Category: Photography

Weekly Photography Challenge – Butterflies and Bugs
Photographing bugs and the tiny critters takes patience, and a macro lens may come in handy as well.

By William Warby

Weekly Photography Challenge – Butterflies and Bugs

For this week’s challenge if you need some tips, try reading these dPS articles:
- 4 Tips for Photographing Bugs and Insects
- 10 Tips for Photographing Dragonflies
- Backyard Macro Photography Safari
- Lighting for Macro Photography
- Tips for Photographing Butterflies
- 8 Tips for Photographing Butterflies
By naathas

By abdullah girach

By Lida

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.

By Markus Trienke

By Delyth Angharad

By Mike Keeling

By pontla

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The post Weekly Photography Challenge – Butterflies and Bugs by Darlene Hildebrandt appeared first on Digital Photography School.

Digital Photography School
June 18, 2016
27 Beautiful Images of Butterflies and Bugs

Spring has sprung in the northern part of the world and the creep crawly things are out and about. But they aren’t all bad or ugly. Many of the world’s smallest creatures are quite attractive – beautiful even.

So here is how some photographers chose to capture them in butterflies and bugs:

By Bob Peterson

By Philippe Rouzet

By Thomas Shahan

By Ziva & Amir

By Bernie Lampert

By Darlene Hildebrandt

By Joel Olives

By Ferran Pestaña

By Sunny_mjx

By Salvatore D’Oro

By Peter Miller

By Sergiu Bacioiu

By photosbyflick

By Theophilos Papadopoulos

By Peter Miller

By Sinead Fenton

By m.shattock

By Christina VanMeter

By MrClean1982

By LHG Creative Photography

By Anne Worner

By AmberBrooke.

By Bernat Casero

By Mike Keeling

By Josef Wells

By Thomas

By Karen McQuilkin

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The post 27 Beautiful Images of Butterflies and Bugs by Darlene Hildebrandt appeared first on Digital Photography School.

Digital Photography School

June 18, 2016
5 Tricks from Professionals to Help You Do Better Wildlife Photography

Whether professional or an amateur, most photographers who enjoy wildlife photography do it because we love being outside in nature, and we love to share our experiences of the world’s wild creatures. Carrying our cameras, and making images along the way, helps us to truly see and appreciate what nature has to offer.

But there’s more to making a captivating wildlife photograph than simply having an animal in the frame. If you just snap a shot when an animal is in front of you, you may find that your photograph lacks the impact you were after.

Next time you are out in the wild, try out these five tricks that professional wildlife photographers use to capture the world’s wild creatures at their best.

1. Watch and Learn

Every one of the world’s many species of animals are different. You cannot photograph them all the same way. But, if you spend some time observing your creature’s behaviour, you’ll be better equipped to click the shutter at exactly the right moment.

It’s all about that special moment when the animal is doing something – whether it’s flying, walking, making eye contact, or interacting with another animal. Like spending time with friends, you come to know when they are going to do a particular thing and what triggers a reaction. Once you observe and understand their behaviour, be patient, be quiet, and wait for the right moment.

We often think of wildlife photography as being exciting, but more often than not, better images are made when it is a quiet, contemplative experience.

2. Use Faster Shutter Speeds

Many a great wildlife photograph has been ruined when an animal moves faster than the photographer anticipated, resulting in a slightly blurry image. It has happened to us all. Try not to let that happen by increasing your camera’s ISO, which will allow you faster shutter speeds.

Even when your subject is absolutely still, you never know when they’ll decide to move, and that could be the magic moment you’ve been waiting for. Be ready by using a shutter speed of at least 1/500th of a second.

3. Carry Two Camera Bodies

The most important thing is to capture that special moment, so don’t miss it by changing lenses. It’s better to pick two lenses to work with, and have each mounted on its own camera body. Then, when you need to switch, you simply put down one camera, pick up the other, and you’ll be ready to shoot in less than one second. I usually use one camera with a 70-300mm lens, and the other with a 400mm lens.

4. Don’t Get Rusty

You don’t have to wait until you have an exotic animal to work with! Keep your skills sharp by practicing with whatever animals are nearby. You might surprise yourself and come up with some of your favourite shots. Practicing with seagulls and geese, will ultimately improve your photos of cranes and spoonbills when you have the opportunity to shoot them.

Try setting up a bird feeder outside your window and you can practice on the birds that come right to you.

5. Vary Your Compositions

Usually when we photograph wildlife, we want the animal to fill as much of the frame as possible. But once you get that shot, don’t keep making the same shot over and over. Try some different compositions, such as getting super close to just part of the animal. You can shoot just the eye, or zoom in on an interesting detail.

Then try zooming out and photographing the animal and its environment. Also try to change your perspective. Get on eye level with your subject or try making an image from a lower angle.

By understanding your subject, having good techniques under your belt, and lots of practice, you’ll be well on your way to making more captivating wildlife photographs. If you have any other tips of tricks for wildlife photography please share them, and your images in the comments below.

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The post 5 Tricks from Professionals to Help You Do Better Wildlife Photography by Anne McKinnell appeared first on Digital Photography School.

Digital Photography School

June 17, 2016
Tips for Different Approaches to Architecture Photography

Architecture is all around us, it is an integral part of our lives. We live in it, we work in it, we eat out in it, and in most towns a lot of money has been spent on it so they stand out to say something. We all know what those buildings are, and have maybe even taken photos of them, but they are often just snaps. There is nothing wrong with getting those, but it could be nice to try and get a lot more with the image, such as the essence of the building, what it says about its placement and where it stands.

So here are some tips for how to photography architecture to help you get started:

An old home that no one has lived in for a long time. The clouds in the sky look like a long exposure, though they were just like that.

Architectural photography is not a prominent genre, yet so many people take photos of buildings, so why is it a subject that is not discussed a lot? Think about how often there is a building in your images.

Common types of architectural photography

Most people, if you ask them what architectural photography is, are likely to say real estate. It is probably the most common type and you do see it everywhere, but there are many other ways of taking photos of structures.

URBEX Photography

With the rise of URBEX (Urban Exploring) architecture is being photographed in a new way. Photographers are getting into abandoned structures to take photos. The decay and destruction that happens to a building after it has been abandoned, gives a new story to it. This is even more true with the items that are left inside the buildings, and these items help to give us a hint as to what was there before.

URBEX exploring, an old school that was closed down and vandals have been into.

Long Exposure Photography

Long exposure photography is also very popular now. Neutral density filters (ND Filters) are used to give subjects a timeless feel, and using them on architecture has been as common, pointing the camera straight up to a building and photographing it as the clouds move behind it. Read: Using a 10 Stop Neutral Density Filter to add Drama to the Sky

The long exposure helps give the image a sense of drama and a better look at the architecture of the bridge.

Alternatively

Those are the most common sorts of architectural photography, but you can do other types as well. You can make the building the subject, and create your image around it. You can do fine art images using the buildings, and create moods or stories around them.

Architecture around you

As stated earlier, architecture is all around, and you don’t have to go far to find buildings to photograph. It isn’t necessary that the building be architecturally important, more that you find it interesting, as that will help you to engage with it. It can be about what the building is or was, and how much it meant to the area it is in.

An old hut on top of a mountain. Photographing it with the surrounds helps to place it, and the sky helps make it moody.

Different ways of photographing architecture

Most people seem to photograph buildings more as a record rather than as a work of art. Architecture can offer so much more, and you can get some amazing portrait style images.

There is the potential to tell stories. Whether that story is about what the building was used for, or what its function is now, you can use that to help take your images and process it afterwards. Maybe there is a certain part of it that you are very attracted to.

Photograph aspects of it

You don’t have to photograph the whole building. Think about parts of it that might make interesting images. It is so easy to forget that the light fittings are really interesting, or the doors might have wonderful carvings. If you find a building you like, tell the whole story of it and then select the parts that you like – photograph details. You can take more than one image.

I really like corridors, more so if no one is in them, the idea of it going somewhere, or nowhere. It’s interesting to see what mood you can create with the hallway. Use the image to create a story that is there, or not.

A walkway beside a building with interesting lights.

Look at the surroundings and how they can help tell the story

There can be more to what you see than just the building. Look at where the building is situated, and if other buildings or subjects around it can help place it. For example, a modern tower that is surrounded by buildings from the Victorian Era, or the other way around, provide an interesting context. An elaborate theatre that is in the midst of many shops that have closed down. They all help to provide a sense of place.

The sun hitting the building, then light being reflected on the front from somewhere else gives the station a great look.

Colour or black and white

It is easy to think that everything should be in black and white. It is the artsy way of thinking, but it really shouldn’t be the only way. It should be a personal choice and what you want with your image.

Maybe ask yourself some questions first. Does removing the colour add to the drama of the image? If you leave the colour in it will it distract from the story you are trying to tell? What time frame do you want to express? Is shape and form more important than what is there? If the answers to those questions are yes, then perhaps black and white is more suitable for that image.

Looking straight up at a building is very popular, especially in black and white.

You get the idea, don’t just do black and white because you think that is what is expected for architecture. Make it a conscious choice, for a reason.

Processing

When it comes to how you process your images, it’s going to depend on the intention you have for the image. If it is to show the structure as it is, then you need to make sure that you only do basic processing.

The wet ground was good for showing the reflections and making the most of an abstract view.

If you were commissioned to photograph a building, then you need to consider the goal, and how your client wants the final image. Do they want it to look like images that you already do, or perhaps with a different look? Remember your client is in charge of the final image and you need to be mindful of what they want.

On the other hand, if you have just taken the photo for yourself, then you don’t need to care about what other people want or like. You can process it anyway you like.

Using the lines in the council chambers to take your eye to the clock.

This is where you get to show your individual style and experiment with your processing. Work out what you like, what you don’t, and create images of architecture that are uniquely yours. In many ways you have a lot more freedom to do what you like to it than other types of photography, like nature for instance.

In the End

With so many different types architecture, it is up to you to find what you like doing. Develop your style and make it yours. There is nothing better than people recognizing your work before they see your name.

Do you have any other ideas or tips for photographing architecture? Please share your thoughts and images in the comments below.

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The post Tips for Different Approaches to Architecture Photography by Leanne Cole appeared first on Digital Photography School.

Digital Photography School

June 17, 2016
How to Use the Zone System to Learn about Metering and Exposure Compensation
When you first move off auto, you realize how much control you have over your camera. You get to choose the aperture, shutter speed, ISO, and be able to manually select the autofocus point, among many other things. In short you get control over everything!

You also get full control over the exposure, or brightness, of the image. You decide you where to set the exposure for each image – something that the camera does not always get correct. The reason the camera doesn’t get it right all the time is because the in-camera light meter doesn’t always know how the brightness level of the subject. What tricks the light meter is bright or dark tones.

So how do you take back control of the exposure, and compensate for the camera’s errors? The process of correcting your exposure is referred to as Exposure Compensation. For more on that read: How to Use Exposure Compensation to Take Control of Your Exposure. However, before you add any exposure compensation, you first need to know how much to compensate, and understand exactly what your camera’s light meter is doing. This is why learning how to meter is important. If you are unfamiliar with the term metering, it is the process of measuring light values.

The first thing to grasp when is how your camera’s light meter sees the world. Put simply, it sees everything in grayscale. This means that all your camera sees is a world of tones; a colourless world. It cannot differentiate trees from people, people from snow, etc. (Although more modern in-camera light meters will now also recognize colour, the same basic principles apply.)

The other critical element to know is that your meter wants to make everything middle-gray, commonly referred to as 18% gray. Remember that! Right it down! Keep it with you in your camera bag until it’s firm in your memory! It’s very important!

Everything you need to know about doing exposure compensation correctly hinges off 18% gray. If your scene has a lot of bright areas in it, such as snow or sand for example, your camera will want that to be 18% gray. If you’re photographing a person in dark clothing, your camera will also want to make that 18% gray. Your camera doesn’t know your subject is actually meant to be black, nor does it know that all of that white in the viewfinder is actually snow. Leaving your camera’s meter at zero, or Meter as Read (MAR), can cause your photo to be over or under exposed.

Here is an illustration of what your camera meter will do. All tones will end up 18% or middle gray.

So how does knowing how your camera will meter, help you to decide how much exposure compensation to apply? This is where knowing a little about the Zone System can come in handy.

What is the Zone System?

The Zone System was developed by the late Ansel Adams and Fred Archer. In essence, it was a system used to meter and continue on in the dark room when developing images. I’m not going to discuss the Zone System in its entirety – that could be something for a future article – but at its core, the Zone System will greatly help you decide how much exposure compensation to add or subtract.

The Zone System

Above is an illustration of the Zone System. In it are 11 zones, denoted by Roman numerals. Here is a quick rundown of examples for each Zone:
- Zone 0: Pure black, no detail. This is would be the edge of a negative film.
- Zone I: Near pure black with slight tonality, but no detail.
- Zone II: This is the first Zone where detail starts to show; the darkest part of the image where detail is recorded.
- Zone III: Average dark materials.
- Zone IV: Landscape shadows, dark foliage.
- Zone V: Middle-gray, what your light meter sets to.
- Zone VI: Average Caucasian skin tone.
- Zone VII: Very light skin; shadows in snow.
- Zone VIII: Lightest tone with texture.
- Zone IX: Slight tone without texture, (e.g., glaring snow).
- Zone X: Pure white with no detail. This would be light sources, or reflections of light sources.
This next piece of information is the other piece to the exposure compensation puzzle:

Each Zone is separated by exactly one stop of exposure.

Now that you have the information, how do you use it?! You know that you camera is metering for Zone V, or middle-gray, now consider your subject. How light or dark is it? If you were photographing a bride’s white dress, that would be very bright with texture; so going by the chart that would fall into Zone VII or VIII, which makes the exposure compensation required for correct exposure PLUS two or three stops (the difference between Zone V and where your subject should fall).

Shot at zero exposure compensation. Black cat is gray or Zone V.

Shot at -2 stops black cat is now black or Zone III.

As an experiment, try photographing a piece of plain white paper. First, make sure that there is no exposure compensation added – your meter should be in the middle. Take a photo. Next, add +2-stops of exposure compensation. This will bring your exposure to Zone VII. Then, take another photo. Notice the difference? The first image should be very close to middle-gray, or Zone V, where the last image should be bright white, but still show detail in the paper.

External Light Meters

Another tool that may be helpful to you, is an external handheld light meter. They work the same way as your camera’s light meter in that they meter for middle-gray, but they have the added advantage of being to reading what’s known as Incident Light: that which is falling on the subject, not reflected from it. Your camera’s meter is a reflected light meter; it reads the light that has been reflected or bounced off your subject. This may seem obvious, but there is a big difference between incident light and reflected light. Reflected light is greatly affected by tone – the darker your subject is, the less light that will be reflected, whereas the brighter your subject is the more light that will be reflected. However, the incident light – or light coming from the light source – will remain the same no matter what the tones are in your subject. By using an external light meter, you are reading the light directly from the source; unaffected by the tone of the subject.

However, do be careful when you are using an external light meter that you read the incident light from the subject’s position. You may be in the shade, for example, and your subject in the sun. If you were to read the incident light for your position,you would be getting a reading for the shade area, and not the sun, which is the light that’s falling on your subject!

This is an external light meter. It’s a Sekonic L-358, and is able to meter ambient or natural light as well as flash.

Summary and application

Now that you know what your light meter is doing, and how to correct it with exposure compensation, you are on your way to getting more consistent and correct exposures.

Before you press the shutter button next time, do consider what the tones in your scene are like. Are there lots of brighter tones, or more darker tones? If your frame has more brighter tones, the exposure compensation will need to be more on the plus side to render them correctly. However, if there are more darker tones, your exposure compensation will be more toward the minus side of your meter. If you feel there are equal amounts of bright and dark tones, you may find that you don’t need to add any compensation at all.

Snow shot at zero exposure compensation is gray, or Zone V.

Snow shot at +2 is now white with detail or Zone VII.

If you’re ever unsure of how much exposure compensation to add or subtract, take a test shot at zero, or in the middle. This will help you decide the direction in which you need to go.

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The post How to Use the Zone System to Learn about Metering and Exposure Compensation by Daniel Smith appeared first on Digital Photography School.

Digital Photography School
June 16, 2016
3 Methods for Converting to Black and White Using Photoshop

I am a huge fan of color. I love bold colors to create a mood in my images, and often use the meaning behind colors to reinforce the message I want to convey.

Sometimes though, you want to get rid of the colors to draw the viewer’s attention to your compositional lines, to textures, or to make a contrast. To do so, you may want to turn a color picture to black and white, in order to see what works best.

I do not work so often with black and white, but I truly love it. There are some photographers who create amazing black and white pictures and I really appreciate such a beautiful images even if I am mainly drawn by color.

Setting the mood in color or in a black and white image is very different.

There are very different types of black and white – whether you have a full tonal range from white to black, or merely light or dark grey tones. Dark or light tones will create different effects, and convey a different mood to your image. Dark tones are often associated with a sombre mood, while light tones are more optimistic, or positive. This is a generalization, of course, but it tends to be true most of the time.

Low contrast would impact a gentler mood, while high contrast will have a stronger impact. The eyes usually jump directly to the highest contrast area of an image. In addition to a well thought out composition, using contrast is a great way to highlight an important feature of your subject.

Think about what kind of black and white you are attracted to. It is very personal for you, plus it also depends on the genre of photography you are dealing with. As I am a portrait photographer, I will be showing you how I process a color portrait into a black and white one. I chose a portrait from a vegetal hairstyle shoot I did in Paris last month.

As usual you have many ways to achieve the same result in photoshop. Find the way that suits your workflow best, or the one that achieves the best results according to your photographic style, or mood of the day.

I am going to use two different adjustment layers to show you the difference regarding tones and contrast. Then, we are to combine those different layers, to keep the best part of each one.

1 – Channel mixer adjustment layer

Go to your layer panel and click on Channel mixer, or go to Layer > New Adjustment Layer > Channel Mixer.

With channel mixer you can do more than just desaturate your colors. You can get great results sorting by color channel. This will modify your input and output levels.

You can get lighter or darker tones, you can also play with your constant overall tone, which I use mainly to darken my background. You can play with each channel and see what you like the most. You can play with red channel in a portrait, as skin tones are usually red, therefore highlighting your subject.

2 – Using a Black and White Adjustment layer

When working with black and white you cannot see different adjustments at once. To keep several adjustments visible, I create a stamp layer (a separate layer on which the adjustment has been applied directly to the image). To do so, press Shift + Option + CMD + E, and the stamp layer appears (combining all visible layers into one).

You can then combine with a black and white adjustment layer. To do so you go to Layer > New Adjustment layer > Black and white. Then, play with the different values for each color to adjust the tones as you wish in your image. As in the previous step I create a stamp visible layer.

On the two different stamp visible layers I have different contrasts. I can choose to apply each of these contrasts on different parts of the final image, combining those layers.

Add a layer mask to each one, and paint on the mask using black, over the areas you want to hide, thus revealing the layer underneath. Paint with white (layer mask is white by default) to reveal the selected areas of the top layer.

If you are not so familiar with layer masks I would suggest you create only two types of black and white, making it easier to apply selectively the different effects.

Layer masks deserve an entire article, so I will save how I use them for another article.

At the end, you have a mix of different contrasts in your image, and can apply those contrasts as they best suit each area where you want to drawing the viewers’ attention. There are so many ways to create a black and white images in Photoshop, each way giving a different look, and contrast to your image

For example see how I use gradient map in this previous tutorial: How to Create a Vintage Look for Your Image Using Photoshop

3 – Use a Level/curves adjustment layer

In this image I create a new curves adjustment to modify a little the overall light. Also, it is great to remove distractions such as you can see in this image.

Usually I do not pay much attention to small distraction in my backgrounds, as I would add a texture overlay to my image (therefore adding more details to a plain background). If you like smooth backgrounds it is very useful.

In this image I also wanted to remove the light distraction on the top right corner (too bright compared to the rest of the dark background).

To finish this image I will add some texture.

Do you have other methods to convert to black and white using Photoshop? Please share in the comments section below.

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The post 3 Methods for Converting to Black and White Using Photoshop by Amélie Berton appeared first on Digital Photography School.

Digital Photography School

June 16, 2016
7 Last Minute Father’s Day Gifts for Photographers

Father’s Day is just round the corner. If these words made your heart leap in panic, no worries. We have 7 surefire gift ideas for a photography-addicted Dad in your life. Whether it’s a pro photographer or a budding enthusiast you need to greet, there’s a great gift for every kind of photo buff on this list. And the best Continue Reading

The post 7 Last Minute Father’s Day Gifts for Photographers appeared first on Photodoto.

Photodoto

June 16, 2016
3 Quick Tips for Photographing in the Harsh Midday Sun

One of the most important elements of photography is light. So it’s only natural that as photographers, one of the most important skills to have under your belt is the understanding of different kinds of light, and how to SEE it before taking a single shot. Every photographic frame needs some sort of light but the intensity, direction, and quality is always in question.

For natural light or outdoor photographs, early morning sunlight (when the sun is low in the horizon and has a soft quality), or beautiful golden light of the setting sun is ideal. However this is not always practical, especially when dealing with clients. Firstly, not all clients are open to early morning or sunset photoshoots. Secondly, particularly in wedding photography, timing is not something the photographer has much control over. Many wedding ceremonies are scheduled outdoors at noon, when the sun is the highest in the sky, and the light is the harshest.

As photographers we know that good quality light does wonders to an image, almost giving it an ethereal, magical look, but we cringe when we have to deal with harsh midday sun. Luckily there are a few tips and tricks to deal with this harsh light source, while still achieving beautiful images. In this article, my aim is to help explain some of these simple tips, using my newly purchased rose bushes that are waiting to be planted, and also prove that they will work for any subject, not just people!

Beautiful roses photographed at noon, under the shade cast by the front of my home.

Please note – most of the images used in this article are SOOC (straight out of camera). I have applied minimal to no processing, because I want to show the direct results of shooting in harsh light, similar to what a photographer would experience, so as to fix as much as possible in camera, not via post-processing later.

#1 Put the subject’s back to the sun – backlighting

If there is no shade is available, and your only choice is to position your subject in full sun, an easy tip to follow is to position your subject with their back to the sun. This will help block most of the direct light from falling on their face, which causes them to squint their eyes. Instead, their face or the main part of the subject will be evenly shaded. This technique is called back lighting.

As you can see, in the first image below, the roses are in full sun. To backlight them, I simply moved the plant so that the roses I wanted to photograph, had their backs to the sun. This is sometimes easier to do with one subject because you can position them perfectly, to make sure no sunspots are making their way onto their face. If you are dealing with two or more subjects, particularly people, then have their faces closer together or even have them turn their bodies slightly inward towards each other. This helps eliminate any harsh light spots on their face.

Make sure to expose for the subjects’ faces or they will be too dark to see any detail. Something to note, is that when metering for the face in a situation like this, your background may be overexposed and may lose all the details, that’s okay.

Roses in full sun. You can see from the shadows that the sun was high in the sky, almost overhead at the time of these pictures.

Image on the left – Roses are facing the bright sun and almost appear washed out. Image on the right – Roses are in shadow and are darker when backlit.

If you want to maintain detail in the background or sky in a backlighting situation, you should use a reflector to bounce some light back into the subject’s face. This eliminates the need to overexpose the background especially when metering for the face (or part of the subject in the shade). Depending on the strength of the reflector, and the position of the sun, you can even underexpose the image to retain more highlights in the background while evenly lighting the subject by way of the reflector.

Left: A reflector with the silver side facing the roses is used to add more directional light on the flowers. Right: A close-up picture of the roses, slightly underexposed to maintain the clear blue in the sky, the light from the reflector is adding the pop of light on the flowers.

#2 Open shade or even lighting

The best way to avoid distracting facial shadows from midday lighting, is to bring your subjects into a shaded area. Shade can be provided by a large tree, an open garage, a building, an awning, or anything that casts a big enough shadow to cover your subject. The benefit of shade is that it creates even lighting where no direct sun is hitting the face or body, allowing the subject to be evenly lit. The key is to place your subject at the very edge of the shade, so that while they are evenly lit there is still enough light to illuminate them. If you place your subject in the darkest part of the shade, the light hitting them may be lost. Also make sure you are not using patchy shade, especially when subject is placed under a tree. This can cast what is called dappled light on your subject, causing uneven spots of light on their face and body.

Left: Rose bush under the shade of a tree. Right: An example of dappled lighting on the roses. Notice how some roses are in the sun, while other are in the shade. This type of uneven lighting can cause undesired hot spots, especially on skin and hair.

Left: Rose bush at the edge of the shadow cast by the front of the house. This type of open shade is more even and uniform. Right: Close-up of the roses in the shade.

A simple white foam core board was used to add a little pop of reflected, directional light, onto the roses in the shade.

#3 Full sun with a diffuser

If all else fails, and you have no other alternative but to place your subject in the full, harsh sunlight, either because of location restrictions, or time of day limitations, then using a diffuser (translucent panel of your reflector) might be the next best option.

A diffuser takes in the harsh sunlight and spreads it evenly over your subjects. This also gives your subject some respite from the harsh sun, and casts a shadow on them so they are not squinting into the sun. In the simplest form a diffuser can be a piece of translucent white fabric (like a bedsheet). Of course, this does assume that you have an extra pair of helping hands to hold up the diffuser, when you’re shooting on location. I have been known to solicit the help of strangers, to help hold the diffuser for a quick minute or so while I take the shot – be resourceful!

Left: Roses in full sun. Right: A simple diffuser panel that casts even, soft light onto the flowers

Close-up of the roses with diffused lighting for a more even tone and color under harsh midday sun.

So the next time you have a client wanting to shoot in the middle of the day, don’t hyperventilate and come up with excuses to avoid the situation. Instead take up the challenge and try these techniques. If nothing else, it will make you more confident as a photographer, and also help you understand light a bit better.

For more reading check out: Portrait Photography: How to Photograph People in the Harsh Midday Sun or 5 Ways to Create Dramatic Landscape Photos at Midday.

What other tips do you have for photographing in the harsh midday sun? Please share in the comments below.

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Digital Photography School

June 15, 2016
Review: Fujifilm X-Pro2 Mirrorless Camera
Ever since Fujifilm unveiled their debut consumer camera in late 2010, the fixed-lens x100, the brand has become a favorite for professionals, and enthusiasts who seek an advanced digital camera experience, that still retains much of the look and quality of the classic film era.

Fujifilm’s very first mirrorless interchangeable-lens camera, the X-Pro1, was released in March 2012 to much praise from critics and users, and was recently replaced with its successor, the X-Pro2. Given the four year gap between camera models, there are many upgrades and improvements in the new X-Pro2, all achieved without adding significant weight or bulk to the camera. Prices are clearly a big differentiator at this point, with the older X-Pro1 going for as little as $ 799, and the X-Pro2 currently set at $ 1,699. But pricetag aside, just how many more features are packed into the X-Pro2, and is it worth it?

What’s in the Box

The Fuji X-Pro2 can be purchased body-only for $ 1,699; this basic kit comes with the following accessories in the box:
- NP-W126 Li-Ion Battery Pack
- BC-W126 Battery Charger
- Body Cap
- Shoulder Strap
- Strap Clip
- Clip Attaching Tool
- Protective Cover
Recommended Accessories

While the X-Pro2 has a slightly better battery life than its predecessor, it’s still on the low side. As a result, it doesn’t hurt to have a spare NP-W126 Li-Ion Battery, or two, on you for longer shoots. Since the X-Pro2 has dual SD card slots, having one or two memory cards is also handy, although in testing I never fully maxed out a single 32GB SD card.

In terms of lenses, this X-Pro2 was tested specifically with the Fujifilm 35mm f/2 WR, a beautiful prime lens that equates to about 56mm on a crop sensor, and the Fujifilm 18-55mm f/2.8-4, a compact mid-range zoom that’s about 28-88mm on a crop sensor. Both lenses are relatively affordable ($ 399 and $ 699 respectively) and together made for a solid, compact, travel photography kit. Lens preference will, of course, depend on your shooting style, and Fujifilm has many other lens choices available.

Technical Specs

Sensor and Image Capture

First, let’s review the X-Pro2’s specs, which are vastly improved over its predecessor.
- The X-Pro2 has an upgraded 24.3MP CMOS III APS-C sensor, giving it a significantly higher pixel count compared to the X-Pro1’s 16.3MP CMOS I sensor.
- The processor is also the new X Processor Pro.
- Native ISO range has also increased from 200-12800 (or 100-51200 in expanded mode).
- Continuous shooting on the X-Pro2 is also slightly faster at 8fps, up from 6fps on the X-Pro1, and a continuous high buffer of up to 83 JPEG frames compared to 21 frames on the X-Pro1.
- Metering is still 256 zone TTL, but besides Multi, Spot, and Average metering, the X-Pro2 adds Center-Weighted metering, which was absent on the X-Pro1.
Sample image shot at sunset. No tripod or extra lens filters.

Perhaps one of the biggest feature additions on the X-Pro2 is a shutter that allows for both mechanical and electronic capture; the latter allows for more flexibility. The mechanical shutter speed has increased to as high as 1/8000th, compared to 1/4000th on the X-Pro1. The X-Pro2 also enables the use of an electronic shutter speed with an even wider range of one second to 1/32,000. The X-Pro2 also includes Face and Eye Detection, meaning it will seek out faces and eyes when shooting. This is a very handy feature for photographing people, and it proved to be highly accurate during test shots.

Viewfinder and LCD

While both viewfinder and LCD sizes really didn’t change much in terms of physical size, both received a bump in resolution, and an updated User Interface in the X-Pro2. The viewfinder also finally allows for diopter adjustment, and the electronic viewfinder (EVF) has a wicked fast refresh rate of 85 frames per second. Still absent is a pop-out LCD screen.

Sample image. Shot handheld without a tripod.

Autofocus

The X-Pro2 has made some pretty giant leaps in the realm of autofocus. This camera now has 273 autofocus points, which is quite a bit more than 49 on X-Pro1. It also includes single, zone, wide/tracking autofocus modes, all of which were lacking on the X-Pro1. Finally, the X-Pro2 adds a physical feature that Canon DSLR users will find familiar: a mini joystick button which Fujifilm calls the focus lever. Besides acting as a button, the focus lever enables quick selection for all 273 autofocus points, and also helps you navigate through the menu.

Body and Handling

When it comes to the X-Pro2’s build, it is still comprised of a sleek, half matte black body, with a distinctly retro look. However, the build material is now magnesium-alloy versus aluminum for the X-Pro1. Despite using lighter material, the X-Pro2 is still slightly heavier than its predecessor, weighing in at 495 grams (17.5 oz.) versus 453 grams (16 oz.). In terms of dimensions, the X-Pro2 is a tiny bit wider and deeper, but it still looks about the same size as the X-Pro1.

The battery life on the X-Pro2 has been slightly improved, up to 380 frames, versus 300 frames on the X-Pro1. That’s still on the low side, so carrying a spare battery or two certainly won’t hurt. Camera startup time is a hair faster at 0.4 seconds, compared to 0.5 seconds. Also, the X-Pro2 now has dual SD card slots, which will certainly help with the increased size 24.3MP files. A built-in flash is still not included, but flash sync speed is now at 1/250 of a second, up from 1/180.

WiFi has been added to the X-Pro2 allowing for geotagging, wireless image transfer, and remote camera control. Finally, the X-Pro2 comes with improved weather sealing with 61 points of dust, water, and cold resistance. This doesn’t make the X-Pro2 waterproof, but it does allow for shooting in more diverse conditions.

Sample image shot with the Fujifilm 35mm f/2, handheld without a tripod.

Is It Worth It?

This is a difficult question to answer, given the plethora of vastly different digital camera options available today. Whether you go for the X-Pro2 or not, will really come down to your personal preferences and budget.

Personally, I loved the image quality of the X-Pro2, as well as its retro buttons and controls. With that said, the retro controls are unique to Fujifilm digital cameras, and can take some getting used to if you’ve been using a point and shoot, DSLR, or another brand of mirrorless camera. It’s also worth noting that while the X-Pro2 is definitely not as bulky and heavy as a professional DSLR, it’s not as compact and lightweight as other mirrorless cameras such as the Sony a6300, which has very similar technical specs, packed into a much smaller body.

Sample image shot outdoors, handheld with no extra filters.

Overall Thoughts

With higher shutter speeds of 1/8,000 or even 1/32,000 using the electronic viewfinder, higher ISO ranges, vastly improved autofocus, and enhanced weather sealing, the X-Pro2 has officially become a serious contender for professional photographers. If you’re looking to invest in a Fujifilm mirrorless interchangeable camera, it’s hard to go wrong with the X-Pro2. While deals can certainly be had with the older X-Pro1 model, the significant upgrades in the X-Pro2 make it a worthy investment if you have the money to spare.

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The post Review: Fujifilm X-Pro2 Mirrorless Camera by Suzi Pratt appeared first on Digital Photography School.

Digital Photography School
June 15, 2016
5 Tips to Help Build Your Confidence in Photography

Think of your last bad day of photography, a time where you just blew a whole batch of portraits, or even a couple’s wedding day images were spoiled. As photographers you can’t go back and fix that. Yes if you use RAW, you can get some info back from under or over exposed shots, and editing tools these days can be incredibly useful. But, when you spend more time behind the computer than with you camera it can be a real confidence buster. It may even be taking away from future business, if not your enjoyment of photography.

So how do you build your confidence?

These DPRK soldiers show confidence and loyalty guarding the DMZ and the 38th parallel of Korea. The soldiers at Buckingham Palace don’t flinch, and that takes practice.

Having confidence exudes confidence, but where does real confidence come from. Well it doesn’t just come from nowhere, that is often called arrogance. It comes from the awareness of your emotional state relative to your cognitive abilities.

If you use your emotions to create, you are being confident. If your emotions are overwhelming you during your shot or photo series, you are likely under-confident. By the book, you may know everything there is to know about the exposure triangle, rule of thirds, color theory, etc., but when you are actually shooting do they do more to help, or do they hinder you?

Confidence is a delicate balance between what you know, and how well you are capable of performing. So let’s look at a couple of examples and analogies to help build your confidence as a photographer.

#1 – Confidence isn’t always consistent

Real confidence is never consistent, and has its slumps. Professional sports is a great example, even superstars have an off night.

So when you have an off night, remember another night is just 12 hours away. If it is the morning, it is still 12 hours away. Even a broken clock is correct twice a day, so don’t beat yourself up. In the short run you may have really blown a photo shoot, or missed the animal of your dreams because you were not being conscious about your settings, or you were simply absent minded. But that is the short term, and as long as you get right back out there, the better off you are going to be.

The best of the best all fail, but what keeps them on top of their game is the arduous task of owning up to being human, and going out to find a solution to your goof. In the long run, they will be memories that you get to look back on with a laugh.

Baseball is a national pastime in Cuba. Although it was my first time shooting baseball in the barrios of Havana, it wasn’t my first time shooting it.

#2 – Learn from your mistakes

Few people are perfect photographers from birth. Generally, talent comes through sweat, tears, and sometimes even blood. If you make mistakes you can learn from them. Confidence has a conspiracy with failure. So take two steps forward, and one step back. Stay committed, and speaking of commitment and blood, I am not the only photographer who has taken a tumble, and when people ask you if you are okay, you respond with, “Yes the camera is fine”, while your knees and elbow are bleeding.

Continuing with the baseball theme, after striking out, it only took one big swing to make the winning home run. Don’t give up, live, learn and keep swinging for the fences.

#3 – Be vulnerable

Enter a photo contest, and don’t expect to win. It is a final process of completing the photography and artistic conceptual circle. Letting your photo hang on a wall, while others look at it, even for a few minutes, is a scary prospect for some. But think of leaving your freshly baked pie on the dinner table, and just looking at it. We don’t do that with food, nor should we do that with our photography.

People will love it, like it, dislike it, or downright hate it, but that doesn’t mean you are wrong. It means you have succeeded in making the photography world just a little more interesting. You also never know who you will inspire. Your vulnerability will soon become a strength that will help build your confidence.

After years of holding on to this photo, I finally entered it into a regional photography competition. It got in, and although I was not a recipient of anything, another gallery called a month later and wanted to host my work for a show.

#4 – Learn from others BUT don’t compare yourself to them

There is a world of knowledge available, and many people who you can learn from. Use them, ask them questions, share ideas – but don’t compare yourself to them. Generally when you compare your own work to others, it may leave you with a sense of there’s more to be desired, and a sense of failure. So learn from their perspectives, their tutorials, and their stories, but don’t get caught up in who is better.

A happy photographer is the best photographer. Furthermore, over time you will begin to see the merits in some of your earlier experimental work. Perfection is not the goal, it is the journey to becoming a more enriching photographer.

This Magnolia opening in spring was taken in full sunlight. I saw a series of flowers on a photo stream, and realized I had not taken a photo of something beautiful in a long time. This helped me learn to see, and if our images were side by side, I am sure theirs was better. But I enjoyed doing something different than what I normally shoot.

#5 – Avoid gear envy

There will always be something bigger and better, wait another year and the next new version will be out. So don’t get intimidated by other photographers’ gear, and more importantly don’t let your photos depend on your gear. Think of it as a challenge.

Taken with a 50mm, manual focus lens from my father’s box of forgotten things, that I found rummaging through his old stuff. Lenses and cameras are fun to have, and fun to buy, but they don’t make the photo.

A small trick I use when the next new thing comes out, and I get in that spiral of getting all gear-junkie about it is to look at some of the classic photographers from 100 years ago or read up on some color theory. This gets me back to the basics, try it yourself.

So if you realize that every showing will not be your best, you can get over thinking that your gear dictates the success and failure of your photos, if you can start to learn from your mistakes, and begin to hang photos on a wall – then guess what? Your confidence will begin to grow, you will have more control (and more power) over photography (situations, light, camera gear, etc.). As your confidence grows it builds and builds on itself.

The next six areas are examples of how confidence will help you in that style of photography. Part one is developing confidence, and part two is a set of examples of how confidence can help in different situations.

How confidence can help you take better photos

In portraiture, confidence helps you connect with, and calm your subject, to bring out their inner spirit. There is little worse than a nervous model and a nervous photographer. Even if you are not 100% sure what you’re doing, show confidence, take your time, and slowly adjust your settings to get things closer to your ideas. Try and keep from getting frustrated and making large adjustments wildly to your gear.

This young girl in North Korea had never seen an American before, but after me keeping my cool she was much more approachable.

In wildlife photography, confidence lets you trust your gut, and get in the right place at the right time. Luck is important, but perseverance will ultimately lead to success. Having confidence will give you the extra optimism to keep you going, as you wait patiently.

On a long road trip from east to west across the US, I hadn’t run into any large animals. In Wyoming I decided to go for another shot at an indiscrete state park, and there were buffalo everywhere.

In travel photography, confidence helps you see beyond the postcard shot. Confidence allows you to see your journey, not the one that is in the travel books. It helps you see the subtleties, and personalize your travel story, rather than trying to just take the photo that everyone else wants you to take.

This sassy little Cuban was just parading on her porch. I walked by without grabbing my camera, then discreetly turned around and caught her exuding luxury, Cuban style.

In fine art photography, confidence will allow your creative side to flow. It will allow you to access what is sometimes referred to in sports as “being in the zone.” This zone, or flow is your brilliance at its best, and confidence supports your ambitions as an artist.

One of my favorite images from India, where cricket matches were being played. Using multiple exposures, then giving it a symmetrical clone, I produced something that I cherish. Maybe only you like your photo, but that is what being true to yourself is all about.

In bad weather confidence helps you see the silver lining. For all types of photography we rely on light. A great source of light is outdoors, and when that golden hour turns to wind and rain you have a choice – pack up and go, or think outside the box. Confidence helps you control your surroundings, even when they are out of control, so you can begin to work within them, and use them to your advantage.

I can’t say that the weather was bad here, but the timing was. I was just getting to a ghetto outside of San Jose, Costa Rica at night. I wanted to get in and out before I felt compromised, unsafe. So regardless of if it’s bad weather, or bad timing, confidence can help you to push through.

In tough times confidence gives you the grit to continue. Really, this is what a lot of photography comes down to – do you have the gumption to get up early for sunrise, or not? Can you give a genuine smile to your client, even when you are not having the best day? Can you be satisfied with the gear you have, and not think about the next lens you want to get? Can you be the best photographer you can be?

Symbolically this Burmese woman has had a few more tough times than I have. Confidence in photography will help you put things into perspective.

Confidence is hard to gain and can take years to attain. It is a process, and is easier for some than others. But if you work at it, it will build. Just as you work on other aspects of your photography, your emotions need work to. Confidence is an emotion, so practice with your feelings, and let them grow alongside the cerebral aspects of photography. Be mindful of your emotions, not fearful of them.

Do you have any other confidence building tips? If so, please share them in the comments below.

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The post 5 Tips to Help Build Your Confidence in Photography by Branson Quenzer appeared first on Digital Photography School.

Digital Photography School

June 14, 2016