The post Tamron Announces the 150-500mm, a Portable Zoom for Sony Mirrorless appeared first on Digital Photography School. It was authored by Jaymes Dempsey.
Earlier this week, Tamron unveiled the 150-500mm f/5-6.7 Di III VC VXD for Sony E-mount cameras, a lens that will offer significant power, versatility, and affordability to Sony users.
The 150-500mm f/5-6.7 is Tamron’s “first ultra-telephoto zoom lens for full-frame mirrorless cameras that reaches the 500mm focal length.” But despite the super-telephoto range, the 150-500mm is surprisingly compact. At 500mm, the lens reaches 11.1 in (28 cm), and when retracted to 150mm, it clocks in at a portable 8.3 in (21 cm) for a travel-ready package.
While the f/6.7 maximum aperture may frustrate professionals, enthusiast sports, wildlife, and bird photographers will love the opportunity to get up close and personal without splurging on Sony’s $ 2000 USD 200-600mm lens. At 150mm to 300mm, you can capture wider photos of your subject; zoomed in to 400mm and 500mm, you can grab crisp detail shots and wildlife portraits.
And though the Tamron 150-500mm will work just fine on Sony full-frame cameras, when mounted on an APS-C camera – such as the Sony a6600 – the lens delivers a whopping 225-750mm range, perfect for photographers seeking to shoot small, skittish subjects such as birds.
Of course, image quality remains to be seen, but Tamron confidently claims that the 150-500mm packs “amazing high image quality,” boasting “exceptionally high resolving power across the entire image.”
As for autofocus, the 150-500mm “provides high speed, high precision, and excellent quietness,” thanks to Tamron’s VXD focusing technology.
Sure, a wider maximum aperture would be useful, especially for low-light wildlife and sports photography. But wider apertures come with eye-watering costs, plus Tamron has added Vibration Compensation (VC), which ensures sharp images even when shooting handheld in limited light.
While the Tamron 150-500mm doesn’t come cheap, it’s not pricey, either (relatively speaking). You can preorder the lens for just $ 1399 USD, though expect to receive your copy after June 10th (also, Tamron notes that “the release date or product supply schedule could change” due to COVID-related problems).
So if you’re an enthusiast photographer in need of a super-telephoto zoom, I highly recommend you check out the Tamron 150-500mm.
Now over to you:
What do you think of this new lens from Tamron? Will you be interested in purchasing it? Share your thoughts in the comments below!
The post Tamron Announces the 150-500mm, a Portable Zoom for Sony Mirrorless appeared first on Digital Photography School. It was authored by Jaymes Dempsey.
The post 11 Portrait Photography Ideas to Inspire You appeared first on Digital Photography School. It was authored by Kevin Landwer-Johan.
Coming up with fresh portrait photography ideas is challenging for many photographers. Whether you take a lot of portraits or are a beginner, it’s always best to have a few good ideas up your sleeve.
So here are 11 portrait photography ideas to create great images of whoever is in front of your camera, starting with…
1. Communicate well
Let your portrait subjects know what you want from them. Talk to them about what you are doing with the lighting, props, and background. This will build their confidence in you and show them you are serious about taking some great portraits.
Don’t be shy. Be interested in who they are and how they are feeling. Ask them questions. Show an interest in what they want.
Style your lighting to suit the mood of the portrait you are creating. If you want a soft, gentle portrait, use soft lighting and add lights or reflectors to reduce strong shadows.
Alternatively, embrace the darkness and generate a sullen atmosphere by creating a shadowy, dark effect. Purposely underexpose so you create a sense of mystery.
3. Make use of the environment or isolate your subject
Wherever you are, look around and think about how you can incorporate elements of the environment into your portrait photos. Think about whether showing some of the location will add to the portraits you are making.
If there’s nothing suitable to include in the photo, then isolate your subject. Blur the background by using a shallow depth of field, or find a plain, blank background to position your subject in front of.
Even if you have some good portrait photography ideas of your own, ask your subject what they want. You may be surprised at what they have to offer.
The young lady in the photo below told me to include ice cream in our planned portrait session. So I bought ice cream. We were challenged by the weather. Even indoors with the air conditioning on full, the ice cream melted too quickly. So we made the most of it!
Think outside the box and use different lighting setups and backgrounds during the portrait session. By controlling the lighting and backgrounds, you can create a strikingly diverse set of portraits.
Take a series of portraits with the aim of displaying them together. Keep the lighting and background the same for each shot and capture a range of expressions and poses from your model.
If you isolate your model on a plain background, you can print the entire series as a single image. Or you can frame each shot on its own but hang the series together.
Hands bring a fresh dynamic and can help add more story to your pictures. You can have the hands holding something, or you can just arrange them nicely.
Giving your subject something to do with their hands will often help them relax. People can feel uneasy when they don’t know how to place their hands. So guiding the hands with some directions or suggestions will help your subject feel more comfortable.
Sometimes, your subject may have some great ideas that are quite different from yours. Go with the flow and include these. Take the photos they want because they will always be enthusiastic and more expressive when trying out their own ideas.
Even if the ideas your subject suggests are not so stellar, take the photos anyway. This will help your subject build confidence and strengthen the relationship between the two of you.
Then, once you’ve spent some time capturing the photos they want, move on to your own portrait photography ideas.
Be prepared to capture special moments as they happen. Don’t be peering down at your camera and fiddling with the settings. Instead, engage with your subject. Be constantly aware of what they are doing and how they are looking. You want to be ready when they smile (and even when they grimace).
When your subject is engaged in an activity, getting your timing right can be more challenging. For the street portrait below, I had to move to keep up with my subject. He was demonstrating the quality of the wallets he had for sale. He poured lighter fluid on one and set it alight to show that it was not made of plastic. It all happened very quickly!
Head movement works best when a person has long hair, but it can be a good idea even for shorter-haired subjects.
Any movement can make way for spontaneity, so don’t forget about the importance of capturing the moment (as I discussed in the previous section). Be ready for anything that might happen.
11. Expose for good skin tones
I’ll add one technical idea:
Set your exposure so your subject’s skin tone is well exposed. This is especially important when there’s a lot of contrast in your composition.
For instance, wedding portraits of a bride and groom can be challenging. A stunning bride in a white dress and a groom looking handsome in his dark suit can make it difficult for you to find a balanced exposure setting. So spot meter off their faces; this will ensure you end up with a good exposure.
As soon as you have a few good photos, show your subject. Until you do this, they may not have a clear idea of what you are doing or how you are framing them. But once you show them how good you are making them look in the portraits, they will feel better about themselves. This boosted confidence will only lead to more great portraits.
The post Smartphone RAW Photography: An Easy Way to Improve Your Photos appeared first on Digital Photography School. It was authored by Ana Mireles.
What is smartphone RAW photography, and how can you set up RAW imaging on your phone? If high-quality photos are your goal, you must know how to do smartphone RAW photography.
For a long time, only standalone cameras supported RAW format. But these days, many smartphone manufacturers are including it as a feature on their devices – and in this article, I’ll share with you step-by-step instructions for capturing RAW photos on iPhones, Samsung phones, and Huawei phones.
And in case your native camera app doesn’t support RAW, I’ll include a list of third-party apps that produce RAW photos.
Let’s get started.
What is smartphone RAW photography?
RAW format on the left/JPEG format on the right (taken in the Huawei P20 Lite native camera app.)
A RAW file is the unprocessed version of a photo. When you take a photograph, the camera records all sorts of information.
Then, if it saves it in JPEG – which is the most common format – it will use only the information it needs and discard the rest.
After that process, there’s no way to recover the information that was thrown away. So you’ll have less dynamic range and fewer details in the highlights and shadows. (The loss of information will be more noticeable if you want to do extreme editing, which can lead to unpleasant artifacts such as banding.)
Both these images were taken using the Lightroom app on a Xiaomi Redmi 8. There’s faint color banding in the sky on the JPEG image (right).
Most camera manufacturers have proprietary RAW file formats. For example, Nikon cameras generate NEF files, Canon files are CRW, and so on.
DNG format was developed by Adobe as an open-source RAW file, so it’s more compatible and any manufacturer can use it. In smartphone photography, DNG is the most commonly used RAW format.
Should you shoot in RAW on a smartphone?
If you want to do serious mobile photography, then yes. Photographing in RAW gives you great flexibility when you edit your photos.
However, RAW files are 10 to 12 times bigger than JPEG files – and that’s a lot of storage space. So you might not want to shoot in RAW for every single picture that you take.
If it’s an option on your phone, save the images to an SD card instead of the internal memory. Another storage solution is to send your files to the cloud or transfer them to your computer to be backed up on an external hard drive.
How to shoot in RAW: Step by step
Not all phones support RAW format, and the ones that do have different ways of enabling it.
Here’s a step-by-step guide for the most common smartphone brands:
For Huawei shooters
These instructions reference a Huawei P20 Lite; however, the process should be the same on all Huawei models that support RAW photography.
First, open the camera app and scroll through the Mode menu until you reach Pro. Select this mode, and keep in mind that RAW shooting is not available in the other photo modes.
Open your camera Settings menu by tapping on the gear icon (this will be in the upper left corner if you’re shooting in landscape orientation and in the upper right corner if you’re shooting in portrait orientation):
Tap Resolution:
Then scroll to the bottom, where you’ll find the Photo Format section. Enable RAW format:
Then close the settings and snap your photo! As long as you’re in Pro mode, the images will be saved in RAW (plus a JPEG copy).
RAW files are saved in Files > Internal Storage > DCIM > Camera > RAW. You can review them in the gallery under More Albums > Others > RAW.
For iPhone shooters
Not all iPhones support RAW format in the native camera app. If your iPhone doesn’t shoot in RAW, you’ll have to use a third-party app. Look for recommendations at the end of this article.
However, the iPhone 12 Pro and the iPhone 12 Pro Max both support Apple ProRAW (they need to have iOS 14.3 or later, though).
To enable ProRAW, go to Settings > Camera > Formats. Under the Photo Capture section, you can turn on Apple ProRAW.
Once you have enabled this function, you’ll have the RAW option when you’re taking pictures. Simply tap to turn it on or off. (That way, you can shoot in different formats without having to go through the Settings menu every time.)
When you take a photo and RAW is on, it will be saved as a DNG file of about 25 MB. But if you turn ProRAW off, your iPhone will create a JPEG or HEIF file – whichever you have selected as the default.
For Samsung shooters
Keep in mind that not all Samsung devices will support RAW files. However, for the Samsung devices that do support smartphone RAW photography, here’s how to set it up:
Open the camera app and scroll the options bar until you find More.
In the More menu, you can see different modes. Tap on PRO.
Then open Camera Settings and scroll down to Save Options.
Enable Save RAW copies.
Once you’ve done this, all the pictures you take in PRO mode will be saved with a RAW copy – in every other mode, the images will still be JPEGs.
If you want to save a JPEG file when shooting in PRO, you need to go to the Camera Settings and disable the RAW option.
If your Samsung phone doesn’t support RAW files in the native camera app, you can always download another app to do so. You’ll find a list of recommendations at the end of the article.
Apps to shoot in RAW
As I explained above, not all smartphones offer RAW shooting in their native camera app. However, there are plenty of third-party apps that will let you work in RAW. Here’s a list of a few good ones:
Lightroom Mobile (for iOS and Android). The free limited version includes the RAW function, though you will need to create an Adobe account. Of course, if you have an Adobe Lightroom or an Adobe Photography subscription, you already have access to the full version of Lightroom Mobile.
In Lightroom Mobile, you just have to tap on the top of the screen to open the menu and switch between DNG (RAW) and JPEG.
VSCO (iOS and Android). The RAW function is only for iPhone 6 and later. Older devices and Android phones can use VSCO as a camera and editor but won’t be able to shoot in RAW.
ProShot (iOS and Android). The RAW function works only on compatible phones. To know if your phone supports ProShot RAW, you might want to do some research before purchasing it. The cost is $ 1.99.
ProCam (iOS). Works on iPhones with 12 MP cameras – that’s iPhone 6s and later. It supports RAW files in Auto and Manual mode.
On1Photo RAW (iOS and Android). Free. Supports RAW and JPEG formats in all photo modes.
Flannl RAW camera (iOS). Free.
Manual Camera Lite: Professional Camera DSLR (Android). This free version supports RAW format on some phones. You can upgrade to the PRO version, but it’s not necessary to capture photos in RAW.
Smartphone RAW photography: conclusion
As you can see, it’s very easy to do smartphone RAW photography, no matter your phone type. It may take a few extra taps, but it makes a world of difference!
Now over to you:
Have you tried shooting smartphone RAW photos? Have you noticed a difference compared to your JPEGs? Share your thoughts (and images!) in the comments below.
The post Smartphone RAW Photography: An Easy Way to Improve Your Photos appeared first on Digital Photography School. It was authored by Ana Mireles.
The post Top 10 Mistakes That Cause Blurry Pictures (And How to Fix Them) appeared first on Digital Photography School. It was authored by Anne McKinnell.
“Why are my pictures blurry?”
It’s a common question, and one that doesn’t have an easy answer. The truth is that blurry pictures are caused by many factors – so if your photos are blurry, it’s often difficult to pinpoint the exact problem.
That’s why I wrote this article. I’m going to list the 10 main reasons why you’re ending up with blurry photos. I want you to carefully go through this list. See if any of the reasons stand out.
And then make the necessary changes!
Odds are, if you can address the problem, you’ll be taking tack-sharp images in no time at all.
Let’s dive right in, starting with the biggest reason why your photos are blurry:
1. Your shutter speed is too slow
A too-slow shutter speed is the number one culprit of blurry photos.
You might think you can hold perfectly still for half a second, but I assure you there are very few people in the world who can.
In fact, most folks can only handhold a camera down to the 1/160s to 1/80s range (though this can fluctuate, depending on the focal length of the lens, as well as the size, the lens technology, and the level of magnification).
When handholding your camera, remember this rule of thumb to avoid blur caused by camera shake:
Your shutter speed should be the reciprocal of your lens’s focal length.
So if you’re using a 60mm lens, your shutter speed should be 1/60s or faster. With a 200mm lens, use at least 1/200s. With a 400mm lens, use at least 1/400s.
(The longer your lens length, the more camera shake is magnified, so telephoto lenses require much faster shutter speeds.)
Using a 400mm lens, I selected a shutter speed of 1/400s to reduce the possibility of camera shake.
Some lenses and cameras have image stabilization technology built into them. Now, image stabilization usually allows you to slow your minimum shutter speed by around 3-5 stops, so you can handhold a 60mm lens past the 1/8s range. But you should always be cautious and take extra shots just to be sure.
What is your minimum shutter speed?
In addition to the reciprocal rule, it’s important to know your own personal minimum shutter speed.
You see, we all shake a little, but some of us shake more than others. So it’s good to know at what point camera shake becomes an issue for you.
Try this exercise:
Put your camera in Shutter Priority mode and take a photo at 1/500s. Then lower your shutter speed and take another image. Keep this going until you head all the way down to 1s or so, then pull up the images on your computer. Ask yourself: When does the blur become a problem? Personally, I rarely go below 1/125s if I’m handholding my camera.
2. Not using a tripod
If you’re experiencing camera shake and you can’t use a faster shutter speed (due to low-light conditions), or you don’t want to use a faster shutter speed (because you’re purposely trying to blur something in the frame), then you need to steady your camera another way.
And I highly recommend using a tripod. It’ll keep your camera completely steady even as you dial in exposures of one second or longer. If a tripod is too inconvenient, consider a monopod, which is a more compact, flexible option.
Also, when you use a tripod, image stabilization is not necessary and may even be counterproductive, so it’s a good idea to get in the habit of turning any IS off when you put your camera on a tripod.
3. Bad camera-holding technique
For the best stability, practice the official photographer position:
Stand with your feet slightly apart, one staggered forward, and firmly planted to stabilize your body right to left and back to front. Support the camera with your left hand by holding the lens from underneath, and use your right hand to grab the grip and gently press the shutter button. Tuck your elbows tight to your chest and use the viewfinder rather than the Live View screen (holding the camera to your face will help keep it steady).
Some photographers even go so far as to listen to their breathing and heartbeat, taking care to fire the shot between breaths and beats for maximum stability.
Proper technique when handholding your camera.
4. Your aperture is too wide
The size of the aperture determines the depth of field, which is how much of the image is in focus. And this has a direct effect on the sharpness of your photo.
When a lens finds focus, it locks onto a specific distance known as the plane of focus. So if you focus at, say, 15 feet, everything 15 feet away from the camera will have maximum sharpness, and anything in front of or behind that plane will start to blur. The strength of this blur effect – that is, the speed at which sharpness falls off – depends on the aperture.
If you use a wide aperture such as f/2.8, the depth of field will be very shallow. This effect is magnified by longer focal-length lenses. So if you use a telephoto lens and the aperture is f/2.8, there may be only a razor-thin sliver of the image that is in sharp focus. But if you use a small aperture such as f/11 or f/18, the depth of field will be larger. More of the image will be sharp.
Using an aperture of f/20, everything is sharp from foreground to background.
Choosing the right aperture depends on the type of image you want to create. But if you are trying to get everything in the frame as sharp as possible, try using a small aperture (produced by a larger f-number such as f/11 or f/22).
Note that a small aperture will let in less light, so you will need to use a slower shutter speed to compensate. See the first problem on this list!
5. Not using autofocus
These days, cameras are sophisticated. So let them do what they are good at! Cameras do a fantastic job of nailing focus, both with still subjects and subjects in motion.
Is autofocus perfect? No, and later on in this article, I’ll discuss a few times when manual focus is actually helpful. But generally speaking, autofocus is the way to go.
6. Not focusing in the correct place
Even if you’re using the perfect handholding technique or a rock-solid tripod, if you focus in the wrong place, you’ll end up with blurry pictures anyway.
Focusing carefully is especially crucial when using a wide aperture (because you’ll have a razor-thin depth of field!). A slight miscalculation in the focus can throw the subject completely out of the focal plane, or give you a subject with perfectly sharp earlobes and blurry eyes.
Photographers often leave their cameras set to an auto AF-area mode – one that tells the camera to decide automatically what part of the picture should be in focus. Most of the time, modern cameras are pretty good at this, particularly if the subject is prominent in the frame. However, with more complex compositions, the camera can get confused and try to focus on the wrong thing. To specify the focal point yourself, switch to a single-point AF-area mode.
When you look through your viewfinder, you should see an array of little dots or squares laid over the display, like this:
These are your focus points, and they show you where in the frame the camera can lock focus. In single-point AF-area modes, you can use the camera’s direction pad to select one of these dots, and the camera will always focus on that point (and that point alone).
Note that, to tell the camera to focus, you would normally depress the shutter button halfway before pressing it the rest of the way to take the shot. This works pretty well, but cameras can be overly sensitive – if you press too lightly, the button may come unpressed and try to re-focus after you’ve already found your point of focus. If you press too hard, you might capture the shot before the focus is ready. And if you take multiple pictures in succession, your camera may try to focus again before each shot. For these reasons, some photographers highly recommend back-button focusing.
7. Using the incorrect autofocus mode
There are three main autofocus modes offered by most cameras. You should be switching between these modes every time you’re faced with a new shooting situation; otherwise, you’re bound to miss shots that you normally could’ve nailed.
Single-shot autofocus, called AF-S or One-Shot AF, is meant to be used with still subjects.
Continuous autofocus, called AF-C or AI Servo AF, is designed to track movement through the frame, so it works best when your subject is in motion.
Finally, there’s an automatic mode, called AF-A or AI Focus AF. This is likely the default setting on your camera. It reads the scene and determines which of the first two modes it should use.
8. Not using manual focus
While I’m a big advocate of autofocus, there is one particular time when manual focus comes in handy:
When your camera is on a tripod, and you’re using a wide aperture to achieve a very shallow depth of field.
If you want to make sure the most important thing in your frame is sharp, switch to manual focus. Then use the LCD zoom function to magnify the display by 5x or 10x. And make tiny adjustments to the focus until you get it just right.
You can also try manual focusing when shooting close-up subjects (e.g., a flower petal) or when photographing landscapes in the darkness.
9. There’s junk on or in front of your lens
A big smear on your lens is going to affect the clarity of your image.
And if you put a cheap plastic filter in front of your lens, that’ll degrade image quality, too.
So make sure your lens is clean. And make sure that all your filters are high quality. If you always shoot with a UV filter and you keep getting blurry pictures, try taking a few shots without the filter to see if the quality of the glass is negatively affecting your images.
10. Poor lens quality
Beginners love to blame their blurry pictures on their optics, though a bad lens is rarely the problem.
That said, lens quality can make a difference, and you’ll occasionally find lenses that are genuinely soft. And some lenses may be sharp in the center but get blurry around the corners and edges of the image, or sharp at certain apertures but slightly fuzzy at others. Every lens has a unique character that may or may not be useful to the type of work you’re doing.
It’s also worth noting that each lens has a “sweet spot” – a certain aperture at which it performs best. This is usually in the middle of its aperture range, around f/8 or f/11.
Fixed focal length lenses are usually sharpest, though it’s not always convenient to carry around two or three lenses rather than a single, all-purpose zoom.
Mistakes that cause blurry pictures: final words
Well, that’s it:
The 10 most common reasons your pictures are blurry.
If you’ve been struggling with blurry photos, you hopefully now know (or can at least guess) the culprit! And you can make adjustments to get things looking sharp.
Now over to you:
Are your photos blurry? Did you figure out why? Which of these mistakes have you been making? Share your thoughts in the comments below!
The post Top 10 Mistakes That Cause Blurry Pictures (And How to Fix Them) appeared first on Digital Photography School. It was authored by Anne McKinnell.
When you’re beginning to learn about photography, there is a lot to understand. Apart from the basics of cameras and photography, if there is one thing that trips most beginner photographers, it’s the different kinds of lenses available for a single brand of camera body. I’ve been there myself, so I thought I’ll clear up some basics. Let’s talk about Continue Reading Photodoto
The post The Best Camera for Street Photography in 2021 appeared first on Digital Photography School. It was authored by Simon Ringsmuth.
Choosing the best camera for street photography doesn’t have to be difficult, but it can take some time to weigh the options. Fortunately, with all the cameras available today, it’s tough to make a bad choice!
That said, there are some street photography cameras that stand out among their peers – thanks to a unique combination of features.
Fujifilm X100F | f/16 | 1/30s | ISO 200
While street photography can be done with almost any camera, from mobile phones to medium format, there are a few characteristics to look for when choosing your gear. A small size, easy-to-use manual controls, a quiet shutter, and a fast response time are all very much appreciated when capturing slices of life in public spaces.
Other features like a tilting screen, a built-in ND filter, a bright viewfinder, and weather sealing are nice, but not deal-breakers for most photographers. Ultimately, you’ll need to decide what’s important to you and choose accordingly, but if you’re not sure where to start, this list will hopefully be of use.
(Note: In terms of ranking, the top three picks are ranked in order; after that, every camera is about equally good, followed by four honorable mentions that don’t quite make the cut.)
1. Fujifilm X100V
Back in 2010, Fujifilm released the original X100, which featured a groundbreaking set of features including a hybrid optical/electronic viewfinder and an APS-C sensor. It quickly became a runaway hit.
The X100V is the fifth iteration of this camera, and over the years Fujifilm has steadily refined it for street photography. Aperture, shutter speed, ISO, and exposure compensation each have their own control dials, which makes them dead simple to adjust on the fly. The hybrid viewfinder lets you shoot with an old-school rangefinder or an ultra-modern mirrorless, and the flip-out touchscreen makes it easy to compose from low angles.
Other benefits for street photographers include a 23mm fixed lens mated to an APS-C sensor, which results in a 35mm equivalent field of view – perfect for street photography. The lens is sharp and bright with a maximum aperture of f/2, so you can take pictures with ease and never worry about missing a shot due to poor light. The built-in leaf shutter makes photography virtually silent, which is great if you value discretion.
The X100V is small but not exactly pocketable, and it has a full suite of customizable buttons and dials to suit your style. If you want a virtually no-compromises camera designed from the ground up for street shooters, the Fuji X100V is a fantastic option; it is, in my opinion, the best camera for street photography today.
Pros:
Stellar image quality
Easy-to-use controls
Hybrid optical/electronic rangefinder-style viewfinder (the only one of its kind among all the cameras on this list)
Beautiful JPEG files with a wide variety of available film simulations
Cons:
Weather sealing requires the purchase of an adapter ring for the front of the lens
Autofocus isn’t as fast as some of its peers
Expensive, especially for casual photographers
No image stabilization
2. Ricoh GR III
The Ricoh GR line of cameras has been a favorite of street photographers for years, and with good reason. The third iteration of this venerable camera series continues the tradition of being small in size but packing quite a punch, and it offers nearly everything a street photographer could want.
An 18mm lens mated to the APS-C sensor results in a 28mm field of view; this is a bit wider than the Fujifilm X100V, and more like what you might see on a mobile phone. Some people like the wider angle, but I find the 35mm field of view much more pleasing and versatile. Image quality is outstanding, and high-ISO shots look great. Lots of photographers swear by the Ricoh black and white JPEGs, so if you like to shoot in monochrome, this might be a good option.
The Ricoh GR III has plenty of buttons but not as many dedicated controls as the Fujifilm X100V and other cameras on this list. It’s not quite as easy to rapidly change settings, but many custom functions can be mapped to specific buttons to make things easier. The maximum f/2.8 aperture isn’t as bright as the Fuji X100V, but the camera compensates with built-in image stabilization; this makes low-light photography a bit more practical as long as you are shooting still subjects. A non-tilting touchscreen makes composing shots a cinch, but the lack of a dedicated viewfinder is certainly something to consider if you prefer composing your shots by bringing the camera up to your eye.
Pros:
Small size makes it easy to carry in a pocket or handbag
Much more affordable than the Fuji X100V and some other options on this list
Excellent image quality
Built-in image stabilization
Cons:
f/2.8 lens is not as bright as the Fujifilm X100V
The lack of a built-in viewfinder means photos must be composed using the rear LCD screen
Battery life isn’t great, so you might consider carrying a spare
3. Sony RX100 VII
The Sony RX100 line has been around for many years and has gone through myriad iterations to adapt to the demands of photographers. The most dramatic change in recent years is the lens, which used to have a much smaller focal range but now goes all the way from 24mm to 200mm (in equivalent 35mm measurements). This makes the RX100 VII an outstanding camera for many genres, including street photography.
While the lens isn’t nearly as bright as the Fuji X100V’s or Ricoh GR III’s, its maximum f/2.8 aperture on the wide end is great for daytime street photography. This quickly shrinks to a maximum f/4.5 aperture as you zoom in, but most street photographers typically shoot wide as opposed to telephoto.
The 1″ sensor in the Sony RX100 VII is what enables this camera to have such a versatile lens. And while it’s no match for its APS-C and full-frame siblings’ image quality and high-ISO performance, Sony makes up for it in terms of sheer technological prowess.
The RX100 VII camera is packed to the gills with features normally found on high-end mirrorless cameras costing thousands of dollars. Autofocus is snappy and reliable and includes subject tracking and eye AF, video recording is outstanding, and the pop-up viewfinder is a boon for street photographers. A rear touchscreen, a relatively robust set of manual controls, and several customizable buttons mean you can set the camera to shoot how you want to get the street photos you might otherwise miss. At the end of the day, the reason this camera earns a spot on my list is due to its unique combination of features and size; no other camera offers so much in so small a body.
Pros:
Very small size makes the camera extremely portable and pocketable
Incredible technology, from 4K video to fast, reliable autofocus
Versatile lens with a 200mm focal length at the long end
Optical stabilization helps you get clear shots of still subjects in low light
Cons:
f/2.8 aperture is only available at the widest end of the focal range
The small image sensor results in less depth of field and inferior high-ISO performance compared to other cameras
The pop-up viewfinder isn’t instantly accessible
4. Panasonic Lumix LX100 II
While the Panasonic Lumix LX100 II isn’t as feature-packed as other cameras on the list, it nonetheless acquits itself nicely in the world of street photography. It’s easy to use and packs fast autofocus and responsive controls, including dedicated dials for shutter speed and exposure compensation. The built-in 24-75mm (35mm equivalent) lens is great for wide-angle shots as well as tighter crops, and the bright f/1.7 aperture is perfect for low-light photography, though it does shrink to f/2.8 when zoomed to 75mm. Street photographers will love the small size of this camera, though the lens does stick out from the body enough to cause problems in a pocket or handbag.
Panasonic packs a lot of technology into its cameras, and the Lumix LX100 II has a range of high-tech features that make it well suited to street photographers. The autofocus points cover nearly the entire frame so you can focus almost anywhere, and built-in crop modes let you frame your shots in a variety of different aspect ratios.
The touchscreen makes focusing a breeze, which can be useful for on-the-spot candids, and the electronic viewfinder is great for thoughtfully composing your photos. Street photographers will also appreciate the aperture ring, which gives you full control over the aperture without requiring a trip to the camera menus.
Pros
Manual control dials for shutter speed and aperture
Built-in zoom lens covers a useful focal range for street photography
Small size
Cons
Image quality isn’t as good at higher ISO values
f/1.7 aperture is only available at the widest end of the focal length range
The viewfinder isn’t as sharp and crisp as others on this list, which makes composing some shots a little frustrating
5. Canon G1 X Mark III
The Canon G1 X Mark III combines the best of compact cameras and their larger-sensor DSLR/mirrorless brethren; the result is an imaging tool that is quite well suited to many types of street photography.
The G1 X Mark III’s overall appeal is a bit hampered by its size as well as some limitations of the built-in lens, but anyone after a street photography camera would be wise to consider it. The huge APS-C image sensor on the G1 X III makes for superb shots in a variety of lighting conditions, and a long list of impressive technical specifications makes this camera great for street shots.
Composing is simple with the rear LCD, and Canon goes one step further than most by offering a fully articulating touchscreen. Autofocus isn’t particularly noteworthy, especially when tracking moving subjects, but that’s usually not a primary concern for street photographers.
The 24-72mm (35mm equivalent) focal range of the zoom lens means you can get wide shots and street portraits, but the aperture range on the lens is definitely less than ideal. The f/2.8 maximum aperture (when zoomed out) is respectable, but the f/5.6 aperture when zoomed in severely limits this camera’s functionality in low light.
However, high-ISO shots look great, and street photographers will love the abundance of control dials and function buttons to access commonly used settings. The electronic viewfinder is crisp and sharp, and while not as nice as Canon’s high-end cameras, it’s certainly good enough for street photography.
Pros:
Excellent image quality, especially compared to some cameras on this list with much smaller sensors
Leaf shutter lets you use very fast internal flash sync speeds
Built-in neutral density filter lets you explore more creative possibilities
Cons:
Small maximum aperture limits the usefulness of the built-in lens, especially when zoomed in
Battery life is not great
The lens isn’t as sharp as others on this list
6. Nikon Z5
The inclusion of the Nikon Z5 on this list might seem a bit strange, but hear me out. The Nikon Z5 isn’t specifically designed for street photography like the Ricoh GR III or Fuji X100V, and it’s larger and heavier than the Canon G1 X Mark III. You also need to attach a lens because it doesn’t include one like the Panasonic LX100 II and others.
But it has one standout quality for street photography: it is currently the cheapest full-frame mirrorless camera on the market. So for street photographers who value image quality above all else, the Nikon Z5 is definitely worth a look.
In addition to a full-frame sensor, the Nikon Z5 has plenty of other features to make street photographers sit up and take notice. Its flip-out touchscreen lets you shoot from up high and down low, and it has more than enough manual controls and customizable settings. It features a bright viewfinder, fast autofocus, built-in image stabilization, and an (optional) fully electronic shutter for discreet shooting.
The Nikon Z5 can be paired with Nikon’s Z lenses, many of which are outstanding for street photography. Bear in mind that the Z5 is expensive, heavy, and downright cumbersome next to its nimble, pocketable counterparts. But for full-frame street shooters, it’s one of the best options available.
Pros:
Exquisite image quality and autofocus performance
Dual memory card slots
Built-in image stabilization helps you get great shots with slower shutter speeds
Cons:
Larger than almost every camera on this list; it will not fit in a pocket
Very few small Z-mount lenses available, which limits its appeal for street photography
7. Olympus PEN E-PL10
The Olympus PEN series has long been beloved by street photographers, and while not up to the standards of some of its peers, the PEN E-PL10 definitely holds its own in key areas. It sports a Micro Four Thirds sensor, which sits comfortably between the 1″ sensor of the RX100 series and the APS-C sensors offered by cameras such as the G1 X Mark III and Fuji X100V. It strikes a nice balance between size and capability, with features that appeal to many street photographers.
Like the Nikon Z5, the PEN E-PL10 requires a separate lens, but Micro Four Thirds lenses are much smaller than their Nikon/Canon/Sony counterparts. For example, the 14-42mm lens (28-84mm equivalent) shown in the photo above makes the E-PL10 about the same size as the Fuji X100V when the lens is zoomed out to 14mm. And there’s a huge variety of MFT lenses, many of which are great for casual street shooting.
The PEN E-PL10 isn’t as feature-rich as some of its more pro-oriented siblings like the OM-D E-M1 Mark III, but it has a full complement of manual controls so you can get precisely the shot you’re after. Some street photographers might lament the lack of a dedicated viewfinder, but the articulating rear touchscreen makes composing photos easy and enjoyable.
The E-PL10 also stands out thanks to built-in image stabilization and fast, reliable autofocus. And the PEN E-PL10 is much less expensive than other cameras on this list, which makes it a great option for people wanting to get started with street photography.
Pros:
One of the smallest interchangeable lens cameras on the market
Excellent manual controls and built-in image stabilization
Inexpensive, even when factoring in the cost of a lens
Cons:
A Micro Four Thirds sensor means high-ISO shots aren’t top-notch
No dedicated viewfinder
Serious street shooters might outgrow the feature set of the camera rather quickly
Honorable mentions
The cameras listed below are all well-suited to street photography, but I generally consider them outliers in this type of discussion. While they are all worth considering, each is limited by some important factors, and I would generally recommend one of the initial cameras on this list over one of the honorable mentions.
However, if money, size, or access to the latest technology are not your primary concerns, then by all means, look at the models listed below.
8. Leica Q2
The Leica Q2 is a no-compromise street photographer’s dream. Everything about this camera is ideally suited to street photography, from its full-frame sensor to its exquisitely sharp 28mm f/1.8 lens to the brilliant optical viewfinder, durable construction, and weather sealing.
While you could buy several Fujifilm X100Vs and a Ricoh GR III for the same price as a Leica Q2, you would be making some compromises and tradeoffs in the process that you simply don’t have to think about with the Leica. So if money is no object and you don’t mind a massive lens protruding from the camera body, the Leica Q2 is my top recommendation.
9. Sony RX1R II
If you’re searching for an ideal street photography camera but can’t afford the Leica Q2, then the Sony RX1R II should sit at the top of your list. It’s similar to the Leica in many ways, with specs that surpass almost every camera at the top of this list, even if it doesn’t quite reach the same soaring heights as its German-made counterpart.
If the Q2 sits at the top of the podium, the RX1R is a very close second place. It’s expensive, but not quite as much as the Q2. It has a 35mm f/2 lens that isn’t quite as wide or bright as the Q2. It has a viewfinder, but it pops out like a periscope instead of being elegantly embedded in the camera body. While the rear screen flips out for greater versatility, the camera sacrifices weather sealing as a result.
In short, the Sony RX1R II is an outstanding camera for good reasons, but generally not one I would recommend for most casual street shooters.
10. Sony a6100
The Sony a6100 isn’t designed for street photography, but don’t overlook it. It’s a small, well-rounded, highly capable camera that also happens to serve the needs of street photographers quite well.
The Sony a6100 is a full-featured APS-C camera that accepts all of Sony’s E-mount lenses, and it packs some impressive technology to help you capture the images you’re after. Everything you would expect in a proper camera is here: manual controls, a bright viewfinder, great autofocus, and a flip-out rear screen. It’s small enough to tote around but not as pocketable as the Ricoh GR III or Sony RX100 VII. I would recommend pairing it with the 20mm (30mm equivalent) f/2.8 pancake lens, which essentially transforms this camera into a Fujifilm X100V.
Strictly from a street photography perspective, I prefer the X100V – but some might appreciate the technology and the ability to change lenses offered by the a6100.
11. Fujifilm X-E4
It almost doesn’t seem fair to relegate the Fujifilm X-E4 to the bottom of the honorable mentions category. In many ways, it seems like one of the best cameras for street photography you can buy! But while this camera has an extensive list of features that appeal to street photographers, I can’t recommend it over the Fuji X100V.
The X-E4 and the Fujifilm X100V share many common elements, from sensor size to flip-out screen to manual controls and even an integrated viewfinder. But while the X-E4 is newer and less expensive, it doesn’t come with a lens, and by the time you add one that is suited to street photography, the price is almost the same as an X100V.
And the X100V has a wide-aperture lens, better manual controls, and a hybrid optical/electronic viewfinder that will appeal to a lot of street photographers. As a small, capable, interchangeable lens camera, the X-E4 is great. But for street photography, the X100V is the better choice.
Fuji X100F | f/2 | 1/600s | ISO 200
The best camera for street photography: final words
Street photography is all about capturing the candid everyday moments that make up the world around us. And almost every camera is capable of getting those shots – mobile phones, pocket cameras, and even DSLRs with big lenses.
There’s no rule that says the camera you already have isn’t going to be well suited to street photography. And your only inherent limitations are the ones you set for yourself. But if you’re looking for the best camera for street photography, I hope this list was helpful and gave you a few things to think about!
Street photography camera FAQs
Can I use my mobile phone for street photography?
Mobile phones are great for street photography, as long as you have plenty of light. When the lights go down, photo quality decreases dramatically, especially if you are shooting moving subjects. (Night Mode on mobile phones almost always requires your subjects to be very still.)
What focal range is best for street photography?
This one is largely a matter of personal taste, but anything between 25mm and 35mm is generally ideal for street photography. Much wider than 25mm and people start to look a bit distorted. Much narrower than 35mm, and you will have trouble fitting everything into the frame.
Can I use a DSLR for street photography?
While traditional DSLRs can certainly be used for street photography, I don’t recommend them when there are so many excellent mirrorless options available. DSLRs are large and conspicuous, and Live View shooting often uses contrast-detection autofocus (which is highly unreliable for dynamic street photography settings).
Do I need weather sealing on my camera?
Unless you are shooting in extreme weather conditions, you probably don’t need weather sealing. It’s nice to have for peace of mind and I wouldn’t recommend against it, but as long as you’re careful not to let your camera get soaked with rain or covered in dust, you’ll probably be fine.
Do I need to focus manually when shooting street photos?
Many street photographers enjoy shooting manually, which is very simple thanks to focus peaking on modern mirrorless cameras. However, autofocus works perfectly fine, and there is nothing wrong with using it for street photography.
The post The Best Camera for Street Photography in 2021 appeared first on Digital Photography School. It was authored by Simon Ringsmuth.
The post 11 Surefire Landscape Photography Tips (+ Stunning Examples) appeared first on Digital Photography School. It was authored by Darren Rowse.
Want tips for stunning landscape photography? You’ve come to the right place.
In this article, I’m going to share 11 easy landscape photography tips – which are guaranteed to get you taking beautiful images, no matter your experience level. I’ve also included plenty of example photos, so you can see the tips in action (and know that they really do work!).
Let’s get started.
1. Maximize your depth of field
In landscape photography, a deep depth of field is almost always the way to go.
In other words:
You want as much of your scene in focus as possible. The simplest way to do this is to choose a small aperture setting (i.e., a large f-number, such as f/11 or f/16). Because the smaller your aperture, the greater the depth of field in your shots.
Do keep in mind that smaller apertures mean less light is hitting your image sensor. So you’ll need to compensate for the narrow aperture either by increasing your ISO or lengthening your shutter speed (or both).
PS: Of course, there are times when you can get some great results with a very shallow depth of field in a landscape setting. It’s just a tricky technique that requires a lot of finesse.
2. Use a tripod
To maximize your depth of field, you’ll be using a small aperture – and you’ll also likely shoot with a long shutter speed.
But unless you’re careful, you’ll end up with an unusably blurry image.
That’s where a tripod comes in handy. You can use it to stabilize your camera and keep your photos tack sharp for 1-second, 5-second, and even 30-second long exposures.
In fact, even if you can shoot at a fast shutter speed, a tripod can still be beneficial. It’ll force you to slow down and consider your composition more carefully.
Also, to prevent camera shake from pressing the shutter button, consider a remote shutter release.
3. Look for a focal point
Pretty much every shot needs some sort of focal point, and landscape photography is no different.
In fact, a landscape photograph without a focal point ends up looking rather empty. And it’ll leave your viewer’s eye wandering through the image with nowhere to rest.
Focal points can take many forms in landscape photos. They can range from a building or a structure (such as in the photo above) to an eye-catching tree, a boulder or rock formation, a silhouette, or something else entirely.
Also, think not only about what the focal point is, but where you should position it within the frame. The rule of thirds can be useful here.
4. Think foregrounds
Here’s one key tip that can make your landscape shots stand out:
Think carefully about the foreground of your composition…
…and include clear points of interest.
When you do this, you give those viewing the shot a path into the image. And you create a sense of depth, which is always a nice bonus.
5. Consider the sky
In landscape photography, you should always think about the sky.
Most landscapes will either have a dominant foreground or a dominant sky. And unless you include one or the other, your shot will end up looking boring.
Start by observing the sky. If it’s bland and lifeless, don’t let it dominate your shot; place the horizon in the upper third of the image (though you’ll want to make sure your foreground is interesting).
But if the sky is filled with drama, interesting cloud formations, or colors, then let it shine! Place the horizon in the bottom third of the frame to emphasize the heavens.
(Also, consider enhancing skies, either in post-production or with filters. For example, you can use a polarizing filter to add color and contrast.)
6. Use lines to lead the eye
One of the questions you should always ask yourself as you do landscape photography is:
“How am I leading the eye of those viewing this composition?”
There are a number of ways to lead the eye (and including a clear foreground subject works well). But one of my favorite ways is to provide viewers with lines that lead them into the image (such as the road in the photo above).
Lines give an image depth and scale. Plus, they can offer a point of interest by creating patterns in your shot.
7. Capture movement
When most people think about landscapes, they think of calm, serene, and passive environments. However, landscapes are rarely completely still – and if you can convey this movement, you’ll add drama and mood to your image. You’ll also create a point of interest.
But how can you convey movement in a landscape?
You can focus on wind in the trees, waves on a beach, water flowing over a waterfall, birds flying overhead, moving clouds, etc. Capturing this movement generally requires a longer shutter speed (sometimes a shutter speed of many seconds!).
Of course, a slow shutter speed means more light hitting your sensor, so you’ll either need a narrow aperture or an ND filter. You might also choose to shoot at the start or the end of the day when there is less light.
8. Work with the weather
A scene can change dramatically depending upon the weather, so choosing the right time to shoot is of major importance.
Many beginner photographers see a sunny day and think that it’s the best time to go out with their camera. However, an overcast day that is threatening rain might present you with a much better opportunity – you can create an image with real mood and ominous undertones.
Look for storms, wind, mist, dramatic clouds, sun shining through dark skies, rainbows, sunsets and sunrises, etc. And work with these variations in the weather rather than just waiting for the next sunny, blue sky.
9. Photograph during the golden hours
I chatted with a landscape photographer recently who told me that he never shoots during the day. His only shooting times are around dawn and dusk because that’s when the light is best, and that’s when the landscape comes alive.
These golden hours, as they’re often called, offer great landscape photography for a number of reasons.
For one, you get gorgeous golden light. I also love the angle of the low sun; it creates interesting patterns, dimensions, and textures, all of which can enhance a landscape photo.
10. Think about horizons
This is an old tip but a good one. Before you take a landscape shot, always consider the horizon on two fronts:
Is it straight? While you can always straighten images later in post-production, it’s easier if you get it right in-camera.
Where is the horizon positioned in the frame? A natural spot for the horizon is along one of the rule of thirds gridlines rather than in the middle of the frame. Of course, rules are meant to be broken – but I find that, unless you’re photographing a very striking scene, the rule of thirds usually works here.
11. Change your point of view
You drive up to the scenic lookout, get out of the car, grab your camera, turn it on, walk up to the barrier, raise the camera to your eye, rotate left and right a little, zoom a little, then take your shot – before getting back in the car and driving to the next scenic lookout.
We’ve all done it. However, this process doesn’t generally lead to the “wow” shot that many of us are looking for.
Instead, take a little more time with your landscape photos. Find a more interesting point of view.
You might start by finding a different spot to shoot from than the scenic lookout.
You can also look for new angles; this could mean getting down onto the ground to shoot from below, or heading up high to gain a nice vantage point.
Explore the environment and experiment with different viewpoints. You might find something truly unique!
Landscape photography tips: conclusion
Now that you’ve finished this article, you’re ready to capture some stunning landscape photography!
So grab your camera, head out, and find a subject to shoot.
It’ll be a lot of fun!
Now over to you:
Which of these landscape photography tips are you going to try first? And do you have any landscape photo tips of your own? Share your thoughts (and images!) in the comments below.
The post 11 Surefire Landscape Photography Tips (+ Stunning Examples) appeared first on Digital Photography School. It was authored by Darren Rowse.
The post Weekly Photo Challenge – Green appeared first on Digital Photography School. It was authored by Sime.
Green! That’s our theme this week and, for some, will be really easy! But, as I say pretty much every week, we want you to take a minute and think about the theme and make it a new photo rather than dipping into your Flickr account for the old stuff! (like I’m doing as it’s school holidays and I’m building tree houses and not out making photographs!) (For how to enter your photo, scroll to the bottom of this post)
Make sure you tag your photos #dPSWeeklyChallenge and #dPSGreen on social media.
Here’s an interesting article about GREEN in images, if you’re interested, but mostly, lets just crack on with four examples of green, and then let’s see you make and share yours!
A green leaf?
A green path?
A green car?
All things green I’ve previously spotted on my travels, you can find ‘green’ pretty much anywhere! (I looked up and the only thing green in the room is the Nerf gun my 7yo shot me with earlier… ha!)
What will you find and photograph? Will it be unique?
#dPSWeeklyChallenge #dPSGreen
How do I upload my photo to the comments?
Simply upload your shot into the comments field (look for the little camera icon in the Disqus comments section) and they’ll get embedded for us all to see. Or, if you’d prefer, upload them to your favorite photo-sharing site and leave the link to them.
The post Weekly Photo Challenge – Green appeared first on Digital Photography School. It was authored by Sime.
The post Canon EOS R3: Eye-Control AF, 30 FPS, a BSI Sensor, and More appeared first on Digital Photography School. It was authored by Jaymes Dempsey.
Canon has introduced the EOS R3, a full-frame, mirrorless “high-performance professional camera,” designed for sports and action photographers.
As Canon explains, “The camera will put great emphasis on superb AF performance and speed,” and will lie “squarely between the EOS R5 and EOS-1D X Mark III cameras.”
In other words, while the EOS R3 will be Canon’s most powerful mirrorless model to date, don’t expect it to outcompete the EOS 1D X Mark III in every way. The EOS R3 won’t be a mirrorless 1D X replacement, and it likely isn’t a high-resolution action camera, either.
That said, the EOS R3 sounds pretty darn impressive. Here’s everything we know about this upcoming mirrorless powerhouse:
Canon EOS R3 specs
The EOS R3 will feature Canon’s own back-illuminated sensor. BSI technology packs key circuitry behind the sensor – rather than in front – to further expose photodiodes to light. This makes for enhanced high-ISO performance, and it also delivers superior dynamic range, a feature appreciated by photographers of all stripes.
The EOS R3 boasts a whopping 30 frames-per-second continuous shooting speed (using the electronic shutter, that is; Canon hasn’t released any information on continuous shooting via the mechanical shutter). And while many action photographers have resisted mirrorless technology, in part due to slow electronic shutter read-out speeds, Canon has made significant strides toward eliminating the problem; the company claims the R3 “provid[es] substantially faster read-out speeds during still-imaging recording,” and that the camera “is designed to produce less ‘rolling shutter’ distortion during electronic shutter operation.”
As for the AF system itself, brace yourself. The EOS R3 packs technology from the Canon EOS R5 and R6, both of which deliver lightning-fast AF performance. And the EOS R3 offers “even better performance during portrait and action-type shooting” thanks to Canon’s Deep Learning technology. If you’re a sports photographer, wildlife photographer, or photojournalist, the EOS R3 may soon be the camera to beat – even if Canon officially ranks it below the 1D X Mark III.
Build quality is on par with the 1D X Mark III series, and like the 1D X cameras, the EOS R3’s design sports an integrated vertical grip:
Last but certainly not least, the Canon EOS R3 will debut a never-before-seen mirrorless feature: Eye-Control AF, which promises to set focus basedon where your eye is looking.
Canon writes:
The electronic viewfinder of the EOS R3 will offer photographers the ability to select the initial area for AF tracking by simply looking directly at the viewfinder location where they want to begin AF. With Eye-Control AF and Servo AF activated, the camera will focus on and track moving subjects at that location in the frame.
Of course, we don’t yet know how well Eye-Control AF will work. Canon has implemented a similar feature in the past, with mixed results. But given Canon’s recent autofocus successes, I’m cautiously optimistic that Canon can offer a pro-level Eye-Control AF this time around.
Canon EOS R3 release date and price
The EOS R3 is still under development and has no official release date. The R3’s sports-focused marketing does hint at a pre-Olympics (i.e., June or early July) introduction, however.
The EOS R3’s price is also a mystery, though the camera’s position between the $ 3900 USD EOS R5 and the $ 6500 USD 1D X Mark III suggests a $ 4500 to $ 5500 price tag.
Final words
While we’re still missing plenty of information on the EOS R3, new tidbits will likely leak in the coming weeks and months.
So make sure to keep an eye out for the latest R3 news.
Now over to you:
What do you think of the Canon EOS R3? Are you impressed? Excited? Disappointed? How much do you think the camera will cost? Share your thoughts in the comments below!
The post Canon EOS R3: Eye-Control AF, 30 FPS, a BSI Sensor, and More appeared first on Digital Photography School. It was authored by Jaymes Dempsey.
The post 15 Mountain Landscape Photography Tips for Stunning Images appeared first on Digital Photography School. It was authored by John McIntire.
Of all of the undertakings you can make with your camera, mountain landscape photography can be one of the most rewarding. Apart from the fact that mountains are straight-up beautiful, their imposing nature makes them a great landscape photography element.
This article will give you 15 quick tips – so you get better results the next time you go chasing after mountains.
1. Fill the frame
Mountains, by nature, are huge. You don’t have to get the entire thing in the frame. It’s just as acceptable to fill the frame with a certain element that draws your attention. This will make the mountain the background in your images.
Yes, it can be tempting to try and get a huge vista in the frame. But if you take a moment to look for smaller details that could make an interesting photo, you might find something unexpected.
Although the entirety of the mountain isn’t in the frame, it is still clear that the background is a mountain, and the tight crop gives a clue to just how big it is. Canon 5D Mark III | Canon EF 70-200mm f/4L IS USM | 200mm | f/5.6 | 1/2000s | ISO 200
2. Use reflections when possible
Using reflections in your compositions is a great way to show off mountains. Canon 7D | Canon EF 35mm f/2 | 35mm | f/16 | 1/50s | ISO 100
If the mountains you are photographing are near a body of water, you already have a ton of visual interest to use in your foregrounds.
If you can, wait until the water is still. Then you can use the reflections of the mountains in your composition. This may be personal taste, but it is always a winning combination in my book.
3. Show scale with smaller elements
This tiny village near the top of a mountain in Spain shows just how enormous the landscape is. Canon 7D | Canon EF 35mm f/2 | f/11 | 1/60s | ISO 100
Again, mountains tend to be huge, but when you shoot with an ultra-wide-angle lens, you wind up pushing the perspective back. And this makes it difficult to give your viewers a true sense of just how large things are within your frame.
You can combat this by including an element that shows the scale of things in the scene. Buildings, people, and animals all work well.
4. Include people in the landscape
As with the previous point, putting people in your mountain landscape photography can convey just how big the mountains are.
It does more than that, however. Because with the inclusion of a human element, you are adding something that your viewers can relate to.
5. Try a panorama
Stitching several images together into a panorama is a great way to ensure that you capture the entire scene. Canon 7D | Canon EF 35mm f/2 | f/16 | 0.4s | ISO 100
When you are photographing mountains, don’t be afraid to take a sequence of shots that you can stitch together as a panorama.
Mountain ranges tend to suit the panorama format especially well because there is just so much to see!
6. Fill your foreground
This may be standard landscape photography advice, but it still applies when shooting mountains. If you’re using a wide-angle lens, you will have plenty of space in your foreground – and you’ll need to fill it with something interesting.
So pick a foreground subject and get up close to it. This could be flowers, an interesting rock formation, or something simple like a sign.
Then take a shot that combines the interesting foreground and a beautiful mountain background, like this:
Having lots of visual interest in the foreground of your images can help your viewers stay engaged. Canon 7D | Sigma EF 10-20mm f/3.5 | 10mm | f/11 | 1/60s | ISO 100
7. Include a human element
Not all mountains are wild places. Including signs of human habitation can be a good way to capture something interesting. Canon 5D Mark III | Canon EF 70-200mm f/4L IS USM | 169mm | f/11 | 1/60s | ISO 100
By human element, I don’t mean people. Instead, I advise you to find something human-made that will show your viewers how the people that live nearby incorporate the mountain into their lives.
On their own, mountains are impressive. But as part of our world, they are also part of our lives. If you can show this in your images, you might be able to convey an interesting narrative.
8. Use a different focal point
In mountain landscape photography, the mountain doesn’t need to be the focal point of your image. Even in this case, where there’s a mountain, a glacier, and a volcano! Canon 7D | Canon EF 35mm f/2 | 35mm | f/11 | 0.5s | ISO 100
In your mountain landscape photography, the mountain does not need to be the focal point of your image. Instead, you can find a different focal point and use the mountain as environmental information.
Of course, you can still take a photograph of the sweeping vista. But once that is done, look smaller – and see if there are other subjects to be found in the scene.
9. Use your GND filters
Graduated neutral density filters are a great way to control your exposures. Canon 7D | Sigma EF 10-20mm f/3.5 | 10mm | f/16 | 0.3s | ISO 100
To help you get good exposures while in the field, don’t forget to pack your graduated neutral density filters. These will allow you to even out your exposures at the time of capture, making it easier to process your images when you get back home.
10. Wait for the light
Here, I waited from 4 AM to 8 AM for the fog to break. If you can, always, always try to wait out the weather. Canon 7D | Sigma EF 10-20mm f/3.5 | 11mm | f/16 | 0.5s | ISO 100
This tip cannot be understated. If you want the best-looking mountain landscape photography images that you can produce, wait for the light to be at its best. If you get on location early and find the composition that you want, don’t be afraid to stay until the light shifts – even if it takes a couple of hours.
Yes, I know it can seem boring, and it’s hard to justify the effort, but please, trust me. It is very much worth the time and effort.
11. Use longer lenses
When you are packing for your trip into the mountains, don’t forget to take your longer lenses with you. Standard-length primes can be great for panoramas, but telephoto lenses can help you pick out smaller details in your scenes.
In other words:
There is a lot of room in landscape photography for lenses aside from the wide angles that dominate the genre.
12. Plan for the light
With the technology available to us, it’s easier than ever to know exactly which direction the light is going to come from on any given day of the year.
So once you know when and where you are going, do your research and figure out where the sun is going to rise or set. Then plan your shots based on that.
13. Plan for the weather
Like planning for the light, it’s also a good idea to plan for the weather. Knowing the weather will help you determine if you need to pack any extra gear like rain covers and waterproof clothing.
Of course, it’s also in the best interest of personal safety to have an idea of when snow or rain might appear. This is even more important if you intend to be on the mountain, especially after golden hour.
14. Don’t avoid bad weather
After an entire day of low visibility, the fog broke for a total of five minutes, just long enough for a shot. Don’t avoid bad weather, even if you ultimately fail to get a photo. Canon 7D | Sigma EF 10-20mm f/3.5 | 20mm | f/16 | 1/30s | ISO 100
While planning for bad weather is good, you don’t always need to stay indoors. Many times, the most interesting photos will come in the worst weather.
In fact, some of the best light I have ever seen has been during a break in a storm; these breaks allow just enough light to make things look like a fairytale.
And if you lock yourself away when the weather is bad, you’ll never get to experience such moments.
15. Be safe
Above all, strive for safety. Mountain landscape photography can be incredibly rewarding, but don’t risk your personal well-being for a great shot.
Watch where you’re going, take weather-appropriate clothing, be aware of the forecast, and tell somebody where you are going to be. And if you’re going to stay out until after blue hour, make sure you know exactly how to get back.
Mountain landscape photography: the end
I hope this article has inspired you to get out and create your own mountain landscape photography.
The next time you’re out shooting mountains, remember these tips – and have fun!
Have you photographed mountains before? Do you have any tips of your own? Share them in the comments below!
What type of lens is best for mountain landscape photography?
All lenses have their uses. Wide-angle lenses are the most popular, but standard and telephoto lenses can work, too.
What’s the best time of day to photograph mountains?
It entirely depends on where the light is hitting the mountain. The golden hours are best as long as the sun isn’t behind your mountain.
How do you show how big a mountain is in a photograph?
You include an element that is easy for the viewer to identify, such as a person. This will give your images a sense of scale.
Why do the mountains in my photographs look so far away?
Wide-angle lenses distort perspective, and this can push everything back in the frame. Use a standard focal length (35mm to 50mm) for a perspective close to the human eye’s. To include more in the frame, consider shooting in a panoramic format.
The post 15 Mountain Landscape Photography Tips for Stunning Images appeared first on Digital Photography School. It was authored by John McIntire.
