YouTube that help you to figure them out.

The Edge 80 Optic is ideal for doing straight parts of the image. I used it to help highlight the silo in the background.

The Lensbaby lenses and optics are a great addition to any kit bag. The effects that are created from them are unique, and can give your photography a whole new look. They will help the artist in you, achieve the artistic impressionist images that you haven’t been able to get, with regular photography lenses that are available.

Here is a video from Lensbaby to give you a quick overview of some of the options.

Have you tried a Lensbaby before? Please share your thoughts and images in the comments below.

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The post Overview of the Lensbaby System – Is it for you? by Leanne Cole appeared first on Digital Photography School.

Digital Photography School

September 6, 2016
Get Outside Your Photography Comfort Zone to Learn and Grow as a Photographer

As photographers, we usually start out photographing everything and anything. All subjects are game as we explore our new found passion. When we grow and get more serious about our craft, we often try to find our unique place in the industry. Our niche, our comfort zone, where we can specialize and make a name for ourselves.

This is a good thing! A photographer that has a unique niche is more memorable than a photographer that covers every subject. It’s better to be the dog portrait guy, or the black and white waterfall girl, than to be forgettable.

One of my favourite things to photograph: water scenes at twilight.

But just because you’ve specialized in a particular area of photography doesn’t mean you can’t continue to explore your craft. There is much to be learned from photographing other things, and applying any lessons learned to your niche. In fact, there is much you can learn from photographing things that you specifically don’t like to shoot.

Get out of your photography comfort zone

So I challenge you to come up with a short list of things you don’t like to photograph, and then give them a try. Remember, you don’t have to be good at it. Don’t worry about trying to create a masterpiece. You’re not going to show these photos to anyone. But, by getting outside of your comfort zone and giving yourself the permission to play, you’re bound to learn something along the way.

Applying lessons learned about shadow and light in portrait photography to wildlife photography.

Afraid of portraits? Photograph one

For example, when I did this exercise, the thing on the top of my list was portraits. I’ve always been somewhat terrified of doing portraits! Also on my list was sports, cars, and architecture.

It was serendipitous when a friend of mine asked me to photograph her newborn. As the terror swept through me, I remembered my list and realized I should take the opportunity. Of course I advised her to hire a real newborn photographer since I had no experience in this area. But I still tried, and I made some images that were pretty good. But more importantly, I learned some things that I could apply to the areas of photography I was more interested in, like landscapes and wildlife.

Working inside was new to me and since I didn’t own any lights, I worked with natural light from the window. As I positioned my subjects around the room, I noticed how the light fell on their faces, and learned to pay very close attention to the direction of the light. I also noticed how important it was not to have any distracting things in the background, which also applies to many other areas of photography.

Using rim lighting and non-distracting backgrounds (learned doing portraits) in wildlife photography.

Try sports photography

The second thing on my list of things I wasn’t interested in photographing was sports. So I headed up to the local university where there is always something happening on a weekend, and found a rugby game to photograph.

I learned something very important that day. You see, I don’t know a thing about rugby, and it quickly became obvious that I couldn’t capture a special moment, because I had no idea when it was going to happen. I had to sit and watch, and try to figure out how the game worked, and only then did I have a chance.

I didn’t make any good images that day, but I sure learned a lesson that I apply to wildlife photography all the time. I sit and watch, and learn the behaviour of the animals before I try to photograph them. That way I can anticipate what is going to happen, and come away with a photograph that captures a special moment in time.

Anticipating the special moments in wildlife photography.

How about architecture photography?

Another thing on my list at the time I did this exercise was architecture, but after playing with it for awhile I discovered a new passion. Now I love photographing architecture. One thing I learned is that most architectural subjects are inherently symmetrical, and while the rule of thirds works, symmetrical compositions work really well too. Now I apply this principle to other subjects that are inherently symmetrical as well.

Using a symmetrical composition in landscape photography.

Challenge yourself! Give yourself time to play! Remember that this is an exercise just for you, to help you explore your craft and grow as a photographer.

Exploring subjects is just one way to accelerate your photography learning curve. (It’s a great way of finding your niche too!) For more ways to speed up the learning curve, check out my eBook “8 Ways to Accelerate Your Photography.”

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The post Get Outside Your Photography Comfort Zone to Learn and Grow as a Photographer by Anne McKinnell appeared first on Digital Photography School.

Digital Photography School

September 6, 2016
7 Ideas to Inspire Your Creativity

When I’m stuck in a rut and not feeling like my photos are that amazing, it usually just takes going to a beautiful new place or going out when the light is incredible to get my back on the path of being excited about taking photos. But not always. Sometimes I need some added inspiration for my creativity. Can you relate?

Sometimes I think all the busyness of my mind, the client who wants something yesterday, the endless emails that needs answering, the toilet that needs fixing in my studio, take over that part of my brain that is flowing and waiting to take photos. It’s almost like these tasks put a huge stopper on my creative flow.

When this happens I like to turn to minds wiser than my own. Over the years I’ve come across ideas that have sparked something in me, helping me to look at the world in new and different ways. Just remembering these ideas when I am down in the depths of not-creating, usually helps to jumpstart my mind and get me back into creating again.

I love hearing advice about creativity from all sources, because it is an act regardless the medium. From singers (“Sometimes you have to play a long time to be able to play like yourself.” Miles Davis) to painters (“Art washes away from the soul the dust of everyday life.” Picasso), everyone has something illuminating to share about the creative act.

Here are some of my favourite ideas to inspire creativity:

1. Look for indirect inspiration (via Ernst Haas)

I love looking at other photographers’ work. I like to put myself into a place where I am inspired by other people’s creative visions. But when I am stuck in my own photography, looking at other photographer’s work is probably the worst thing to do.

Funny enough, my favourite photographer of all time – Ernst Haas – agreed! He warned against seeking too much direct inspiration, as it:

“leads too quickly to repetitions of what inspired you,” and instead he recommends you should: “refine your senses through the great masters of music, painting, and poetry. In short, try indirect inspirations, and everything will come by itself.”

So fill your life with beautiful, joyful, and interesting things. Things that make the hair on the back of your neck tingle.

2. Beware the barrenness of a busy life (via Socrates)

Let’s just assume something: our work and your life responsibilities are an endless flow of stuff, and you will never get it all done. Ever. It’s impossible. So stop trying, and give yourself permission to just wander, percolate, get bored. Day dream and do all those awesome things that eventually lead to creativity.

So given that it’s endless, how about deciding that in order to have a happy life, one that is rich with fulfilment and fun and adventure, you have to break free occasionally. Because it’s so satisfying.

Socrates said: “Beware the barrenness of a busy life.”

Think about the things that really make you feel fulfilled and inspired. Things that nourish you deep down, that make you feel happy to be alive. You need more of that and less of the constant emails – right?

Turn off the faucet of tasks and prioritize being creative.

3. Kill perfectionism (via Anne Lamott)

When I start a photo project I am visited by that evil force – perfectionism. (It visits me towards the end too, and usually in the middle, in that vast sea when I am unanchored and often unsure of where to go next. It always catches me when I am feeling most vulnerable). I start to worry – “What if my best shot is behind me, what if I’ll never shoot anything amazing again, what if, what if…!?”

And, wow, is perfectionism easy to get sucked into. It’s something on which we believe, that we’re just being super focused. When in fact:

“At its root, perfectionism isn’t really about a deep love of being meticulous. It’s about fear. Fear of making a mistake. Fear of disappointing others. Fear of failure. Fear of success.” – Michael Law

That’s why you have to kill it, because perfectionism will stop you in your tracks. It will stop you before you even get started.

Perfectionism often appears when you’ve cleared everything out of the way and are ready to get down to it. You’ve turned off your phone, cleared the diary, extracted yourself from the ever flowing font of responsibilities. When you are faced with the actually doing.

But what happens if you give into it, and keep giving in to it and never get started?

“Oh my God, what if you wake up some day, and you’re 65, or 75, and you never got your memoir or novel written; or you didn’t go swimming in warm pools and oceans all those years because your thighs were jiggly and you had a nice big comfortable tummy; or you were just so strung out on perfectionism and people-pleasing that you forgot to have a big juicy creative life, of imagination and radical silliness and staring off into space like when you were a kid? It’s going to break your heart. Don’t let this happen.” – Anne Lamott

So how do we deal with this beast? Weirdly what seems to work the best for me, is to say to myself, “It doesn’t matter if what you do is terrible, just do it.” In fact I slightly encourage myself to be terrible, so that I have removed all that pressure to achieve something amazing. Therefore I’ve killed perfectionism at the root (because perfectionism is a desire to either be perfect or pretty amazing).

Then once I’m out the door and taking photos, I’ll fall into the flow and forget all about that horrible perfectionism. Most of the time I’ll even end up with some pretty good shots! Getting started is better than never striking out. Or as Seneca said:

“It is not because things are difficult that we do not dare, it is because we do not dare that they are difficult.” – Seneca

4. Make creativity a habit (via Maya Angelou)

I read this quote to my 10 year old son the other day because he had started writing a story. After an initial burst of enthusiasm he said his inspiration had disappeared and he didn’t want to carry on.

“In writing, habit seems to be a much stronger force than either willpower or inspiration.” – John Steinbeck.

Although this may be about writing, it is totally true of any creative pursuit. That is because:

“You can’t use up creativity. The more you use, the more you have.” – Maya Angelou

I love that quote because it shows that making an active effort to be be creative on a regular basis (whether it’s every Sunday afternoon, each morning for an hour at 6am, or Wednesday evenings) will guarantee that you will generate more creativity. It’s all about making the time to do it. Because, by the way, there is never the right time, or enough time for everything else. Even professional photographers, like me, need to literally carve out time to be creative.

5. But on the other hand….destroy your other habits (via Henry van Dyke)

“As long as habit and routine dictate the pattern of living, new dimensions of the soul will not emerge” – Henry van Dyke

Because our brain is a very helpful entity, wanting to make our lives as simple as possible (thank you brain), it creates habits very quickly. Although that makes it easy to get up in the morning, make breakfast, get ready for work, get to work and do your job without actually thinking about it too hard, or making any huge decisions – this is terrible for your creativity.

Why?

Because most of the activities you do are by habit. That includes 70-80% of the thoughts you have today, you had yesterday (and will have tomorrow. Scary!) Which means you are for the most part living your life on autopilot. So if you want to create something new, in fact just the act of creating is by nature doing something new, you have to abandon those habits that keep you thinking and living the same way over and over again.

To be aware is to not be locked in habit, or lost in a sea of your ever-revolving thoughts. So take a new route to work, change your morning routine, take a walk in the evening – anything that wakes up that mind of yours and gets you doing and thinking in new ways.

6. Your mind is made of play-doh (via Gandhi)

On my workshops many people come with preconceived ideas of what they are good at, and most definitely what they are not good at. Although I agree we all have predispositions to being naturally good at certain things, what science is now learning about the brain, is that it can continue to learn, change, adapt and evolve throughout your whole life.

“New research shows many aspects of the brain remain changeable (or “plastic”) even into adulthood.” – Wikipedia

How exciting is that? So when Gandhi said this:

“Man often becomes what he believes himself to be. If I keep on saying to myself that I cannot do a certain thing, it is possible that I may end by really becoming incapable of doing it. On the contrary, if I have the belief that I can do it, I shall surely acquire the capacity to do it even if I may not have it at the beginning.” – Gandhi

Not only was he totally right, but he was showing us that when we put our minds to something, and really focus and concentrate, we can learn and create whatever we want. As Thomas Edison said:

“If we all did the things we are really capable of doing, we would literally astound ourselves.”

So not being good at something now, or not being a very technical or creative person should not limit you. If you want to be more creative – go out there and work at being creative. If you want to become a technically adept person – do it! Everything is possible if you believe (that’s science saying that, not me).

When I get stuck with the things I struggle with photographically, I remember that I need to not give in to that thought, and instead push through with what I want my photography to be.

7. Dreaming with your eyes wide open (via Ernst Haas)

Being open and creative is something that all children excel at, but it is often squeezed out of us as we grow up. Children are amazing at making connections between disparate ideas; they have an openness and freedom to look at things without thinking, “I can’t think that, I can’t do that, I can’t try that, I’m not good at that.”

So as you were creative as a child, you can be creative again!

It’s about opening yourself up to the wondrous magic that is in the world all the time. Take a walk with a three year old, and it won’t be in a straight line. It will take four or five times longer, or more! Children are not goal-orientated, they are all about noticing that beautiful flower or funny face in the shop, a piece of colourful glass on the floor, or a ladybird!

Haas calls it “dreaming with your eyes wide open”. I love that it’s about shaking off the shackles of that adult training. So just look, wander, get lost, daydream. That’s when you start seeing things that you’ve blocked out in your ordinary day to day life.

Finally, I think many of us have become a culture aimed towards being too goal-orientated, so used to spending our time achieving things, and exchanging our time for achievement. But while it’s important to regularly take time to be creative, it doesn’t always have to lead to an outcome. Just the act of being creative, or looking, is fuel for the fire, even if it never leads anywhere. In fact let’s just throw outcomes out of the window, and get involved in taking photos for the sake of taking photos.

I think being creative is an incredible way to live, because it’s not just being locked into doing stuff, achieving stuff, focused on outcomes. It’s about being in wonder and awe of life.

I think Henry Miller summoned it up perfectly when he wrote:

“The aim of life is to live, and to live means to be aware, joyously, drunkenly, serenely, divinely aware.”

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The post 7 Ideas to Inspire Your Creativity by Anthony Epes appeared first on Digital Photography School.

Digital Photography School

September 6, 2016
7 Steps to Capturing Truth in Your Portraiture

A stunning portrait, one that stops you in your tracks and demands attention, is a beautiful thing. There’s something magical when a portrait intrigues and connects with us. It’s not about celebrity or beauty; it’s about humanity. For my money, the moment you capture truth and humanity in your portraiture, is when photography and art collide.

From the moment you raise a camera to take a photograph of someone, there are many variables to keep under control. It is easy to get lost and allow your focus to drift. This is the one time in photography when you need to be incredibly present.

Following this mini guide of seven steps, can help you to improve your portrait photography, and connect better with your subjects.

Step One: Photograph within your technical capabilities

The last thing you need to be worried about when you start a shoot is the technical side of things. Practice ahead of time and nail your technique. Get to know all of your equipment, and iron out any technical kinks before the day of the shoot. Your subject is bound to become nervous if you seem uneasy with your kit, or project any uncertainty. Things can still go wrong on the day, but the more relaxed you are overall, the more you will be able to handle it without panicking.

Step Two: See images of your subject beforehand

It can be handy to see images of your subject ahead of shoot day. I like to ask clients to send me a picture of themselves which they really like. This is useful in several ways.

You can get a good idea of their skin tone and the planes of their face, which helps you to consider your lighting set up and any adjustments you will need to make. You also get a good idea of how the client wants to be perceived, and what they want an image to say about themselves.

This will not always balance with what you see in them, but herein lies the magic. As a photographer, you are seeing the subject in a new light. When you add that into the process, alongside trying to capture what they like about themselves, you make a unique portrait.

Step Three: Have a plan

You absolutely must have a plan ahead of time. Use the what you’ve learned by having seen an image of your subject ahead of time, to help you plan your lighting and background choices. Obviously consider the weather if you are planning any natural light or outdoor shots.

It’s worth mentioning at this point that natural light doesn’t always mean you actually have to be outside. Being close to large windows or open doors can provide a beautiful light, but it absolutely depends on the weather. You should also plan what framing you might use. The goal is not to end up with a contrived shoot, it’s still important to stay in the moment. But, if session is slowing down, and you at least have some ideas in mind, you can refer back to your mental plan and get things going again by changing it up.

Step Four: Take charge

When you lift that camera, you must take charge of your set. This is a collaborative process, but you are definitely in the driver’s seat. It’s up to you to be vocal with your subject, to keep their energy levels up, and to make sure they feel good about themselves. It’s no good just shouting out stage directions, “left a bit, chin down,”. You must encourage them, and keep them having fun, because tension is not your friend! No matter how many times your subject has been in front of a camera, each one is a new performance and needs to be directed as such.

Wherever your shoot is taking place, you are in charge of that space. Define the space in your mind, and remove as many distractions as possible. Obviously if you are shooting in a public place, a park for example, you can’t remove everything. But if you can choose an area away from the main pathways, that will make life easier.

If you are indoors music is a must. It’s a great leveller, and helps everyone to relax. You can create a playlist specially for your shoots, include some cheesy music to put a smile on people’s faces. It’s a good idea to choose different genres/decades depending on your client’s age, style, etc.

Step Five: Learn to read people

Learning to read people is a skill you absolutely must acquire in order to progress as a people photographer. Try to connect with your subject and chat to them, tell stories – humanizing the experience is vital. The more they relax, the more you will get out of them, and the more authentic the photograph will be.

You must learn to pick up on signs and signals: Are they losing focus? Change up the setting. Are they uncomfortable? Try standing or sitting instead. You don’t want to waste shots on unusable images, where the subject is not present or is clearly not in the zone.

Another way in which you can learn to read people has to do with their personality. Determining early on that they are nervous, might mean you tell some jokes, or explain the setup to put them at ease. A giggly, happy person definitely needs to be represented as such, but there is always room for a more serious look, which will be up to you to direct them towards.

Step Six: Set the tone

So once you have gained control and confirmed that you are in charge, you must set the tone for the whole shoot. When you look at a portrait which you love, consider what you like about it and how you too can take this sort of image. Keeping in mind that any picture you take will have your own voice, and that develops over time. The connection or level of engagement in that photograph is entirely dictated by you, the photographer.

Your subject feeds off your energy and pace, so you must keep this in mind at all times. If they seem to be wilting, it’s your job to bring them back up to speed. Make sure to check your own performance so that you are giving out the right vibes.

Step Seven: take your time

This last step has to be one of the most important – take your time! Please trust me on this one, slow down and keep your head in the game. A shoot can run away from you in no time, and the last thing you want is to look at back at your shots and discover you haven’t captured what you wanted. You may find that you have spent too long on one look or background, and not captured another enough. Just as you want your subject to take mini breaks to refocus themselves, you must take the opportunity too.

Personally, I know that if at the end of a shoot I don’t feel a bond with my client, I haven’t nailed it – I’ll have some great images of them but it won’t be what I set out to capture.

Your turn

Do you do portraits? How do you inject some truth into your portraiture? Please share your tips and tricks in the comments below. If you have any questions I’ll try and answer them as well.

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The post 7 Steps to Capturing Truth in Your Portraiture by Alex Lagarejos appeared first on Digital Photography School.

Digital Photography School

September 5, 2016
5 Critical Mistakes to Avoid When Buying New Camera Gear

The day you’re finally in the market for a new camera gear is certainly an exciting one when you’re a photographer. Visions dance in your head of all the killer shots you’ll be capturing with a sleek new set-up. You get excited about finally having gear that not only meets your current needs, but that you can grow with into the future as well.

However, it goes without saying, that the buying process can be daunting to say the least. There’s a lot to choose from out there! You want to make absolutely sure that what you buy is actually worth the investment you’re about to make.

In this article I’ll go over some of the most important (and most common) mistakes to avoid when shopping for a new camera or any other piece of photography equipment.

Mistake #1. Taking advice from the wrong person

It’s normal, and wise, to ask for other people’s advice before you finalize a major buying decision. However, it’s important to get it from the right sources. It’s not enough for someone to simply sound like they know what they’re talking about.

Do they actually know what they’re talking about? Is this someone that really knows their way around a camera, and could be considered an expert when it comes to photography gear? Do they actually understand all of the features associated with the item you’re shopping for well enough to have an informed opinion? You should be able to say “yes” with assurance to all of these questions. You need to make sure the person actually understands your unique needs, and the many ways they might differ from theirs.

I need this camera for the work I do, but you may not need one so large. Get what’s appropriate for your needs.

Avoid buying anything just because another photographer you know has one, or because all the online reviews say it’s the one to have. Definitely don’t buy on the say-so of one person, who may or may not really understand photography. Ask for advice from trusted experts and take it for what it’s worth – a great tool that can help you make a decision. Even the best advice isn’t a proper substitute for research and careful comparison shopping.

Mistake #2. Assuming quality is equal to price

Yes, good quality gear should be considered an investment. It’s most definitely a purchasing decision that should be made with care, especially if you’re a professional photographer or hope to become one. However, it’s important not to simply assume that a higher price tag automatically equals a better item.

Do your research and due diligence.

Even if money isn’t personally an issue for you, paying more money doesn’t guarantee that your purchase will actually meet your needs. It doesn’t guarantee you the spectacular photos you’ve been dreaming about either. Even great photography equipment is only going to be as good as the person actually taking the photos.

Focus less on the price tag, and more on whether or not a given item is right for you, especially when buying a camera. Does it fit your current skill level? Are you familiar with all of the functions and tools it comes with? According to your research, is it a good fit for the type of photography you do? Lots of bells and whistles, and tons of different settings won’t do you any good if you either won’t use them, or don’t understand them.

Mistake #3. Failing to budget properly

Proper planning is the key to success when it comes to many endeavours, and shopping for a new camera or photography gear is no different. A big part of that is budgeting, and there are a number of ways people can stumble in that arena.

Many drastically overestimate what they’re likely to get in exchange for their money. An outrageously expensive camera won’t magically allow a beginner to somehow start pulling off National Geographic quality images. Nor will world class photography skills make up for a cheap camera, that’s incapable of taking professional quality pictures.

A lot of shoppers also fail to factor the full cost of all the accessories they’ll need into their budget. Okay, so you did your homework when it comes to the camera you’ll need in order to take your landscape photography to the next level. But, did you also remember to consider the lenses you’ll require? What about the batteries, tripods, memory cards, and everything else? It’s important to be thorough from the get-go.

Mistake #4. Becoming distracted by bargains and specials

So you’re finally ready to walk into the photography shop and make your purchases. You’ve done your homework. You’ve figured out which camera is right for your needs, both present and future. You’ve even picked out the accessories and other tools you’ll need to go with it. You’re sure you know exactly what you’re looking for.

Then you get inside, and see all the signs advertising special deals on this, and bargain pricing on that. Do you lose your focus, or do you remind yourself that item isn’t really what you went there for? Hopefully it’s the latter.

Never buy any piece of photography gear just because it’s displayed under a flashy sign, or a salesman insists that it’s what you really want. If something sounds way too good to be true, it probably is. Keep your eye on the prize, and make sure you walk out of that shop with what you actually need.

Mistake #5. Not being realistic enough

Most of us entertain really big dreams that we hope will come true someday, when it comes to our interest in photography. However, it’s important to ask yourself whether those dreams are realistic as far as the near future goes, before you actually sink your money into them.

Are you brand new to photography, but already picture yourself traveling the world, making big money as a travel photographer within a couple of months? Are you shopping based on a desire to jump straight into professional photography with a ton of new, expensive gear, even though you’ve never used anything more complicated than the Instagram app on your iPhone?

Make sure you’re not getting ahead of yourself when it comes to what you think you’ll accomplish, by spending lots of money on new camera gear right now. Shop according to what your needs and skill level are currently, not what you’re hoping they’ll be “someday”. You’re that much more likely to be happy with your purchases not only now, but in the years to come as well.

If you have any other gear buying tips, please share in the comments below. What is your though process?

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The post 5 Critical Mistakes to Avoid When Buying New Camera Gear by Destin Sparks appeared first on Digital Photography School.

Digital Photography School

September 5, 2016
How Black and White Photography Taught Me to Capture Emotion

My first experience with photography was a black and white film photography class in high school. We were given one roll of film per week, and told to, “go capture something compelling.” Though learning photography on a fully manual, very low-tech camera, resulted in a bit of a learning curve when I switched over to digital (hello metering modes, back button focus, and exposure compensation!), one of the most important things that my first black and white photography class taught me was the importance of capturing emotion in photography.

Ted Grant–an amazing Canadian photojournalist–has said, “When you photograph people in color, you photograph their clothes. But when you photograph people in black and white, you photograph their souls!” While I’ve certainly seen my fair share of color photos that beautifully capture emotion, I also relate to Grant’s words very much.

Black and white strips the image down to the basics

In a sense, black and white photography strips away all the extras, and forces you to think about things like contrast and emotion, in a way that isn’t always be as crucial when you’re shooting in color. Whether intentional or not, it can be easy to use color and props as a sort of crutch in photography. I love a photo of a toddler licking a giant multi-colored lollipop just as much as the next person. But, the tendency with images like that can sometimes be for the color and the whimsy to carry the image, rather than the emotion.

Starting in black and white photography taught me that it’s not enough to have perfectly matched clothing, or a brightly colored chandelier hanging from a tree in the woods. It’s not enough to stand someone in front of a beautiful backdrop and tell them to smile. Compelling photographs do more than that. They give you a glimpse into what the person being photographed is feeling right at that moment.

Black and white only challenge

If you’ve never had experience shooting exclusively in black and white, I highly suggest giving it a try. Most digital cameras have the capacity to shoot black and white right in camera (consult your manual). It’s a really great exercise to occasionally force yourself to do so. Grab a friend, and go shoot 50 or 100 frames in black and white.

I do recommend shooting black and white right in camera for this exercise, because it completely eliminates color from the equation. It’s a quick and easy way to see which images are successful in black and white, and which are not. It also helps train your brain to “think” in black and white. Once you’ve completed this quick exercise, take a look at your images. Are your black and white images compelling? If not, one of the reasons may be that the images are lacking emotion.

Getting emotion into your images

As a photographer, there’s no exact science to capturing emotion in your photos. Some children will be naturally expressive, and some couples will be naturally affectionate. Other people may need a bit of help getting comfortable enough to express themselves in front of the camera. As always, building rapport with the people that you’re photographing, before and during the session, will go a long way in helping them relax and feel comfortable.

Your subjects will mirror you

In my experience, the key to capturing emotion, is helping your subjects to actually feel the same emotion that you’re trying to capture during the session. One simple and effective tip is to remember that humans naturally mimic the emotions and attitudes of those around them. As the photographer, if you come into the session laughing and joking around, it’s much more likely that the people you’re photographing will start to laugh and joke around as well.

So, keep a book of silly knock knock jokes tucked into your camera bag, or come prepared to tell a funny story that happened to you recently. If you’re having a bad day, make the conscious decision to leave it behind for the duration of your session, and even fake it until you make it if you must. It really does make a difference!

Couples

When photographing couples, asking them to tell you a story about how they met, got engaged, or the best part of their wedding, are all topics that can help cultivate real emotions during your session. Ask the question, then wait and watch carefully, with camera in hand, for interaction between the couple during the story.

Kids

For kids, try asking them about their favorite movie, TV show, or the best part of their week so far. If you don’t have children around the same age as the ones you’re photographing, it’s a good idea to ask the parents in advance about the sorts of books, songs, TV shows, movies, and/or sports their children enjoy so that you can prepare thoughtful questions that will allow them to talk about the things they love.

Get them laughing

As funny as it sounds, another method that’s really effective in making people laugh is to actually ask them to fake laugh. Ask them to be silly and to give you their biggest and deepest Santa Claus chuckle. It will feel weird and awkward, but the end result is usually that everyone around starts genuinely laughing, and that’s the moment you’re waiting for as the photographer.

During family sessions, getting mom or dad to play along and be over-the-top silly, almost always helps elicit laughs from the kids. It’s a good idea to tell the parents in advance that you’re going to ask them to be silly and ridiculous, but that if they just roll with it, the kids will smile and laugh in a natural way. They won’t if you just say, “look here and smile!”

Summary

I no longer shoot exclusively in black and white, nor am I arguing that black and white photography is the only way to capture emotional images. Ones that capture real emotions will be compelling whether they are processed in color or in black and white. However, upon reflecting on my personal journey in photography, I can clearly see that beginning with black and white photography forced me to prioritize emotion in my images over color, props, and styling, in a way that has strengthened my photography overall.

Do you struggle with capturing genuine emotion in your images, or does it come easily for you? Do you have any other tips about capturing emotion to share? Please share in the comments below.

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The post How Black and White Photography Taught Me to Capture Emotion by Meredith Clark appeared first on Digital Photography School.

Digital Photography School

September 4, 2016
A Guide to Black and White Conversion in Photoshop
Black and white photography is as popular as ever. If you’re one of the many photographers who adore it, you know why that is the case. On one hand, black and white conversion removes the distraction of color from an image. It can help you to create evocative and dramatic images, that concentrate on the forms and shapes of a subject as a whole. On another level, black and white photographs can be reminiscent of a time gone by, one of film canisters and darkroom chemicals.

With digital photography, it doesn’t matter whether you come to black and white from a stance of nostalgia, or approach it as a tool for visual storytelling. The tools to create it are the same either way. These tools, however, are many, and can be confusing if you’re approaching Photoshop (or any post-processing tool) for the first time.

Photoshop conversions

Photoshop alone has many methods to create black and white conversions. Some of them are quite useless, and should be avoided. Others are very powerful, yet won’t work well in every instance. However, it is important to know and understand as many of the tools as possible. No two images are alike, and every image requires its own treatment. While one tool may provide perfect results, another image from the same shoot might require the use of an entirely different tool for the best results.

In this tutorial, we’ll work through nine different methods for black and white conversions in Photoshop. By following along with your own images, you will be able to quickly develop an understanding of the many tools available. Some of these methods work at the press of a button. While others take a few minutes, they offer absolute control over every aspect of the tonality of your photographs.

The basic techniques

The first four black and white conversion techniques are very basic, and will not lead to good results in most instances. I can already hear you asking; “If they’re so bad, why are they in this article?” They are here so that you will be aware of them, and know to avoid them. Also, some of them (like the Grayscale method) are among the few clearly labeled in Photoshop as black and white conversions. By actively knowing about them, you will be able to save time later when you come across a tool you previously weren’t familiar with.

This isn’t to say that they don’t have their uses. Often these techniques can be used as part of a much larger retouching workflow. But, for straight black and white conversions, these methods will leave you with muddy tones and lacklustre results.

It’s important to note, that this article concentrates on the black and white conversion process only. With the exception of the Gradient Map tool, you will still need to consider using some other post-processing techniques (blemish removal, contrast adjustments) on your images, for the best results.

1) Grayscale mode

Converting your images to Grayscale is fast, but the cost is a loss of control, and a lot of file information.

This method is as simple as it gets. In Photoshop, go to your toolbar and click Image > Mode > Grayscale. When prompted to discard your color information, click discard.

Out of all of the options, this is the one to avoid at all costs. The act of discarding all of the color information from your images is a destructive technique. That makes it difficult, if not impossible, to make changes later if you decide you don’t like the output. Also, as you’ll see in later techniques, that discarded color information is what gives you the most control over the tonality in your images.

Here, you can see how much data was lost when converted to Grayscale. The converted image (bottom) has nearly 2/3 less data than the original image (top).

The best advice for this conversion method is to try it, acknowledge it, and then avoid it at all costs.

2) Desaturate

Original Image

Converted to black and white using the Desaturate command.

Unlike the Grayscale method, using the Desaturate command does not discard the color information from your image. It is, however, still a destructive technique, as it does not allow you to alter or control any aspects of the conversion once it’s made.

To Desaturate your image, go to your toolbar in Photoshop and choose Image > Adjustments > Desaturate

Once again, as a destructive technique, I encourage you to avoid this tool whenever possible.

3) Hue/ Saturation layer

Original image

Converted to black and white using a Hue/Saturation adjustment layer.

By using a Hue/Saturation adjustment layer, you will get the exact same results as the Desaturate method, with one exception. Because this is an adjustment layer, it can be changed or discarded at any time, without any alteration to your original image, making this a non-destructive technique.

To convert your image with this method, find the Create new fill or adjustment layer button (circle that is half dark, half white) at the bottom of the Layers Palette and choose Hue/Saturation (you can also select it from the Adjustments panel if you have it visible).

In the layer properties tab that should have opened, find the Saturation slider and move it across to -100.

This is still not an ideal method, as it offers no control in the actual conversion process.

4) Solid black or white layer

Original image

Converted to black and white using a solid black layer, set to the Color blending mode.

Another easy method of converting your image to black and white is to create a new layer filled with black or white, then set the blending mode to Color. Again, this technique offers no control over the actual conversion, so it’s best avoided.

To do this, create a new empty layer by pressing the New Layer button on the layer palette (ctrl/cmd+shift+N).

With the empty layer selected go to Edit>Fill (shift+f5) and choose either black or white. Your image should now be filled with the color you selected.

On the layer palette, find the drop down menu for the blending modes and choose color.

Intermediate Techniques

The previous four techniques are very basic, and offer you very little control, if any, over the actual conversion of your image to black and white. Now that you’re aware of them, you know what to avoid if you want the best results. The following techniques offer you a range of control over your black and white conversions, however, they take a bit more effort to get right.

5) Channels

Left: Original image
Right: Converted to black and white by using Channels

Out of all of the techniques presented in this tutorial, this one may be the least obvious. To start, you want to make sure that you can see the Channels tab in your layer palette. If it’s not visible, go to Window in the top menu bar and make sure Channels is ticked.

This is a destructive technique, so please make sure you are working on a copy of your original image in case it goes wrong. If you’re unsure, go to Image>Duplicate to have Photoshop create a second instance of your file to work with.

With the Channels tab selected, you should see four sections (they appear as layers would in the Layer Palette) labeled RGB, Red, Green and Blue. If you select the Red, Green and Blue Channels in turn, you will see variations of your image in black and white as it relates to the color information in your image.

Red Channel

Green Channel

Blue Channel

To use this to convert your image, choose the channel that has the most pleasing effect on your image. This will vary depending on your subject, and the range of colors in your photos. Once you’ve made your choice, make sure you click on the channel you wish to work with. Now, on the toolbar, choose Select>All (ctrl+A or cmd+A). With the selection active go to Edit>Copy (ctrl/cmd+C)

The next step is to paste the selected channel into the other two. In this case, Green is copied and pasted into the Blue and Red channels. One at a time, select the other two channels and go to Edit>Paste (ctrl/cmd+V).

Once that is done, click on the RGB channel and you should see that your image has been converted to black and white. While this technique does not offer complete control over the conversion, it can still be used to great effect.

The final result with the Green channel, pasted into the Red and Blue channels.

6) Channel Mixer adjustment layer

Original Image

Converted to black and white using a Channel Mixer adjustment layer.

For a bit more control, you can use a Channel Mixer adjustment layer, as a non-destructive technique. On the Layer Palette, find the Create new fill or adjustment layer button and choose Channel Mixer (or select it from the Adjustments panel).

On the properties tab for the Channel Mixer layer, click the box that says Monochrome.

To fine tune your image, you can adjust the red, blue and green sliders until you get the effect you desire. These sliders are not very forgiving, so try to keep the adjustments small to avoid destroying the highlights and shadows in your image.

7) Black and White adjustment layer

Original image

Converted to black and white using a Black and White adjustment layer.

Okay, this one’s pretty obvious in function. It’s also pretty powerful, but it’s not always the best choice. However, it is a good starting point in many cases. As such, this technique will likely become your go-to black and white conversion method, especially if you’re just starting out.

To start, find the Create new fill or adjustment layer on the Layer Palette and choose Black and White (or select it on the Adjustments panel).

Your image will be converted to black and white, and in the properties tab, you will now see an array of color sliders. Moving these sliders to the right will brighten any tones associated with that color. Moving them to the left will darken those tones. The idea behind these sliders is to emulate the effect that colored lens filters used to have on black and white film.

Moving the Reds and Yellows slider to the left brings out the detail in the grass by darkening the tones associated with those colors.

For portraits, the most noticeable changes will come from moving the red and yellow sliders. For landscapes, the blue and green sliders will be more useful.

As with any adjustment layer, if you change your mind later, you only need to return to the properties tab and alter the sliders to your heart’s content. This is non-destructive editing.

8) Gradient Map

Left: Original Image
Right: Converted to black and white using a Gradient Map adjustment layer.

The Gradient Map is easily the most powerful of all the black and white conversion tools. It allows you to control every aspect of the tonality of your image. Because of this control, it’s also the most complicated and hardest to use. It is worth knowing though, and a bit of practice will make it an invaluable tool on your belt.

Make sure your foreground and background colours are set to black and white. You can do this by pressing D on your keyboard. Now, find the Create new fill or adjustment layer on the Layer Palette and choose Gradient Map.

Make sure the gradient that is selected is black to white. Your image is now monochromatic, and you may notice that this technique gives it higher contrast to begin with, than the other methods.

This is an example of how an image might look with a Gradient Map layer, and no further adjustments.

Note: If your image looks like a negative after making the adjustment layer, just click the Reverse box in the layer’s properties tab.

If your image looks like a negative, it just means your foreground and background colors are backwards. Just click the Reverse box in the Gradient Map’s properties tab.

If you forgot to reset your foreground and background colors, your image probably looks like a colored mess. Just click in the gradient in the properties tab, and choose the black and white gradient to fix this with little error.

Forgetting to reset your foreground and background colors may result in something like this image. To fix it, just choose the black and white gradient (circled in blue) in the presets section of the Gradient Editor.

At this stage, you may feel that this enough. However, the Gradient Map offers a lot more in terms of control over tonality of the image.

In the properties tab, if you double click the image of the gradient, the Gradient Editor will open. Towards the bottom of this screen, you will see a visual representation of your gradient. There are also be a set of sliders that show either black or white.

If you move the bottom sliders inward, you will increase the contrast in your image. Moving the black slider in, will deepen the shadows, while moving the white slider in will brighten the highlights (which direction those are will depend on whether you have reversed the gradient or not). This is an effective way to increase contrast in your image without leaving the conversion layer. Do watch your histogram for shadow and highlight clipping though.

Click into the image of the gradient to enter the Gradient Editor (note my gradient here is reversed)

Moving the white slider to the right (circled in red) will brighten the highlight tones in this image. Moving the lower black slider (to the left) will deepen your shadows.

If you wanted to darken your highlights or brighten your shadows, you can change the colour of the sliders. To do this, double click on one of sliders. In this image, the dark tones are more intense than I would like, so I double-clicked the shadow slider as circled in the above image.

You should then see a Color Picker colour palette (if you don’t see red as shown below, just click the H for Hue). Click into the far left hand side of the palette, and slide the cursor up and down until you get the tone you want for your darkest shadows(or highlights if you chose them). Try to only use colours all the way to the left in the palette. Anything even a bit to the right will have a color tint to it.

By selecting a colour just above pure black, the shadow tones in the image are brightened significantly.

To really take control over your image’s tonality, you can also control your mid-tones with the Gradient Map. Click just underneath the gradient bar and create a new slider.

To control the mid-tones in your image, create a new slider in the Gradient editor by clicking and dragging under the gradient.

Double clicking this slider will open a color palette. Choose a grey tone (light if you want to alter lighter tones, dark if you want to alter darker tones) and press okay.

Choose a color relevant to the tones you want to alter in your image.

Now drag the slider to a point where it affects the image in the way you desire. If your tone is wrong, just double click the slider again and pick a new shade. You can make as many of these sliders as you need. This gives you absolute control over every tone in your image.

At first, it may be difficult to get used to this tool, but practice will make it easier. The Gradient Map is by far the most powerful black and white conversion tool for your images.

9) Adobe Camera Raw

Left: Original Image
Right: Converted to Black and White in Adobe Camera Raw

The last method involves converting your image to black and white at the raw processing stage. Doing this, doesn’t grant you absolute control over your tonality, but it is still quite a powerful possibility. Because you’re working with a raw file, no matter what changes you make, the file information will remain untouched, making this a completely non-destructive technique. It also grants you access to the rest of the tools available in raw processing after you’ve converted your image, giving you a more polished result without having to open your image in Photoshop.

To start, open your image in ACR (Adobe Camera Raw) by opening your raw file with Photoshop. On the toolbar to the right, you should see a row of icons. Find the one that’s called HSL/Grayscale and click it.

You should see a box labeled Convert to Grayscale. Click it.

To convert your raw file to black and white in ACR, click the Convert to Grayscale box in the HSL tab.

From here, you have access to a bunch of sliders that act the same way as if you were using a Black and White adjustment layer in Photoshop. Play around with them until you’re happy with the way the tones appear in your image.

While adjusting the sliders, zoom in to areas like skin tones, so you can watch exactly how the sliders are affecting your image.

If you go back to the Basic panel, you have access to all of the basic functionality in ACR. Here you can process your raw file as normal, and you can go back to the HSL panel to alter your sliders at any point (before you leave ACR).

By doing your black and white conversion at the raw stage, you still have access to all of the processing tools in ACR. Take advantage of these to get a more polished result, before even entering Photoshop.

Once you’re done, export your image in your preferred format (or open it directly into Photoshop) and there you have it.

The right tool for the job

If you’ve followed each of these tutorials through, you will have gained at least a basic understanding of how to use each for black and white conversions in Photoshop. Now, ask yourself the following questions:
- Which of these tools worked best for me?
- Which of these tools did I enjoy using?
- Which of these tools did I hate using?
- Which of these tools created results that fit my tastes?
In the end, the best tool for the job is the one that gets you the results that you are looking for (even if it’s the tools that I’ve urged you to avoid). Just keep practicing, and you’ll be able to figure out which tool is best, before you even start working on your image.

How do you use Photoshop for your black and white conversions? Please share in the comments below.

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The post A Guide to Black and White Conversion in Photoshop by John McIntire appeared first on Digital Photography School.

Digital Photography School
September 4, 2016
Weekly Photography Challenge – Stripes

Finding unique photography subjects can be a challenge sometimes. Contrast draws attention, and stripes carry inherent contrast. Like this images of stripes.

By Evelyn Berg

Weekly Photography Challenge – Stripes

Leading lines is a great element of composition to use to create dramatic images. Taking that to the extreme and you have stripes!

This week for the photography challenge you need to find or create some stripes to photograph. That might be painted striped on a road or crosswalk (be safe please), blinds or light coming through them, shadows or a fence, etc.

Use your thinking cap and add a little creativity and see what you can come up with for stripes.

By tanakawho

By Mike Steinhoff

By Tuncay

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 favourite 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.

By Evelyn Berg

By Evelyn Berg

By Maria Keays

By VanessaC (EY)

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

Digital Photography School

September 3, 2016
21 Banded Images of Stripes

Light and dark, highlight and shadow. That’s what photography is all about.

When contrast appears, an image can be made.

Let’s have a look at what some photographers did with extreme contrast – stripes.

By newelly54

By Thomas Hawk

By Mrs Airwolfhound

By Rob Deutscher

By Michael Levine-Clark

By Jeremy Brooks

By Sarah Horrigan

By Andreas Manessinger

By Evelyn Berg

By Robert Keller

By Gabriel Caparó

By Tom Blackwell

By Jon Bunting

By CameliaTWU

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September 3, 2016
4 Tips for Using for Live View to Get Sharper and More Creative Images

Live View versus optical viewfinder on your DSLR, pros and cons?

By Pascal

If you shoot with a DSLR you probably use the same method for taking pictures that most people do, holding the camera up to your eye and looking through the viewfinder before snapping the shutter button.

This tried-and-true method has several benefits, including letting you see precisely what you are going to take a picture of before you click the button. Also, allowing you to track fast-moving subjects without any lag time, and even stabilizing the camera due to the fact that it’s being held up against your face instead of away from your body.

Getting this shot using the optical viewfinder wouldn’t have been impossible, but it would have been much more difficult.

However, the Live View function that is built into most DSLR cameras has a few tricks up its sleeve that can greatly benefit you as well. While not useful in ever single photographic situation, Live View certainly is worth a second look if you are the type of person who normally casts it aside in favor of the traditional viewfinder.

#1 Make sure your subject is perfectly focused

When you look through the optical viewfinder on your camera, you will see an array of rectangles or dots which each represent points on which your camera can focus. This is a result of your camera’s phase detect focusing system which is present in nearly every DSLR. While it usually works just fine, there are situations in which it can present a bit of a problem.

For one, the subject on which you are focusing can sometimes be outside the boundary of your focusing points, which makes it quite difficult to get it tack sharp even with something like the focus-and-recompose technique. Also, even with using the built-in focusing points it’s not always a guarantee that your subject will be completely in focus, especially if it is very far away like when shooting landscapes or scenic vistas.

Live View helped me get this flower focused just how I wanted, and instead of laying in the mud I used the flip-out screen to help me compose the picture.

Zoom-in on Live View

Live View is the magic bullet in these situations, as you can use it not just to frame your shot, but to zoom in close on a specific area to make sure it is focused. Think of this as though you were holding a magnifying glass up to your camera’s viewfinder when focusing on your subject, and using that as the basis for judging whether it is tack sharp or just a bit fuzzy. This obviously works best if your camera is firmly attached to a tripod, but even if you just set it on a solid surface such as a shelf, rock, post, or other object, you should be fine.

Live View can be a good way to make sure your subjects are tack sharp and perfectly focused.

Each camera handles the zoom-in function a bit differently, but for most DSLRs there will be an option in one of the menus to enable a button on your camera to zoom in during Live View, and even set the percentage of zoom which tells you how much it will magnify the image. If your subject is not moving, and neither is your camera, this technique is one of the best possible ways to make sure everything is tack sharp precisely how you want it to be (using manual focus in this instance can be helpful also).

#2 See previews of camera effects in realtime

One fun trick that many DSLR manufacturers have added to their cameras is the ability to do various types of effects like selective coloring, miniature, and black-and-white, among many others. Think of them as though you are adding Instagram filters, but in realtime, as you are taking your pictures instead of on your phone afterwards.

Using Live View as you activate various scene modes is a fun way to experiment with different types of creative image effects. It also has the added bonus of allowing you to play around and see how the options affect your photography before you even click the shutter.

A common camera effect is “miniature,” which mimics a tilt-shift lens. It’s fun to play around with these built-in effects using Live View, which shows you a preview of what the final image will look like as you compose it.

Some photographers frown on this type of creative expression, and prefer to leave these effects and scene modes to Photoshop, where things can be endlessly controlled, changed, and tweaked to perfection (often ad nauseam). But, my own personal stance is, if you’re making pictures you enjoy by using simple in-camera effects, then why not keep doing it?

Some of the built-in modes are a little cheesier than others, and you usually can’t shoot in RAW format. But using Live View to preview the different sorts of photography effects you can explore, is a great way to try something new and add a little spark back to your creative juices at the same time.

#3 Depth of Field preview

This one piggybacks pretty well off of the previous item, but I wanted to list it separately because it is so useful on its own. When you change the aperture and focal length of your lens, you are also changing the depth of field, or area that is in focus. It’s a difficult concept to understand since it involves several different variables, including how close you are to your subject and how far away is the background.

This confusion can be compounded by the fact that your optical viewfinder doesn’t really show you what to expect when you click the shutter button. Some DSLR cameras have a Depth of Field Preview button that allows you to close down the aperture and see what it will look like when you take a photo (it also gets dark if you use a small aperture), but another way to do this is by using Live View.

It really helped to see a preview of the depth of field by using Live View when composing this image.

How it works

When you look through the viewfinder on a DSLR camera you are seeing through the lens while it is opened to its widest possible value. But, when you click over into Live View the aperture blades close down to the value you’ve specified, or that which the camera thinks is appropriate, depending on the shooting mode you are using.

This makes it possible to see precisely what the picture will look like when you press the shutter button. So, if you focus on an object while in Live View, you will see a more accurate representation of the depth of field than looking through the viewfinder. This is incredibly useful when shooting macro photos, because it’s difficult to understand just what is in focus and what is not unless you can see it yourself using Live View.

Depth of field can be extraordinarily thin when shooting macro pictures, and using Live View to see a preview of the final result is a good way to get the photo to show up just how you want.

#4 Tap to focus

One final trick that Live View offers, is the ability to actually use it for the act of focusing itself. As more cameras start implementing touch screens, manufacturers like Canon have started allowing users to tap on the screen itself to actually focus the camera, much in the same way you do on your mobile phone.

While this feature is not available on all DSLR cameras, and though some with touch screens don’t have focusing enabled, if you do have a camera that allows you to tap-to-focus you might find it incredibly useful and well-worth your time. This won’t do you any good if you are shooting sports, action, or wedding photos, since the touch-based focusing isn’t as quick. But if you are out shooting casually it’s something you might really enjoy trying.

It even has some advantages over traditional viewfinder-based focusing if you are shooting at extreme angles, such as very low to the ground. More and more cameras are offering flip-out screens so you can swivel it, instead of crouching down, and then tap it to lock focus.

If you have a touchscreen, using Live View can be a great way to make sure your subject is focused exactly how you want by simply tapping the area you want to be in focus.

Summary

These are just a few of the options available to you if you use Live View on a DSLR. If you are more of a traditional shooter who prefers the optical viewfinder I hope you at least give Live View a chance. It’s not going to be the best option in every situation, but you may find it to be more compelling and useful than you realize.

If you do like shooting in Live View and have your own tips to share, please leave your thoughts in the comments below!

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Digital Photography School

September 2, 2016