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9 Takeaways After Shooting With the Tamron 150-500mm Di III VC VXD
The post 9 Takeaways After Shooting With the Tamron 150-500mm Di III VC VXD appeared first on Digital Photography School. It was authored by Jaymes Dempsey.
Tamron recently unveiled the 150-500mm VC VXD for Sony E-mount, a compact, low-priced, ultra-telephoto zoom packing plenty of eye-catching features.
It certainly sounded like a stellar lens for bird and action photography (after reading the press release, I wanted a copy!), but as all experienced photographers know, the specifications are only half the story. To really understand a lens – and to determine whether it’s a worthy addition to your camera bag – you have to see how it holds up in practical, real-life, everyday situations.
Which is why I recently sat down with Ken Hubbard, Tamron’s Field Services Manager and resident bird photography extraordinaire. Ken’s been using the new 150-500mm for quite some time now, so I knew that he could give me the low-down on its real-life capabilities. He didn’t disappoint!
What follows are key takeaways from my discussion with Ken, covering the lens’s performance, its usefulness for bird and action photographers, plus some bird photography tips for good measure.
1. The 500mm focal length lets you get frame-filling shots in the wild
In bird photography, you frequently need the longest lens you can afford. And as many beginners quickly realize, even a 70-300mm zoom doesn’t cut it – especially when you’re shooting distant and unapproachable subjects such as birds of prey or tiny subjects such as songbirds.
That’s where the Tamron 150-500mm comes in handy.
Zoomed in to 500mm, you can get ultra-close to birds, even those that are skittish or small. You can capture birds in flight, and you can produce gorgeous, detailed shots of songbirds such as orioles and goldfinches. Ken shared a few of these beauties with me:
You also have a shorter 300-400mm range just in case you need it. If you’re shooting at your backyard feeders or at a location where birds have become acclimated to humans, you can just zoom out to capture the perfect frame.
Also, if you’re after more environmental images, you might even try working at 150-300mm.
Quick tip: When you’re photographing a perching bird, don’t frame it too tightly. It might spread its wings, which will get clipped by the frame’s edges (a big no-no in bird photography!). Leave a bit of space around the bird; that way, when you get a nice wing spread, you can capture the pose.
2. The incredible optics provide ultra-sharp feather detail
Here’s a simple fact about the Tamron 150-500mm:
It’s really, really sharp, even at its widest apertures.
In fact, the phenomenal sharpness was the first thing Ken noticed upon viewing his images.
For bird photographers, this is a big deal, because birds offer lots of tiny details worth capturing (feathers!), plus you’ll sometimes want to crop in for a frame-filling final result. And if the sharpness isn’t there, your photos just won’t pass muster.
Take a look at the feather detail on this owl:
Another problem that bird photographers often face – especially when shooting darker birds against a bright sky – is chromatic aberration. It appears as colorful fringing along high-contrast edges such as bird wings, and it looks terrible.
Fortunately, chromatic aberration on the 150-500mm is negligible, certainly not enough to cause problems (even for a serious bird shooter like Ken).
3. Thanks to the lens’s lightweight build, you can handhold without trouble
Ultra-telephoto lenses tend to be insanely heavy. Which means that handholding for long periods of time is often out of the question.
The problem, of course, is that handholding can be useful, especially if you like the freedom and flexibility of pointing your lens in every direction from every reachable perspective, or you just don’t want to carry a tripod on top of cameras and lenses and other accessories.
But as it turns out, the Tamron 150-500mm is surprisingly lightweight (it comes in at 60.8 oz or 1725 g). Yes, it feels like a lens, and it’s not exactly a feather, but you should be able to handhold without issue.
Photographers will also appreciate the lens’s three Vibration Compensation modes, which keep your shots sharp when handholding at slower shutter speeds. In fact, two of the modes – Mode 2 and Mode 3 – seem tailored to birds and other action subjects, which means you can shoot sharp action images even in low light.
4. A small minimum focusing distance guarantees close-ups of tiny objects (such as songbirds)
Imagine this:
You’re standing in a clearing, surrounded by beautiful yellow warblers. As they hop from branch to branch, getting closer and closer, you wait with your camera – but then, just as one tiny subject fills the frame, your lens fails to focus.
So you miss the shot. And the next shot, and the one after that, because your lens just can’t focus close enough.
You see, every lens has a particular minimum focusing distance (or MFD). Once your subject crosses the MFD, a lens won’t be able to focus any closer, and your shots will turn out blurry.
This becomes especially important when photographing tiny subjects such as songbirds and shorebirds. If you want to fill the frame, you need a lens with a small minimum focusing distance (in other words, you need a lens that can focus close). You do have the option of purchasing extension tubes, but these can be annoying to carry around and use.
The Tamron 150-500mm, however, is an unusually close-focusing lens. Its minimum focusing distance is 70.9 in (1.8 m) at 500mm, which means you can create intimate portraits of tiny goldfinches, or you can capture tight headshots of larger birds such as owls.
It’s how Ken manages to capture images like this:
And this:
(As an aside, you can also create some great photos of insects and flowers. While the Tamron 150-500mm isn’t a true macro lens, it can still get you pretty darn close!)
5. An Arca-Swiss compatible mount makes for easy tripod use
Earlier, I explained how the 150-500mm lets you handhold in low light.
But sometimes you’ll want to consider working with a tripod. Tripods are great for smooth panning, and they’re also nice for situations where you’re photographing in the same position for hours on end.
Unfortunately, working with telephoto lenses on a tripod can be a pain. You don’t want to mount the lens to the camera and the camera to the tripod; that can put stress on the lens and camera mount, which is definitely a bad thing. So instead you need to put a tripod collar on the lens, which then attaches to an Arca-Swiss plate, which mounts to the tripod head and balances the whole setup.
Some of the above does apply to the Tamron 150-500mm. It comes with a tripod collar, which slips around the lens. But very conveniently, the collar includes an Arca-Swiss compatible foot. So you can forego the Arca-Swiss plate and instead attach your Tamron 150-500mm directly to the tripod head.
(Quick tip: The tripod collar contains strap holes, so if you plan to hang the rig around your neck, make sure to thread your camera strap through. That way, your strap can connect to the lens, and you’ll get a better-balanced setup.)
6. The f/5-6.7 maximum aperture provides wing-to-wing sharpness
When you’re photographing birds in flight, here’s a good goal to strive for:
Getting the entire bird sharp, including the wings.
The same is true for perching birds, except you simply need to get the body in focus (there are no spread wings, after all!).
But how do you do this?
You’ll often want to keep your aperture relatively narrow, because a narrow aperture gives a deeper depth of field and hence keeps the full bird in focus. Ken often shoots in the f/6.7-f/8 range for this reason; it’s how he gets optimal detail in his bird photography.
The Tamron 150-500mm offers a maximum aperture of f/5 on the wide end, which increases to f/6.7 by 500mm. And as you can see from the photos above, this works out great!
Would it be nice to have an f/4 aperture for low-light shooting? Sure – but as Ken explains, a wide maximum aperture comes with tradeoffs, such as size (f/4 ultra-telephoto lenses tend to be huge), weight, and price. So if you’re after a more compact lens that still reaches those ultra-telephoto distances, the Tamron 150-500mm is a stellar option.
7. You can use the flexible Zoom Lock to keep a constant focal length
I’ll admit:
The Zoom Lock wasn’t a feature I had thought about until Ken mentioned it. I knew what it did – it lets you lock the lens focal length in place – but not why it was useful.
However, once Ken explained it to me, I realized that it was a neat little addition, especially for shooting birds high up in trees.
You see, heavy zooms tend to suffer from something called lens creep, where the lens barrel starts to contract as you aim the lens upward (and extend as you aim the lens downward). In other words: when you shoot eagles against the sky at 500mm, you may notice your focal length dropping over time. It can be frustrating, especially if you’re photographing subjects from a consistent distance.
The Zoom Lock, however, prevents lens creep. Once you’ve settled on a focal length, you simply push the zoom ring forward, and it locks the zoom mechanism in place. Then, once you’re ready to adjust the focal length again, you pull the zoom ring back to disable the Zoom Lock.
While you won’t always use this feature, it’s nice to have – and in certain situations, it’ll be a huge help.
8. You can focus on fast-moving birds with the VXD mechanism
As you’re likely aware, birds are speedy. Which means that photographing moving birds can be a challenge, especially if your equipment isn’t up to snuff.
So going into the discussion with Ken, I wanted to know, point blank: Does the Tamron 150-500mm focus fast?
Ken confirmed that yes, it does focus fast. In fact, thanks to Tamron’s VXD technology, focusing is both ultra-fast and super accurate. The lens stops on a dime, and it can lock onto moving subjects with ease. (It’s also very quiet, in case you’re shooting in situations where you don’t want to be noticed.)
It’s great for birds in flight:
As well as birds taking off:
Now, it is worth noting that focusing depends on three things:
- Your technique
- Your lens
- Your camera
The 150-500mm won’t guarantee you perfect focus, the same way a world-class guitar won’t guarantee you beautiful music. But if you refine your technique, and you use a reasonably fast-focusing camera (most of Sony’s recent full-frame or APS-C cameras will work great), then the 150-500mm will give you that final variable in the focusing equation.
Speaking of focusing technique, I asked Ken to share how he gets photos like those featured above.
He explains that focusing begins with your camera settings. Put your camera into AF-C mode so that it continues to focus as long as you hold the shutter button. If you have it, activate Animal Eye AF. You’ll also want to choose an AF area mode that works for moving subjects, such as Sony’s Zone AF, and you should select the fastest-available burst mode.
Then, if your subject is perched on a branch, pre-focus. Get your AF zone over the bird, and be locked and ready to go. As discussed above, make sure your framing isn’t too tight – remember, you don’t want to clip the wings! – then as soon as the wings extend, fire off a long burst of shots. Track the bird with your camera, continuing to shoot as it flies by.
Capturing a bird already in flight is harder, but still doable. Use all the same settings as above: AF-C, burst mode, and an optimized AF area mode. Put your eye to the viewfinder, but – here’s the trick! – keep both eyes open. One eye should be looking through the viewfinder, while the other eye searches the wider sky.
Then move your lens to follow the bird, and half-press your shutter button to lock on. Keep your framing loose, and try to center the bird (you can always crop later!) – then fire off burst after burst.
(Note: If you really want to maximize your accuracy, try using back-button focus. It decouples focusing from the shutter button, so you can maintain focus even when your finger comes off the shutter.)
Ken shares that you’ll end up with a huge number of shots, and only a few of them will actually look good, with a well-lit head, a nice wing position, and a nice background.
But that’s okay, he says. Because you can easily go through your photos later on the computer; the good ones will stick out, you can flag them, and get rid of the rest.
(One more tip: Buy the fastest memory cards available. Without fast cards, your camera won’t be able to shoot long bursts, which can lead to missed photos in critical situations.)
9. The strong build quality is perfect for outdoor photography
Bird photography (and outdoor photography in general) can get pretty rough.
You’re often traveling in dusty conditions, lying in mud, and/or dealing with high humidity. And the best shots tend to come from the worst weather: when you’re standing in the cold, getting soaked by rain or snow.
So you need a camera setup that can handle the elements.
Of course, I (and Ken) can’t speak to your camera. But the Tamron 150-500mm offers very solid build quality – it’s likely the first thing you’ll notice when you pull it out of the box.
Plus, thanks to its moisture-resistant construction, you can shoot in messy weather without worry (though I still recommend you use a waterproof cover!).
Tamron 150-500mm takeaways: final words
Well, there you have it:
The nine key takeaways after shooting with the Tamron 150-500mm Di III VC VXD. Ken is a huge fan of the lens, and I can see why: It’s an affordable, fast-focusing zoom that bird, wildlife, and action photographers will love. Ken’s experiences – as well as the photos in this article, all taken with the 150-500mm – make that clear.
Note that the lens will start shipping on June 10th, though it’s currently available for preorder at Tamron-authorized in-store and online retailers.
So if you’re a Sony shooter looking for a stellar ultra-telephoto lens, I highly recommend you take a look!
Tamron is a paid partner of dPS.
The post 9 Takeaways After Shooting With the Tamron 150-500mm Di III VC VXD appeared first on Digital Photography School. It was authored by Jaymes Dempsey.
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How to Photograph the Northern Lights (Aurora Borealis)
The post How to Photograph the Northern Lights (Aurora Borealis) appeared first on Digital Photography School. It was authored by Christian Hoiberg.
Want to know how to photograph the northern lights?
In this article, I’m going to share plenty of northern lights photography tips and tricks – so that you can capture stunning aurora shots of your own.
This advice comes from lots of experience; I’ve had the pleasure of watching and photographing the northern lights, also known as the aurora borealis, for years (and I still find myself shouting in awe when I see them elegantly dancing in the sky!).
So if you’re ready to become an expert, then let’s get started.
How to see the northern lights
The first step in photographing the northern lights is, obviously, finding them. It’s simply not possible to see the aurora whenever and wherever you want – you must be in the right region and follow a few simple steps, as I discuss below:
1. Be in the Northern Hemisphere
The northern lights aren’t visible all over the world. As the name indicates, they are a phenomenon visible in the Northern Hemisphere.
Places such as northern Norway, Iceland, and Alaska are typical areas you can witness the northern lights.
While you generally want to be north of the Arctic Circle (or close to it), you can witness the lights further south during extreme solar storms. But this is not as common and the display is rarely as impressive compared to “northern” northern lights.
When planning your trip to the north, you’ll need to bear one more fact in mind:
The northern lights season lasts from late fall to early spring. After all, northern lights are only visible in the night sky, and in the Arctic, the sun doesn’t set during the summer months – so there’s no darkness and no northern lights.
2. Get away from light pollution
It’s nearly impossible to see the northern lights from the downtown of a large city. You might catch a glimpse if the northern lights are strong, but the display won’t be nearly as impressive as if you leave the city lights behind.
To increase your chances of capturing the northern lights, you should get away from light pollution and find a location where you can clearly see the stars.
There are a few different tools you can use to find areas with minimal light pollution. Dark Sky is a great website for this purpose; it shows a detailed map of light pollution.
3. Look for clear skies (and a high Kp-index)
In order to see the northern lights, you need to see the stars – so cloudy nights aren’t good for aurora borealis photography. If the sky is cloudy, you might as well enjoy the comfort of a warm cabin.
Fortunately, when you’re north of the Arctic Circle, clear nights typically mean you will get a glimpse of the northern lights. The display might not always be strong, but chances are high that you’ll at least get a nice arch across the horizon.
Keep in mind that weather conditions change quickly in the Northern Hemisphere. Just because it’s cloudy one moment doesn’t mean it’ll be cloudy in an hour, so you should keep a close eye on the forecast and stick your head outside from time to time.
Also, a quick tip: To predict the aurora display strength, refer to the Kp-index. Note that the higher the Kp-index, the stronger the display. (There are other factors involved in predicting the northern lights, but the Kp-index is the easiest and most convenient.)
How to photograph the northern lights
Once you’ve found the northern lights, how do you actually photograph them? It’s easy to get overly excited and forget about the technicalities – after all, the northern lights are stunningly beautiful – but I urge you to study the next few steps so that you’re as prepared as possible when the sky explodes.
1. Use a tripod and a remote shutter release
Photographing at night means that you’re working with long exposures (i.e., slow shutter speeds). It’s therefore essential that you mount the camera on a tripod. This will make sure that your camera stays still for the duration of the exposure.
You should also consider using a remote shutter release when you’re photographing the northern lights. This removes any chance of the vibrations caused when you press the shutter.
An alternative is to use the camera’s self-timer – but sometimes you want to capture the image at an exact moment with no delay, which is why I highly recommend a remote release.
2. Use a wide-angle lens with a large aperture
I generally encourage photographers to experiment with different focal lengths, but there’s no getting around it: an ultra-wide-angle lens is ideal for photographing the northern lights.
A wide-angle lens allows you to capture both the landscape and the sky in one shot. That way, you can incorporate the northern lights into a good composition.
Also, when you first experience the northern lights, you’ll realize that they can fill up the entire sky. It’s impossible to capture all this beauty with a narrow focal length lens (in fact, even wide-angle glass isn’t always enough!).
It’s also important to use the widest possible aperture. A wide aperture means more light reaches the sensor, allowing for a brighter exposure.
For that reason, apertures such as f/2 and f/2.8 work well for night photos. You can get away with f/4 if your lens doesn’t open to f/2.8 – but you’ll need to increase the ISO or extend the shutter speed to pull it off, neither of which are great for northern lights photography.
3. Adjust the shutter speed and ISO according to the northern lights
Guides such as the 500 rule or the NPF rule are great indicators of the shutter speed you should use for night photography – but these do not work for northern lights.
Why?
Because the best shutter speed completely depends on how active the northern lights are. I’ve experienced extreme displays where I’m using a 1/2s shutter speed and an ISO of 200, yet I’m still overexposing the sky!
Therefore, you need to adapt the shutter speed to the situation and make changes throughout the night. I typically use a shutter speed between 4 and 20 seconds.
Now, a fast-moving northern lights display requires a faster shutter speed. The bright light moving across the sky will quickly get overexposed. But when the display is slower, you get away with a longer shutter speed.
The ISO also depends on how bright the night sky is. I typically use a value between ISO 1600 and ISO 6400. That said, on rare occasions, I go all the way down to ISO 200.
I’ll admit that it does require some experience to get your settings right from the very beginning. But keep an eye on the image preview between every few shots, and you’ll learn exactly what to adjust for great results.
4. Use a cold white balance (3000-4000K)
I know that the white balance technically doesn’t matter if you’re shooting in RAW, but I’m someone who prefers to make the photo look as good as possible in-camera.
So when photographing the northern lights, avoid using Auto White Balance or preset modes. While these often do a great job during the day, they’re less consistent at night. You might get some okay results with Auto White Balance, but it won’t always work.
I recommend that you set the white balance manually – use Kelvin mode and chose a value somewhere between 3000K and 4000K. This will produce a colder and more natural-looking sky.
(Using values above 4000K makes the green in the northern lights look muddy and strange, which is something you want to avoid.)
5. Bring something warm to drink!
The winter nights in the Northern Hemisphere can be quite cold and miserable. It’s essential that you stay warm when you’re outside waiting for the northern lights. Good clothes (and several layers) help a lot, but it’s also nice to bring a thermos with a warm drink.
Once you get too cold, it’s hard to stay motivated. Especially if you’re planning to shoot for a while or make a timelapse.
How to photograph the northern lights: conclusion
Now that you’ve finished this article, you should be well-equipped to photograph the northern lights.
That said, if you want to learn more about northern lights photography – so you can start creating images like those in this article, fast – I highly recommend my course, Northern Lights Photography Made Easy. I teach all the essentials of capturing and processing stunning images of the night sky’s most amazing feature. So check out the course here!
The post How to Photograph the Northern Lights (Aurora Borealis) appeared first on Digital Photography School. It was authored by Christian Hoiberg.
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How to Take Great Group Photos: 12 Easy Tips
The post How to Take Great Group Photos: 12 Easy Tips appeared first on Digital Photography School. It was authored by Darren Rowse.
If you’re looking to take beautiful group photos, you’ve come to the right place.
In this article, I’m going to share 12 simple tips for capturing stunning photos of groups. Specifically, I’ll discuss:
- How to pose a group like a pro
- A simple trick to capture everyone in the group looking their best
- How to pick the perfect group photo location
- Much, much more!
So if you’re ready to become a group photography expert, then let’s get started!
1. Prepare ahead of time
There is nothing that will make group photo subjects turn on you faster than you not being prepared. People don’t like to be kept waiting, so plan ahead.
Here’s what I recommend you do several hours (or days) before the photo:
- Scope out the location of your shot beforehand
- Think about how you will pose people and frame your shot
Then, a few minutes before the photo:
- Make sure everyone you want in the shot knows that you want them in the shot
- Make sure your camera is on and has charged batteries
2. Carefully choose the location
The group photo location is important for a number of reasons.
First, it can give the photo context. For example, a shot of a sports team on their playing field says more than a shot of the team in front of a brick wall.
Second, the location can help emphasize your group – or it can draw the eye. To make the group stand out, you’ll need a location with no distractions.
So choose a place where your group will fit, where there is enough light for the shot, and where there are no distracting surroundings. Also, avoid setting up a group shot directly in front of a window where the light from your flash might reflect back in an unpleasant way.
3. Take multiple shots
Sometimes, it’s tough to get everyone looking just right at the exact same time.
That’s why I highly recommend you take multiple photos quickly; I often switch my camera to continuous shooting mode and photograph in short bursts. The first shot is often no good – but the shot or two directly after gives a group that looks less posed and more relaxed.
On a related note, shoot some frames before everyone is ready. Sometimes, the organization of a group shot can be quite comical and image-worthy (as people tell each other where to go and jostle for position).
Also, mix up the framing of your shots a little. If you have a zoom lens, try capturing some shots at a wide focal length and some shots that are more tightly framed.
4. Get in close
Try to get as close as you can to the group you’re photographing (without cutting out group members, of course!). The closer you can get, the more detail you’ll capture in their faces – something that can really elevate a shot.
If your group is small, step in and take some head and shoulder shots. Another effective technique is to get everyone to lean in; that way, you can move even closer without cutting out subjects. You might also try moving everyone out of a one-line formation and placing some people in front and behind.
5. Pose the group
In most cases, your group will pose itself pretty naturally (after all, we’ve all been in a group shot at some point). Tall people will go to the back, short people to the front. But there are other things you can do to improve the photo’s composition:
- If the event is centered around one or two people (like a wedding or a birthday), make the hosts the focal point by putting them right in the middle of the group (you can add variation by taking some shots of everyone looking at the camera and other shots of everyone looking at the person/couple).
- For formal group photos, put taller members toward the back center of the shot, with shorter people along the edges.
- Try not to make the group too deep (i.e., keep the distance between the front line of people and the back line of people as small as you can). This will help keep everyone in focus. If the composition does end up being deep, use a narrow aperture.
- Tell everyone to raise their chins a little; they’ll thank you later when they see the shot without any double chins!
6. Time your group shot well
Carefully pick the moment for your photo. Try to choose a time that works with what is happening at the gathering. I find it best to do a group shot when people are already close together and when there is a lull in the proceedings.
The start of an event can be a good time to shoot; everyone is together, they all look their best, and if there is alcohol involved, it hasn’t significantly affected the group yet.
7. Think about the light
In order to get enough detail in the final shot, you need to have sufficient light. The way you should do this varies from situation to situation – but consider using a flash if the group is small enough and you are close enough for it to take effect, especially if the main source of light is coming from behind the group.
If it’s a bright, sunny day and the sun is low in the sky, try not to face your subjects toward the light – otherwise, you’ll end up with a collection of squinting faces.
8. Take control
I’ve been in a number of group photos where the photographer almost lost control of their subjects. It happened for two reasons:
- They weren’t quick enough.
- They didn’t communicate well with the group.
When shooting a group photo, it’s important to keep talking, let the group know what you want them to do, motivate them to smile, tell them that they look great, and make clear how long you’ll need them for.
It’s also important to give your subjects a reason to pose for the photograph (and to listen to you). At a wedding, you might motivate people by saying “The happy couple has asked me to get some group shots.” At a sporting event, you could say, “Let’s take a group photo to celebrate our win.” When you give people a reason to pose, you’ll find they are much more willing to stand for a few minutes while you snap photos.
Here’s another very useful line to use with a group: “If you can see the camera, then it can see you.” This one is key if you want to be able to see each person’s face in the final image.
If there are other photographers, just wait until they’ve all finished their shots, then get the attention of the full group. Otherwise, you’ll get everyone looking in different directions.
Of course, you don’t want to be a dictator when posing your group – otherwise, your group shots will include some very angry expressions. The best photographers know how to get people’s attention and communicate what they want, while also keeping people relaxed and having fun.
9. Get up high when photographing large groups
Large groups of people can be very difficult to photograph. Even with careful staggering and tiering, you’ll struggle to fit everyone into the shot.
One solution is to elevate yourself. If I’m photographing a wedding and the couple wants one big group shot, I’ll arrange for a ladder to be present, or I’ll find some other way to get up high (I’ve even climbed up onto church roofs!). A high vantage point lets you fit a lot of people into the frame while still remaining quite close to the group. It also gives an interesting perspective, especially if you’re using a nice, wide focal length.
10. Use a tripod
There are a number of reasons why tripods are great for group photography.
First, a tripod communicates your seriousness and can help get the group’s attention (it’s amazing what a professional-looking setup can do!).
Second, a tripod gives you more freedom to pose your subjects. Simply set your camera on a tripod, set the exposure, and set the focus. Then guide your subjects through different poses – and when everything looks just right, you can quickly press the shutter button!
11. Use an assistant
If you have a very large group, an assistant can be super helpful. For one, they can get the group organized – tell people when to come, where to stand, etc.
An assistant is also incredibly handy if you are taking multiple group shots (like at a wedding when you’re photographing different configurations of a family). In such a case, I often ask the couple to provide me with a family member or a friend who can ensure we have everyone we need in each shot.
Having a family member act as your assistant ensures you don’t miss anyone (assuming they’re related to members of the group). Plus, the group will be familiar with them and will therefore respond well when the “assistant” orders them around.
12. Smile
Yes, you should smile! During a group session, there’s nothing worse than a grumpy, stressed-out photographer. Have fun and enjoy the process of getting your shots, and you’ll find the group will, too.
In fact, after photographing a wedding, I usually come home with an incredibly sore face from all the smiling I’ve done! I find the best way to get the couple and their family to relax and smile is to smile at them. It really does work.
Bonus tip: Let your imagination run wild!
One more quick tip. Get a little creative! You don’t always have to use standard compositions; instead, you can capture more imaginative, unusual photos.
How to take great group photos: conclusion
Group photos might seem difficult, but they’re really not!
Just follow the tips I’ve given you, and your group photos will turn out stunning.
Now over to you:
Have you had success taking group photos? Share your shots in the comments below! Also, if you enjoyed this article, subscribe to the dPS newsletter!
The post How to Take Great Group Photos: 12 Easy Tips appeared first on Digital Photography School. It was authored by Darren Rowse.
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The Weekly Photography Challenge – Toys
The post The Weekly Photography Challenge – Toys appeared first on Digital Photography School. It was authored by Sime.
This week our challenge is inspired by some posts I’ve spotted over on THIS website showcasing some great product photography! After reaching out, we have a handful of images to share for a little inspiration!
A big thanks to Oziii Obsessions Photography for his help with this challenge!
Toy photography is super fun! you can make it as realistic or as far from realistic as you like, and just have fun with it! Toys, Jedi, Dolls, , Lego, Cars..
I’ve just found a small plastic man wearing a hiking backpack on my desk, I don’t know what adventures he’ll have this week, but I’ll be posting them in our Facebook group if you’re interested!
Toy photography isn’t about merely taking a toy, snapping a photo and “job done” it’s well, have a read over here! ‘Getting Started in Toy Photography on dPS’
Don’t have time for a read, here’s a summary “The challenge of Toy Photography is to make the toy “lifelike”; to remove that “plastic-feel” to it and to make it more human. Most Toy Photographers put their subjects into everyday, mundane scenes. You are limited only by your imagination”
Still stuck? There’s another great article over here – clickety click – that might give you a splash of inspiration.
Make sure to use the hashtag #dPSToyPhotoChallenge if you’re posting on social media, or share your photo in the comments on this post, you can find details on how to do that below.
Great! How do I upload my photos?
Upload your photo into the comments field (look for the little camera icon in the Disqus comments section below this post) 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.
Most of all, make a NEW photo for this challenge and have some creative fun with it!!
–Simon
The post The Weekly Photography Challenge – Toys appeared first on Digital Photography School. It was authored by Sime.
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When To Use APS-C Lenses Over Full Frame Lenses
There is an ongoing discussion within the photography world on the pros, cons and when exactly it is best to use APS-C lenses rather than full frame lenses. When you come to choose a new lens for your camera, deciding between an APS-C or full frame lens can have a significant effect on the images you produce. Understanding the differences Continue Reading
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The Sony a6900 Will Debut Before the Month Is Out: Here’s What We Know
The post The Sony a6900 Will Debut Before the Month Is Out: Here’s What We Know appeared first on Digital Photography School. It was authored by Jaymes Dempsey.
For weeks, SonyAlphaRumors has been dropping information regarding the so-called Sony a6900, which will debut in “late May” as an a6600 successor.
While the “a6900” moniker is not yet confirmed, a “trusted” SonyAlphaRumors source has said that the new camera “will not be named ‘a6700,’” with another SAR source offering the a6900 label.
So what do we know about this new a6900?
SonyAlphaRumors confidently states that the a6900 will replace the a6600, but will feature an APS-C sensor and a body similar to the full-frame a7C. It will “be branded as [a] ‘vlogger’ camera,” which suggests several blogging-friendly specs: a fully articulating screen, for one, but also impressive video capabilities (at least 4K/30p plus mic/headphone jacks) and a compact design.
The Sony a6900 will look much like the compact a7C. Indeed, various rumors suggest that the a6900 will feature 4K/60p video, a notable upgrade over the 4K/30p offered by the a6600. Interestingly, rumors also point to a new high-resolution sensor – several SonyAlphaRumors sources have suggested 32 MP – in a surprising break from Sony’s string of 24 MP APS-C models.
Here are additional specs suggested by (unconfirmed) SAR sources:
- Improved rolling shutter performance
- 20 frames-per-second continuous shooting
- 2.36M-dot EVF
- The “same tilt screen” as the a7C
- Upgraded in-body image stabilization (compared to the a7C)
- A7C-like price ($ 1798 USD)
Most of these items seem pretty standard and don’t offer any major improvements over the a6600. The exception is the 20 fps continuous shooting rate, and I’ll admit that I’m skeptical; after all, it’s a feature matched only by Sony’s highest-level full-frame models and is wholly unnecessary for vloggers.
Of course, you can also expect Sony’s standard autofocusing capabilities, including its vaunted Real-time Eye AF, plus outstanding subject tracking and generally speedy focusing, all of which will appeal to vloggers and still shooters alike.
So be sure to keep an eye out for further Sony a6900 news, especially if you’re interested in a compact, vlogging-focused camera; we should get an official release before the month is out.
Now over to you:
What do you think of the Sony a6900? If the rumored specifications are right, would you be interested? Are there any key features that the camera is missing? Share your thoughts in the comments below!
The post The Sony a6900 Will Debut Before the Month Is Out: Here’s What We Know appeared first on Digital Photography School. It was authored by Jaymes Dempsey.
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Chromatic Aberration: What It Is and How You Can Avoid It
The post Chromatic Aberration: What It Is and How You Can Avoid It appeared first on Digital Photography School. It was authored by Joshua Burke.
Chromatic aberration is a huge image-quality killer – but many photographers don’t know what it is and how it can be prevented.
In this article, I’m going to share everything you need to know about chromatic aberration, including:
- Why it happens
- How to identify it
- Four simple strategies to minimize its effects
So without further ado, let’s discuss how to deal with that pesky chromatic aberration once and for all.
What is chromatic aberration?
Chromatic aberration (also known as color fringing or dispersion) is a common problem in lenses that occurs when colors are incorrectly refracted (bent) by the lens; this results in a mismatch at the focal point where the colors do not combine as they should.
Confused? Don’t be. To help understand this a bit better, remember that the focal plane is your sensor’s point of focus, where all the light from your lens should join together to be correctly captured and recorded. But depending on the construction of your lens, your chosen focal length, and even the aperture that you’ve used, certain wavelengths (colors) may arrive at points in front of or behind the focal plane.
Take a look at the diagram below. Do you see how the red, green, and blue light hits the sensor in different spots? That’s chromatic aberration at work.
When CA occurs, you end up with telltale color fringing around the edges of your photograph. Check out the photo below. The left-hand side shows red and green fringes along the sharp edges of the subject. As you can see, it doesn’t look so great.
But although you can edit out low levels of chromatic aberration in Photoshop and Lightroom, the reality is that it’s annoying to remove CA from each and every photo, plus every moment you spent touching up a photo is one moment less that you have for photography.
Why does chromatic aberration occur?
Chromatic aberration happens because your lens acts as a prism. It bends light, and much like the triangle-shaped prism made famous by Pink Floyd, colors passing through the lens are split at different angles.
Here, it’s important to remember that light is actually made up of several different wavelengths (colors). So for your camera’s sensor to detect the combined color of light, your lens needs to make all wavelengths of that particular ray hit the exact same point on your sensor.
It may sound simple, but various wavelengths (and thus various colors) strike your lens all at once, and each of these wavelengths will behave slightly differently depending on the lens glass that it is passing through.
The feat of engineering required to correctly align all of these different light rays is usually achieved by the manufacturer’s use of a lens array. In fact, if you were to pull your lens apart, you’d probably find upward of 16 lens elements – all designed to correct for various things along the light’s journey between your lens and your sensor.
Unfortunately, this is also where chromatic aberration tends to rear its ugly head. Hidden within the design of these lens elements are defects – either in the glass or the design of the lens itself – which, under specific conditions, may cause your photos to exhibit CA.
Now, I’m not saying you need a pro-level lens. In fact, a key point is that all lenses suffer from chromatic aberration in one form or another, no matter the cost. What matters is whether or not your lens exhibits visible chromatic aberration, and whether the amount of visible CA is a dealbreaker for your particular needs.
Also, even if you’re stuck with a CA-prone lens, you can still take steps to prevent image-quality issues, as I discuss in the next section.
How to avoid chromatic aberration defects: 4 strategies
Chromatic aberration is a major problem, especially on cheap lenses. But the good news is that, if you are stuck working with a lens that exhibits some form of visible chromatic aberration, there are several easy-to-understand strategies to remove or minimize its effect on your photos.
1. Avoid high-contrast scenes
Chromatic aberration tends to flare up when shooting high-contrast scenes. Particularly problematic are darker subjects surrounded by white backdrops, landscapes against a bright sunrise, or – as in the example of the cheetah above – heavily backlit subjects.
There’s no easy in-camera method of avoiding contrast. So there’s often nothing you can do here except adjust your composition. Swap your backdrop out to something that more closely matches your subject’s tones, or simply wait for more favorable lighting conditions.
If you absolutely must capture an image as-is, then shoot in RAW and prepare for a touch-up in post-production.
2. Adjust your focal length
Although it’s nice to have access to a wide range of focal lengths, the fact is that most zoom lenses exhibit chromatic aberration at their focal length extremes. So setting the focal length toward the middle of your lens’s range will usually help remove the offending CA.
Note that using a zoom lens at its widest will usually introduce various other defects in your image. So if you’re set on a wide-angle perspective, choose a prime wide-angle lens to handle the job, or make a panorama at a longer focal length, then join the photos in post-processing.
3. Stop down your aperture
Although the result will depend on the type of lens you are using, stopping down your aperture helps minimize most lens defects, including chromatic aberration.
(You’ll need to consider reducing the shutter speed or boosting the ISO to compensate for the light loss.)
So instead of using an f/2.8 or f/4 aperture, try going to f/8 or f/11 – then take a few test shots to see if the chromatic aberration has disappeared.
4. Reframe with your subject at the center of the image
Chromatic aberration is often more noticeable toward the edges of the frame, not the center.
(This is generally due to the curvature of the lens elements.)
Therefore, if you reframe your shot but put your main subject closer to the middle, you’ll often end up with little-to-no chromatic aberration on your subject.
Of course, you may still have noticeable CA around the edges of the frame, but you do have the option to crop this away. It’s not ideal if you need to retain every pixel in your photo (e.g., for large prints), in which case you should consider one of the other preventative measures discussed above. But if you’re creating small prints or you plan to distribute your photo online, cropping shouldn’t be a big issue.
Chromatic aberration: final words
Well, that’s it:
Everything you need to know about chromatic aberration, including what it is and how to avoid it.
Now you know how to keep your images free of CA. And you can capture stunning photos – even with cheaper lenses.
Over to you:
Are you struggling with chromatic aberration in your photos? Have you tried any of the measures discussed above? Share your thoughts (and images) in the comments below.
The post Chromatic Aberration: What It Is and How You Can Avoid It appeared first on Digital Photography School. It was authored by Joshua Burke.
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How to Batch Resize in Photoshop: A Step-by-Step Guide (2021)
The post How to Batch Resize in Photoshop: A Step-by-Step Guide (2021) appeared first on Digital Photography School. It was authored by Helen Bradley.
What’s the easiest way to batch resize in Photoshop?
In this article, I’m going to take you through a simple, step-by-step process for resizing your images. It’ll take seconds – and when you’re done, you’ll be able to resize dozens (or hundreds!) of photos at once.
Let’s get started.
Batch resizing in Photoshop: step by step
Batch resizing isn’t hard, and it takes very little knowledge.
To start, make sure you open some files in Photoshop (though note that you don’t need to open all the files you’re aiming to resize; a random file or an empty canvas will do just fine). As you can see below, I’ve opened a blank document:
I’m going to cover the Image Processor method of batch resizing. Pretty much anyone can do it, and it generally works well. However, if you have more complex batch resizing requirements, consider writing an action; that way, you can tailor the resizing to your particular needs.
Now let’s take a closer look at the batch resizing process, starting with:
Step 1: Open the Image Processor
Choose File>Scripts>Image Processor.
The Image Processor dialog box will open, where you’ll see a simple, four-step process for resizing your images:
Step 2: Select your images for batch resizing
In the first section of the Image Processor dialog box, you’ll need to identify the images you want to batch resize.
You can choose to resize all open images by selecting Use Open Images:
Or you can pick a folder from your hard drive via the Select Folder button:
If you do select a folder, you can tell Photoshop to resize images in all subfolders as well; just hit the Include All sub-folders checkbox:
Step 3: Determine your export location
Now it’s time to determine where you want your resized images to go.
To save the resized versions alongside the originals, simply select Save in Same Location:
Then, when the resizing begins, Photoshop will create a subfolder next to the original files. (Because your resized versions will retain the names of the original files, creating a subfolder – rather than simply saving the images in the original folder – prevents any overwriting.)
Alternatively, you can select a different folder for the resized files:
Step 4: Input your preferred image sizes
This is the most important step of the entire process:
The moment where you dial in resize settings for your files.
First, determine your output file type. You can choose from JPEG, PSD, and TIFF (JPEG is the default and generally works well, but if you’re working with layered files, then PSD is a good choice).
If you do decide to save JPEGs, you can adjust the output quality; 12 will give you large, great-looking photos, whereas 1 will give you tiny, low-quality results.
For better color when displaying your photos on the web, select Convert Profile to sRGB:
I also recommend checking the Include ICC Profile box at the bottom:
Finally, select Resize to Fit, and type in your preferred file size!
Note that the dimensions you dial in are maximums. So if you type in 300 for the width and 300 for the height, the files will be resized so that the longest side of every image is 300 pixels.
(In other words, the images won’t be cropped or skewed to fit your preferred dimensions; they’ll be scaled up or down for the most natural-looking results.)
Also note that the width and height measurements don’t have to be the same. You could specify a width of 400 and a height of 300 – then all images would be constrained to a width of 400 or a height of 300, whichever comes first.
By the way, you do have the option to save your images in a second (or third) format, as well. Just select the Save as PSD or Save as TIFF checkboxes, and PSD and/or TIFF folders will be created alongside your JPEG folder!
Step 5: Run the script
When you’re ready, click Run.
The images will be automatically opened (if they’re not open already), resized, saved, and closed again.
To find your resized images, simply head to the folder you specified in Step 3 (above). If you chose to save JPEGs, the images will be in a subfolder called JPEG; if you chose to save TIFFs, the images will be in a subfolder called TIFF, etc.
Like this:
How to batch resize in Photoshop: final words
Well, there you have it:
The easiest way to batch resize your images in Photoshop.
So whenever you need to resize a lot of images for uploading on the web, use the Photoshop Image Processor.
It makes the job quick and painless!
Now over to you:
Do you have a favorite method of batch resizing images in Photoshop? If so, share it in the comments below!
The post How to Batch Resize in Photoshop: A Step-by-Step Guide (2021) appeared first on Digital Photography School. It was authored by Helen Bradley.
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Photography Aspect Ratio: What Is It and Why Does It Matter?
The post Photography Aspect Ratio: What Is It and Why Does It Matter? appeared first on Digital Photography School. It was authored by Andrew S. Gibson.
What are aspect ratios in photography? How does an aspect ratio affect your images? And how can you change the aspect ratio once you’ve taken a photo?
In this article, I’m going to give you a quick introduction to photography aspect ratios – so that, by the time you’ve finished, you’ll understand what they are and how you can use them to improve your own images.
Let’s get started.
What is a photography aspect ratio?
An aspect ratio is the dimensions of an image expressed in a ratio form. You determine the aspect ratio by comparing an image’s width and height, then writing it as a width:height ratio (such as 3:2 or 4:5).
The aspect ratio of your images is initially determined by the dimensions of your camera’s sensor. Because sensor dimensions are fixed, it’s easy to take the aspect ratio of your images for granted.
But it is important to think about the aspect ratio when taking photos. Your camera aspect ratio has compositional implications – and I highly recommend you consider this when out with your camera.
Also, a quick note: While your camera aspect ratio is technically fixed, many newer digital cameras allow you to change the aspect ratio in the camera’s menu. Plus, you have the option of adjusting an image’s aspect ratio in post-processing, so it’s more flexible than you might think!
Why does aspect ratio matter?
Different aspect ratios will produce different types of compositions.
For instance, a square, 1:1 aspect ratio tends to produce very balanced, often confined images.
A 4:5 or a 3:2 aspect ratio offers a bit more space within the frame.
And a 16:9 aspect ratio gives a lot of room for expansion along the image edges.
Of course, the effect of the aspect ratio depends somewhat on the type of scene you’re photographing, and certain scenes naturally lend themselves to certain aspect ratios. That’s why it’s essential to think carefully about the aspect ratio before pressing the shutter button; different aspect ratio choices can dramatically affect the composition.
Common camera aspect ratios
Virtually every camera sensor offers one of two aspect ratios:
3:2 aspect ratio
A 3:2 aspect ratio is used by 35mm crop-sensor and full-frame DSLRs, some Leica medium format cameras, most mirrorless cameras, high-end compact cameras, and most 35mm film cameras. This aspect ratio has been with us ever since Leica made the first 35mm film cameras in the early 20th century.
Now, a full-frame 35mm sensor measures 36 mm x 24 mm. You can express this figure as a ratio: 36:24. Mathematicians always like to simplify ratios so the relationship between the two numbers is easy to visualize, and in this case, you can divide both dimensions by twelve.
That gives you 3:2.
As you’re likely aware, crop-sensor cameras have smaller sensors, measuring approximately 22.5 mm x 15 mm (though the exact measurements vary depending on the brand and model). Despite the different sensor sizes, the ratio between the width and the height remains the same, conforming to a 3:2 aspect ratio.
4:3 aspect ratio
The 4:3 aspect ratio is used by Micro Four Thirds cameras, many compact cameras, some medium format digital cameras, as well as medium format film cameras using the 6 cm x 4.5 cm format.
3:2 vs 4:3 aspect ratio
Now let’s compare the two common camera aspect ratios. In the diagram below, you can see the 4:2 aspect ratio (left), plus the additional space included by a 3:2 sensor:
Clearly, the 3:2 aspect ratio used by most DSLRs and mirrorless cameras is slightly longer than the 4:3 aspect ratio used by Micro Four Thirds cameras. The difference may not seem like much, but it has a major effect on the composition. Take a look at the following images to see why.
Here’s the original shot, taken with a 3:2 aspect ratio:
And here’s the same image, but cropped to the 4:3 aspect ratio, as if it had been taken with a Micro Four Thirds camera:
Do you see the difference? It’s subtle, but it’s there. The 35mm frame is longer.
And that can be challenging when it comes to composition because you have to find a way to effectively fill that length.
Landscape photography, in particular, often benefits from a compressed frame, and that’s one of the reasons for the popularity of 7:6 medium format cameras and 5:4 view cameras among landscape film photographers.
Here’s what the same landscape would look like cropped to these formats:
For me, the 7:6 aspect ratio is too short, but 5:4 is a very pleasing aspect ratio to work in.
Aspect ratio examples
Now, after seeing the photos above, you might be thinking that the difference between aspect ratios is not a big deal. And often, when you are shooting in the landscape format (i.e., with the camera positioned so that the frame is horizontal), the difference is minimal. It’s not so difficult to work with any of the aspect ratios I’ve presented above.
But if you switch to the portrait format (i.e., with a vertical frame), it’s a different story. A 3:2 frame suddenly becomes a lot harder to fill effectively, and the composition often benefits from cropping to a shorter rectangle. Here are some examples to show you what I mean:
The difficulty I had with the landscape above is that there was too much empty sky in the original image. I solved the problem by cropping off the top, and the final 4:5 aspect ratio seems to work nicely.
Of course, not all images will benefit from this type of crop. But if you find yourself struggling to fill the frame, especially if you have a 35mm camera with a 3:2 frame, you may want to try a different aspect ratio.
By the way, here is the first image cropped to a couple more common aspect ratios.
The panoramic format (16:9):
And the square format (1:1):
Adjusting the aspect ratio in-camera
As I mentioned above, many digital cameras let you adjust the aspect ratio in the camera menu. And if you have a camera with an electronic viewfinder, you may see the cropped image in the viewfinder itself.
If your camera doesn’t have an electronic viewfinder, you’ll need to use Live View to take advantage of the aspect ratio function. The camera will display the cropped image on the rear LCD screen.
But there’s a major caveat:
If you use a non-native aspect ratio while shooting in JPEG, your camera will crop the image when you take the photo, and there’s no way to resurrect the edges of the frame. So if you later decide that you want a 3:2 aspect ratio instead of a 1:1 aspect ratio, you’re out of luck.
However, if you use a non-native aspect ratio while shooting in RAW, the camera will save the entire image in the original aspect ratio, and you can change your mind about the crop in post-processing.
Cropping in post-processing
It’s often easier to crop in post-processing than in the field. Plus, if your camera doesn’t have an aspect ratio function, cropping during editing is the only way to adjust the aspect ratio.
In pretty much every dedicated editing program, cropping is easy.
For instance, in Lightroom, just click the Crop icon, then select an aspect ratio from the Aspect menu:
Photography aspect ratio: conclusion
As you now know, aspect ratio is a big deal. It’s always a good idea to think about aspect ratios while shooting – and then, if necessary, adjust the aspect ratio in post-processing.
Now over to you:
What’s your favorite aspect ratio? And do you think about aspect ratio while taking photos? Share your thoughts in the comments below!
Which aspect ratio is best?There is no one best aspect ratio – it all depends on the look you’re after! Some scenes benefit from square (1:1) aspect ratios, whereas others look great with a 4:3 or a 5:4 aspect ratio. I’d recommend playing around in a program like Adobe Lightroom.
What aspect ratio do professional photographers use?That depends on the photo. As discussed in the article, landscape shooters tend to favor squarer aspect ratios such as 4:5, though if you’re a panorama photographer, a 16:9 frame (or wider!) might be preferable. Portrait photographers tend to avoid narrow aspect ratios, but there are times when a portrait looks good as a 9:16 composition.
What is the aspect ratio of 8×10 photos?8×10 photos have a 4:5 aspect ratio.
The post Photography Aspect Ratio: What Is It and Why Does It Matter? appeared first on Digital Photography School. It was authored by Andrew S. Gibson.