The post How to Photograph Into the Light for Stunning Results appeared first on Digital Photography School. It was authored by Simon Bond.
In this article, I’ll explain how to photograph into the light.
This technique is sometimes called contre-jour, a French term that literally translates to “against the light.”
Now, there are various ways you can approach this style of photography. You can choose to photograph stunning silhouettes, or you can attempt to mitigate dark areas in your photo through post-processing.
To discover the best ways of photographing into the light, read on!
Why should you photograph into the light?
Photographing into the light is a great way to add drama to your photos.
(Note that photographing into the light is also known as backlit photography.)
But to get nice images, you’ll need to have a good understanding of how the light will interact with your camera.
Now, almost everyone will have shot against the light at some point (e.g., when photographing a sunrise or sunset).
But if you can understand how to control the light across your frame, you can create especially incredible results.
For instance, one of the most obvious effects you’ll see when doing backlit photography is a silhouette, which I discuss in the next section.
How to create stunning silhouettes
Silhouettes are shapes formed by objects in front of a brighter background.
They’re very appealing to photographers because you can produce powerful shapes, which will give your images a very graphic feel.
Shapes and patterns are important when silhouetting an image.
You won’t get good silhouettes by just pointing the camera into the light, however. Some planning is needed to get the best result.
Specifically, you’ll want:
A low angle: Silhouettes are best when the entire silhouetted shape sits against the bright background. Since the background is usually the sky, getting down to a low angle to photograph upward is best.
A clear horizon line: Other than the objects you want to silhouette, try to avoid placing other elements on the horizon line. This often means a clear horizon line is best. Also, avoid having objects overlap with the main subject you’re silhouetting.
To expose for the sky: Expose for the bright background; this will lead to dark, beautifully silhouetted foreground objects.
Other elements: Include other elements such as framing, lines, and repetition that draw the eye toward your silhouette.
Here, I got down on the ground for a nice low angle. That way, I was able to capture the entire silhouette.
Drama in the sky
The sky is an important part of your photos, especially if you’re a landscape photographer. And photographing into the light can lead to some of the best results.
What you’re looking for are beautiful sunset colors, rays of light coming through clouds, and perhaps a starburst effect from the sun.
You’ll need to choose the correct time of day to improve your results – often sunrise or sunset. The hour before sunset and the hour after sunrise are also optimal.
The final key element is often about 30% cloud coverage.
Here are a few quick tips for photographing backlit landscapes:
Pay attention to the weather forecast: Check ahead for the forecast and use satellite images of the clouds in your area. That way, you can know with greater certainty if the sky will look good.
Arrive early: Arriving an hour ahead of the ideal light will help you plan your photo, and you’ll be ready if you get unexpected rays of sunshine breaking through the clouds ahead of when you want to photograph.
Compose with leading lines: If possible, use leading lines to guide the eye toward the sun or to an interesting area of the sky.
You can also photograph against artificial light sources. Here, the background is wire wool.
Balancing the light
When photographing silhouettes, an underexposed foreground is what you want – but what if you’re after a detailed background and a detailed foreground?
For the best result, you’ll need to balance the light throughout your photo. Otherwise, you’ll produce an overexposed sky or an underexposed foreground.
There are two approaches you can use; one is in-camera, and the other uses post-processing.
Filters: Graduated neutral density filters are a great way to balance the light across your photo. These come in different strengths, so you can adapt your setup to the scene in front of you.
Digital blending: Combine a series of bracketed photos in post-processing. This approach uses luminosity masks and layers in Photoshop.
Combination: The best approach is to combine the above methods. Get the exposure as correct as possible in-camera, then use post-processing to enhance your results further.
How to handle flare
Photographing into the light can lead to flare in your photos.
While flare can be used artistically, you’ll at least want to control it. And you’ll sometimes need to prevent the flare entirely.
Use the following tips to control flare in your photos:
Choose your lens carefully: A lens with a smaller number of elements will cause less flare. So use a prime lens when possible.
Add a lens hood: Use your lens hood to block stray light.
Use a narrow aperture: When the sun is partially obscured by clouds, tree leaves, or the horizon line, use a small aperture such as f/11; you can give the sun a starburst effect.
Block the sun: Stick your hand in the image and cover the sun. Then take a second photo, this time without your hand. You can combine these two images in post-processing using layer masking. The final image won’t have your hand or flare.
The sun in this photo looks like a star due to a small aperture.
Natural or artificial?
Photographing into the light usually means photographing toward the sun, or photographing from a dark location (e.g., under a bridge) toward the light.
In such cases, the light source is natural and can’t be controlled. However, if you use off-camera flash, you can control the direction of the light.
So try using strobes to produce silhouettes or to backlight your subject. And at night, try light painting, and make sure the light source is behind your main subject.
Photographing into the light is right!
Photos of a sunset are always taken into the light. I merged a series of bracketed photos to balance light across the frame.
Successfully photographing into the light can be a bit of a challenge.
But with the right approach and the correct camera settings, you’ll get great results!
Now over to you:
Do you enjoy photographing into the light? What are your favorite situations for producing backlit images? Share your thoughts and photos in the comments below!
The post How to Photograph Into the Light for Stunning Results appeared first on Digital Photography School. It was authored by Simon Bond.
The post Why Your Kit Lens Is Better Than You Think (With 18-55mm Examples) appeared first on Digital Photography School. It was authored by Andrew S. Gibson.
If you’re like most photographers, your first “serious” camera came with a kit lens, probably a standard, 18-55mm option.
But is a kit lens worth keeping? Is it capable of taking great images? Or should you immediately upgrade to a more expensive option?
That’s what I aim to address in this article.
I’m going to show how a kit lens, despite its shortcomings, can get you stunning images (and I give plenty of examples along the way!). I’m also going to give you a few quick tips for working with an 18-55mm lens.
Let’s dive right in.
Is a kit lens bad for photography?
Most kit lenses are, by nature, inexpensive (a polite way of saying cheap).
And that’s understandable – manufacturers are in competition with one another and they keep the prices of their camera bundles down by creating inexpensive kit lenses. A kit lens will get you started, and you can buy other, better-quality lenses when you outgrow it.
But if kit lenses are cheap, does that mean you should go out and buy a better lens straight away?
No, it doesn’t. No matter what anyone says, or how much you lust after expensive glass, your kit lens is a great way to get started with serious photography. If you’re in a position where you can’t afford to buy another lens, or you simply just don’t know which lens to buy, don’t sweat it. You’ll be surprised by what you can do with your kit lens once you know how to get the best out of it.
Don’t believe me?
Then check out this blog post by Jingna Zhang – a professional fashion and editorial photographer. She’s good, and she got her start with an EOS 350D and the 18-55mm kit lens that came with it. The quality of images she created with that camera and kit lens is very high. Take a look, and you’ll see what I mean.
Her article resonated with me because I got started with the same camera and lens combination. I didn’t know what lenses to buy for my camera, so I decided to stick with a kit lens and took it with me on a trip to South America.
I soon realized the lens wasn’t a great one; thankfully, it has been discontinued, and Canon sells a much better kit lens with its entry-level cameras.
However, despite the relatively poor image quality, some of the photos I took with that lens were good enough for publication. I illustrated my first published article, a piece in Practical Photography, with photos taken using the kit lens:
And several more of the photos were published in other photography magazines. My Canon 18-55mm wasn’t the world’s best lens, but it was good enough to get me started (and the Practical Photography article was a turning point for me because it helped me believe I could make it as a writer).
Getting the best out of your kit lens
So how do you get the best out of a kit lens? My approach is to think of it as two lenses in one.
If you have a kit lens that ranges from 18mm to 55mm (the standard kit lens focal length), then treat it as an 18mm lens and a 55mm lens in one body.
The 18mm is a moderate wide-angle lens that is great for landscapes, architecture, and environmental portraiture. The 55mm end makes for a short telephoto lens, ideal for compressing perspective when taking portraits or closing in on small details.
That doesn’t mean you can’t use the middle focal lengths, and there are times when you can’t avoid them. But by sticking with the short and long end of the lens, you will learn how those focal lengths behave.
After all, lenses are the “eye” of your camera system, and your photos will improve as you learn the characteristics of each focal length.
Some kit lenses also have another useful feature: image stabilization.
(Note that image stabilization is Canon’s term, while Nikon calls this vibration reduction.)
Image stabilization lets you take photos at slower shutter speeds than would otherwise be possible. So theoretically, you could hand-hold the camera, set the focal length of the lens to 18mm, drop the shutter speed, and take a photo without camera shake – even at 1/4s or even 1/2s.
That’s awesome for low-light shooting, and it lets you explore the creative potential of taking photos in the evening or at night.
Your kit lens as wide-angle glass (18mm)
The photos below were taken at the 18mm end of my kit lens.
You can see how I got in close to the subject, sometimes even tilting the lens backward to take advantage of the effect of the converging verticals.
Your kit lens as short telephoto glass (55mm)
These photos were all taken at the 55mm end of my kit lens.
They have a completely different quality, thanks to the compressed perspective and limited depth of field.
Shortcomings of kit lenses
As you now know, your kit lens is probably a better lens than you originally thought.
That said, kit lenses aren’t incredible, and they do have several shortcomings. At some point, you will bump up against these limitations.
(Running into limitations is not a bad thing. It simply indicates that you’re at the stage where a different lens will help you take better photos.)
These are the main drawbacks of kit lenses:
Limited focal length: You may find that even the 18mm end of your kit lens is not wide enough for the photos you’re after. In that case, it’s time to start thinking about buying a new (even wider) wide-angle lens.
On the other hand, if you find that the 55mm end doesn’t get you as close as you would like to your subject, then you need a telephoto lens. This may happen if you’re interested in photographing wildlife or sports, for example.
Slow autofocus: The autofocus on kit lenses tends to be slower and noisier than autofocus on more expensive lenses. If the autofocus performance of your kit lens is holding you back, it may be time to upgrade.
Narrow maximum aperture: Kit lenses are slow lenses. In other words, they don’t have a wide maximum aperture. The reason is simple: the wider the maximum aperture, the larger the lens body and lens elements required, which pushes up manufacturing costs. So kit lenses are made with relatively small maximum apertures to keep the price down.
The maximum aperture at the 55mm end of most kit lenses is around f/5.6. If this isn’t wide enough, you can buy a zoom that covers the same focal length with a maximum aperture of f/4 or f/2.8, or a 50mm prime lens with a maximum aperture of f/1.8 or wider. The wider apertures on these lenses will help you take photos in low light or use a shallow depth of field creatively.
Subpar build quality: Kit lenses tend to be pretty plasticky, so if you often knock your camera around or shoot in bad weather, then you may need a better-built option. The top lenses in each manufacturer’s range have metal bodies, metal mounts, and weatherproofing.
Why your kit lens is better than you think: conclusion
Kit lenses have a bad reputation, but they’re actually pretty great for beginner photographers.
So don’t feel you need to upgrade the moment you purchase a camera. Recognize that your kit lens can take stunning photos – as long as you know how to use it well!
And just have fun playing with your kit lens and experimenting.
Now over to you:
Do you use a kit lens? If so, what do you think of it? Are you pleased with it? Do you plan to upgrade? Share your thoughts (and images) in the comments below!
The post Why Your Kit Lens Is Better Than You Think (With 18-55mm Examples) appeared first on Digital Photography School. It was authored by Andrew S. Gibson.
The post A Beginner’s Guide to Light Modifiers (For Stunning Portraits) appeared first on Digital Photography School. It was authored by Gina Milicia.
Light modifiers are a powerful way to shape or control light.
And with the right approach, you can use modifiers to achieve beautifully lit, gorgeous portraits.
In this article, I’m going to share everything you need to know about modifiers. I’ll take you through all the most popular modifiers – and I’ll explain precisely what they do and why you might want to use them.
By the time you’re done, you’ll be a light modification expert!
Let’s get started.
Are light modifiers really necessary?
Technically, you can do portrait photography without modifiers. You can shoot with a subject and an unmodified flash.
However, a naked flash produces hard light and harsh shadows, which I think look really unflattering.
That’s why I rarely work without some sort of diffusion modifier. It softens the light, softens the shadows, and gives you a flattering end result.
Nobody is ever going to tell you, “Wow, I love the way your hard lighting has captured and enhanced every single pore, line, and blemish on my skin. I actually look ten years older. Thanks!”
Hence, it’s often a good idea to start with soft, carefully modified lighting.
There are, of course, many really cool uses for hard lighting, and some photographers can make it look brilliant. I’m just not one of them. I like to control the light and only illuminate certain areas of my shot.
Therefore, for me, modifiers are absolutely essential.
A quick note about light modifier costs
Every kind of light modifier will have a top-of-the-line version and a really cheap version.
The main difference is that the cheaper versions won’t be as durable. This becomes important when you’re using them every single day.
So once you become an experienced studio photographer, it makes sense to invest in high-quality modifiers.
When you’re learning to use modifiers, however, I recommend choosing cheap versions. They’ll perform just fine, and you’ll save yourself a lot of money.
How to choose the perfect modifier for a photoshoot
Different modifiers affect the light in different ways.
Some modifiers broaden the beam to soften the light. Other modifiers narrow the beam to harden the light.
So when selecting a modifier, ask yourself:
What kind of lighting am I trying to create?
If you’re after the soft, diffused effect you’d get from an overcast sky, you might want to consider one of these modifiers:
If you want the soft light produced by early morning, twilight, open shade, or overcast skies, then choose a modifier that produces soft light such as a scrim, umbrella, or a softbox.
But if you want a harder light source like the sun on a cloudless day, try one of these modifiers instead:
As a general rule of thumb, if you are after hard light, then opt for a gridspot, beauty dish, Fresnel light, or even a naked flash.
Note that, if you’re shooting outside or near windows, your choice of modifier should depend on the ambient light. Harsh sunlight should be combined with hard modifiers, and cloudy light should be combined with soft modifiers.
Make sense?
When picking a modifier, it’s also important to consider the mood you’re after. Soft light gives ethereal, beautiful portraits, whereas hard light tends to be more intense, in-your-face, and dramatic.
Now let’s take a look at the different light modifiers in much greater detail, starting with:
The umbrella
An umbrella creates a quality of light that is soft, abundant, and very forgiving.
Umbrellas are a great choice if you want to light a large area with flat, even lighting. Because umbrellas are easy to use and relatively cheap, they are a good beginner’s light modifier.
On the other hand, umbrellas tend to over-light scenes, spreading lots of light around.
Lots of light. All over the place. Like a hose with its spray nozzle set to “everywhere.”
So think of umbrellas as an only-use-in-case-of-emergency style of lighting. If you overuse them, things tend to get a bit ugly.
An umbrella throws light everywhere.
Types of umbrella light shapers
There are a few types of umbrellas you should consider:
Silver/gold reflective umbrella: These babies throw light everywhere. They are great for lighting large groups of people. The silver umbrella will give you a slightly cooler light while the gold umbrella creates warmer light. Both produce a slightly harder result than the white reflective umbrella.
White reflective umbrella: This umbrella creates soft light with slightly less spread and contrast than the silver and gold reflective umbrellas. Because the style of light allows people to move around a lot while staying in a consistently even source of light, white umbrellas are great to use when you are shooting groups and couples under pressure, such as for an event.
White shoot-through umbrella: These are perfect as your first light modifier, as they diffuse and spread light quite evenly.
White shoot-through umbrella.
Umbrellas are a great first light modifier
When my children were young, I taught them how to ride bikes using training wheels. The wheels boosted their confidence. After a while, I took the training wheels off, and they rode on two wheels as if they’d been doing it all their lives.
I think using flash with an umbrella is the same. Use an umbrella as a learning tool until you get your balance, then move on to a better bike.
A final note on umbrellas
Umbrellas are great for indoor lighting.
But they’re tricky – and even downright dangerous – to use outside.
I’ve had countless (expensive) lights blown over when using umbrellas. So if you must use them outdoors, then please make sure you have somebody holding them or sandbags to keep them in place.
The scrim
After you’ve ditched your umbrella training wheels, the next step is to work with a scrim panel.
A scrim is a square or rectangular frame with a fabric diffusion material stretched across, like this:
Scrims are a really cool way to create large areas of soft, diffused light as if you’re shooting next to a large window or have clouds over the sun. And they’re great for diffusing flash, continuous light, and sunshine.
Remember: The larger the light source, the softer the light.
In fact, of all the light modifiers, a scrim is probably the most versatile and a must have in your kit.
This is a piece of equipment that you can easily make yourself. I used a DIY scrim for my first 10 years as a photographer.
The softbox
Softboxes are low-cost and versatile modifiers that create a beautiful, soft, easily controllable light source.
If I could only pick one light modifier to take to a deserted island, it would have to be the softbox. Small, medium, or large, this little puppy is my go-to light source for 80% of my shoots.
Why? The quality of light is soft, flattering, and malleable. Changing the angle and proximity of the softbox to the sitter easily changes the hardness of the light and the direction of the shadow.
It’s one of the light modifiers that most accurately recreates the effect of soft daylight coming through a window. I think what I like most about this light modifier is that it’s subtle. Highlights gently merge into shadows.
This image of a racecar driver, Glauco Junior Solleri, was taken using a speedlight and a small Lumiquest softbox:
For the above photo, I only wanted to light Glauco’s face and let the background fade to black. If I had used an umbrella, I would’ve sprayed light everywhere, illuminating the entire background and killing my moody vibe.
In fact, I think I love this light modifier more than Nutella.
(There! I said it.)
Softbox options
I use a few different kinds of softboxes depending on where and what I’m shooting.
If I’m doing a studio shoot, I love using a softbox with a white reflective interior. The white interior creates a softer look, and this particular softbox has an extra layer of diffusion on the inside, adding even more softness to the light.
Some photographers remove the interior panel because they like the added contrast of harder light, but I prefer less contrast.
You can also increase the spread and contrast of your light by using silver or gold interior panels.
The beauty dish
The beauty dish differs from other light modifiers because it gives you a distinctive circular, soft-contrast light, which is perfect for lighting faces and defining bone structures such as cheekbones and chin lines.
Beauty dishes also create a circular catchlight in your model’s eyes, which looks quite natural.
(You can see why these modifiers are popular with fashion/beauty and celebrity photographers.)
The downside of beauty dishes is that the falloff from light to dark is very rapid, so you’ll often get shadows under your model’s chin and nose. You can compensate for the shadows by adding a fill board, like a white reflector, to reflect light up into your subject’s face.
The beauty dish I have was pretty cheap, which goes to show that you don’t need to shell out a lot of money for every piece of equipment. I like mine because it works with my speedlight, my Elinchrom monolight, and my battery flashes.
I like that kind of versatility in equipment because it means I have more options on the day of the shoot and less to carry around!
Why should you use a beauty dish?
A beauty dish gives you a certain look. It will light a small area and flatten out your model’s features.
Beauty dishes make people look great, but you need to light your model in a very specific way – from above – to really pull it off.
The gridspot
The gridspot is a bit of kit you can use in conjunction with a speedlight, monolight, or battery-operated flash. The width of the grid and the size of the holes will affect the width of the light beam hitting your subject.
A gridspot creates hard, focused light. I love to use gridspots in the same way I use beauty lights.
Here are some portrait images I did with Australian actor Scott McGregor, showing lighting without a gridspot (left) and with a gridspot (right):
Why should you use a gridspot?
I like using gridspots because they create a similar light to beauty dishes. The light is a bit harder, but gridspots are perfect for single portraits; you can pop light onto someone’s face and shoulders without impacting the background mood.
Gridspots are also perfect for outdoor use as they won’t get blown about.
Beauty dish with a gridspot.
Fresnel light
A Fresnel is a light modifier that can be focused. They were first used in lighthouses, then the technology was developed in continuous lighting for movies and television.
The Fresnel light modifier gives a soft, crisp, and very distinct look to portraits.
In this photo of Australian actor Robbie Magasiva, I’ve placed the Fresnel light slightly to camera right to create a shadow. I’ve softened the light with an umbrella to increase the amount of daylight fill.
Fresnel lighting is soft and crisp, reminiscent of 1940s portrait lighting. It’s a style that has become really popular lately, particularly with fashion and editorial photographers.
The downside of this type of lighting is that it’s pretty expensive.
Octabox
Octabox with the front panel in.
An octabox is what you’d get if a softbox and an umbrella merged into one.
An octabox serves up soft light just like a softbox. But it spreads its light around more, just like an umbrella.
Octaboxes are fantastic for lighting large groups evenly. Plus, they give round catchlights.
Here are two different ways to use the Rotalux Deep Octabox. The image on the left of actor Firass Dirani is shot with a deep octabox as a beauty dish. The light source is hard and drops off rapidly under Dirani’s chin to add contrast; this not only defines and sculpts his features but also gives the image an edgy look.
The image on the right, of actor Harley Bonner, is shot using the same Rotalux Deep Octabox. But this time, I’ve added the interior and exterior baffle to give a much softer light, and this blends in with the muted light and low-key feel I was going for.
I don’t own a standard octabox because I’m not a huge fan. But my Rotalux Deep Octabox offers more directed lighting and is a match made in heaven for lighting single portraits.
Octabox with interior baffle exposed.
Octabox as a beauty dish.
Mixing modifiers
Model credit: Fat Tony and Co. Image courtesy of Nine Network Australia.
I often mix my lighting modifiers to make my images more interesting.
In this television promotional shot I did for Fat Tony and Co., I used a medium-deep octabox as my main light and a gridspot as a hair light. I also added an umbrella for fill light on camera left because the deep octabox alone was too moody, and I wanted more detail in the shadows.
So don’t be afraid to use several different modifiers in a single shot!
A beginner’s guide to light modifiers: conclusion
Well, there you have it!
You’re now ready to use light modifiers like a professional.
So grab a modifier or two, start shooting, and have fun!
Now over to you:
Which of the light modifiers on this list appeals to you the most? Which is your favorite? Share your thoughts (and example images!) in the comments below.
The post A Beginner’s Guide to Light Modifiers (For Stunning Portraits) appeared first on Digital Photography School. It was authored by Gina Milicia.
The post Weekly Photo Challenge – Eyes appeared first on Digital Photography School. It was authored by Sime.
They say eyes are the window to your soul, I say “I almost always want my eyes to be in sharp focus!” but each to their own! This week we really want to see your interpretation of ‘Eyes’ – #dPSEyes
A man on a wall in a photograph of a painting…
Now, I guess the first thing we think of when we think of eyes are the things we see with, right? But there are many more options when it comes to photography! It doesn’t just have to be your eye, up close, lookin’ all crazy! Let’s make a list…
Your eyes
Someone else’s eyes
The eye of a needle
The eye of the storm
Your pet’s eyes!
Something that looks like an eye?
You should see the other guy…
Missed a Challenge? Don’t sweat it, find all of our previous challenges here!
So many options when it comes to eyes, but the main goal of these challenges is to be creative in your photos, to make you think about different ways to photograph your subject – if you want to set your camera up on a tripod (or the bench) and photograph your eye, you need to think about lighting and angles to best capture all the crazy details in your eye (Yes, I’ve done this, with a macro and lots of light – it’s crazy!)
Looking outward…
As ever, post your photographs here, in the comments (there are instructions at the bottom of this post) or visit us on the socials and post and tag your photographs there! Whenever, wherever, we look forward to seeing what you photograph!
A night on the Thames – London Eye…
Share on Instagram or Twitter and use the hashtag #dPSEyes so we can see them!
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.
Eye!
If you get stuck, leave a comment below or drop us a note on the dPS help desk! support@digital-photography-school.com
The post Weekly Photo Challenge – Eyes appeared first on Digital Photography School. It was authored by Sime.
The post The Nikon Z9 Is Officially in Development. Here’s What We Know So Far. appeared first on Digital Photography School. It was authored by Jaymes Dempsey.
Earlier this month, Nikon officially announced its flagship Z-series camera, the Nikon Z9.
Designed for professionals, the Z9 will likely follow in the footsteps of the Canon EOS R5 and the Sony a1, both of which offer an unprecedented combination of high resolution, fast shooting speeds, class-leading video, and top-notch autofocus.
So while the Nikon Z9 will undoubtedly appeal as a mirrorless successor to the action-centric Nikon D6, the camera will also be suitable for event photographers, wildlife photographers, and hybrid shooters, as well as jack-of-all-trades professionals who require an all-in-one solution.
Nikon’s official announcement revealed little about the Z9 aside from its name, its release year (2021), and a few hints about shooting capabilities. The Z9 boasts 8K video and “utilizes a newly developed FX-format stacked CMOS sensor and new image-processing engine.” Nikon claims that the Z9 will serve up “the best still and video performance in Nikon history, meeting the advanced needs of professionals in a wide range of genres.”
But what else can we expect from the Nikon Z9?
Well, just prior to Nikon’s official announcement, Nikon Rumors published a series of Z9 specifications, and they are impressive. Take a look:
A 45, 50, or 60 MP full-frame sensor (likely 50 MP, according to Nikon Rumors)
A “D6 body combined with EOS R5 imaging, a9 II AF, and blackout-free EVF”
20 frames-per-second continuous shooting
8K/30p recording, as well as 4K/120p
Dual XQD/CFexpress card slots
“Improved noise levels and specifically significantly better dynamic range”
“Improved AF” and “‘stunning’ AF tracking (better than the D6)”
An ultra-capable electronic viewfinder, offering blackout-free performance
In other words, the Nikon Z9 will be a high-resolution, rugged, lightning-fast, and video-capable camera – the perfect all-around pick for serious professionals and very much in line with Nikon’s claim of “the best still and video performance in Nikon history.”
Regarding the release date:
Nikon Rumors suggests the fall of 2021, though you should be prepared for some delays thanks to COVID-related supply problems.
Nikon Rumors also claims the price will come in between $ 6000 and $ 7000 USD – expensive, yes, but fully compatible with Nikon’s D6-series pricing (you can currently purchase the D6, body only, for around $ 6500), and on par with the Sony a1 (which weighs in at $ 6500 USD).
Of course, for many shooters, the Nikon Z9 is unobtainable, or an excessive amount of camera, or both. But the Z9 isn’t just a new camera; it’s also a sign of Nikon’s dedication to its Z-series lineup and a look at the latest and greatest mirrorless technology (technology that may eventually trickle down into lower-priced models).
And for those who are considering the Z9, you shouldn’t have too long to wait!
Now over to you:
What do you think of the Nikon Z9? Is it a camera you plan to purchase? Are there any features that you want the Z9 to include? Share your thoughts in the comments below!
The post The Nikon Z9 Is Officially in Development. Here’s What We Know So Far. appeared first on Digital Photography School. It was authored by Jaymes Dempsey.
Modeling is one of those extremely competitive careers complete with its own fairytale-like model discovery stories. We’ve all heard about how Kate Moss was discovered at JFK airport or how Gisele Bundchen was found in a shopping mall. However, actually getting yourself signed to an agency and booking modeling gigs can be (and usually is) more similar to getting any Continue Reading Photodoto
The post Abstract Street Photography: The Essential Guide appeared first on Digital Photography School. It was authored by Anthony Epes.
Want to know how to capture beautiful abstract street photography?
You’ve come to the right place.
While I am not a traditional street or abstract photographer, I love shooting in cities – and I love how street and abstract photography allow for so much fun and exploration.
So in this article, I’m going to share some tips, tricks, and ideas to enhance your abstract street photos.
And hopefully, the next time you’re out, you can capture some awesome photos of your own!
What is abstract street photography?
There is no one definition of abstract street photography, which is a relief. That way, you can make the genre your own.
For me, abstract photography means that you are removing the context of the subject so that what you’re looking at isn’t always clear. In abstract photography, you are re-forming the world to make your own subjects, making things that are not what they appear to be in real life.
And abstract photography is also most significantly about the emotion of the image – what mood, feeling, or atmosphere are you creating?
“Photography isn’t about seeing, it’s about feeling…If you can’t feel what you’re looking at, then you’re never going to get others to feel anything when they look at your pictures.”
– Don McCullin
Now, street photography often involves capturing candid moments of life out on the street. I like to keep the idea of street photography pretty broad, though – to include any imprint of humanity, any aspect of life, whether we see people or not!
Ultimately, when we take the idea of abstract photography out onto the street, we can have a lot of fun capturing the spontaneous, often chaotic, ever-changing nature of humans and life.
We can let our imaginations run wild and recreate the world around us.
So let’s get started!
Abstract street photos take work
Before I dive into my tips and tricks for abstract street photography, there is one thing I want to clear up:
Abstract street photography takes real work.
People sometimes presume that, because abstract street photos look simple, capturing great shots is easy, and that you don’t have to work hard to get a good result.
I would counter that taking an interesting photo is challenging in every genre – and perhaps even more so in abstract street photography, because there are no confines, no rules, nothing to aim for. Everything in your images is a reflection of what you can see in the world.
Your imagination is essential
For me, abstract street photography is pure imagination, because you are creating something almost from nothing. It relies on your ability to see the world creatively, not realistically.
Most of us are caught up completely in the real world, the things we have to do, the places we have to go, our responsibilities and tasks. So it’s easier to take a nice portrait than to go out and shoot something where you almost need to detach yourself from the real world that you live in and enter a state of pure creative imagination.
Abstract street photography is about capturing a feeling
The most important skill you should develop is the ability to be present in the moment when you are out shooting.
We love to escape the moment with continuous thoughts about the past and the future, about what emails we need to write, what we need to say to our annoying neighbor, what happened yesterday at work, etc.
We can also get too involved with thinking about how we are shooting – are we in the right spot, should we go somewhere else, did we bring the right lens?
But while some analysis of what we are doing is essential, it can also stop us from experiencing and seeing what’s happening all around us.
When we are fully in the present moment, and not thinking or planning, we can really appreciate our experience, and we can connect more fully to what’s happening around us.
When we see a brooding sky that gives an ominous feeling, we can capture that. When we see something weird and a little gross on the floor that intrigues us, we are more likely to notice it.
And if we see a man walking to work looking a little downcast, we can capture it:
And by being totally in the present moment, we are more likely to bring the feelings of what it’s like to be there and see what we are seeing into our photos.
Abstract street photography is your interpretation of the world
Photography helps me become more of who I am. It helps me see more of the world and really encourages me to pay attention. When I shoot, I allow myself free reign to follow my curiosity.
Abstract street photography is one of the most fun and joyful photographic genres. For me, it’s about playing, about just walking around and looking at things while thinking:
Thatreminds me of what I think the texture of the moon is like.
Or:
Those dark shadows make me think of a spooky story I read as a child.
Or:
A part of that sculpture looks like an elegant painting.
I am particularly fascinated by things I find at my feet. I have endless photos of weird things I’ve seen: crushed, burned burger buns, smashed fruit, accidental paint drippings, and more. I am entranced by these oddities.
“I really feel sorry for people who think things like soap dishes or mirrors or Coke bottles are ugly, because they’re surrounded by things like that all day long, and it must make them miserable.”
– Robert Rauschenberg
Find what entrances you out in the world. Find what makes you go, ooh, that’s super interesting!
The more curious you are, the more you’ll find. And the more it will become your photography, your interpretation of the world.
Composition in abstract street photography
How can you create beautiful abstract street compositions?
It’s useful to draw from all of the traditional compositional rules and techniques, such as negative space, leading lines, and the rule of thirds. But I’d like to mention a few other guidelines that are particularly useful when we are creating abstract street photos, starting with:
Reduction
I often like to say that composing a photo is more about removing and reducing what is in the frame. It’s extremely easy to overcomplicate your photos, to have complex backgrounds, to include elements that detract from your subject, to not notice things in the corner of the shot.
This is particularly true with street photography, because there is always so much going on in the city. Yet we often don’t actually notice all of the visual information because our brain spends a lot of time blocking most of it out. If we noticed everything, it would be very overwhelming for us. Our brain can only deal with so much, so it’s selective about the information allowed inside.
But when we are shooting, our camera notices everything! So we can end up with unwanted elements, or not really see the complexity of the background until afterward.
Ultimately, we have to be really aware and conscious of what we are placing in the frame.
When out with the camera, I encourage you to ask yourselves:
What can I remove from this photo? What is unnecessary? What distracts from the subject?
Textured glass is an awesome abstract element to play with – combining subtle, pretty colors, the light streaming through, and interesting textures from the glass.
Breaking the world down into elements
One way to really help your brain deal with the visual complexity all around you – and to help your eyes compose beautiful, striking, and intentional photos – is to look at the world not as one mass of things, but as many elements.
When you break the world down into elements, you see a collection of shapes, lines, forms, etc. And you don’t see the world in 3D surround sound where everything is joined together.
Can you look around at your environment now and see each thing as one singular element? Try it! It’s an exercise that helps you become more intentional about what you are placing in your frame.
Celebrating the purity of light, form, and shape
I love abstract photography because you can focus on the singular elements of light, shape, and form.
Shapes can be fascinating as shapes, not as anything else:
When we focus our attention on something small that holds our interest, we can find fascinating worlds to photograph.
“The moment one gives close attention to anything, even a blade of grass, it becomes a mysterious, awesome, indescribably magnificent world in itself.”
– Henry Miller
What does the photo below make you think of?
How about this one?
Color
As you can see, I am not a black and white street photographer. I am an unashamed lover of color, and I love to celebrate all that color brings to our world.
My favorite photographer of all time, Ernst Haas, said:
“Color is joy. One does not think of joy. One is carried by it.” And I couldn’t agree more.
Abstract street photography is almost an excuse for me to just celebrate the power and joy of color. To let colors attract my attention and totally dominate the photo.
Texture
Being out on the streets is an invitation to explore so many fascinating textures.
Some of my favorite textures are the crumbling walls, torn posters, and disused locations of the forgotten parts of our cities.
Capturing textures gives such a feeling of realness to an image, as if the viewer can just reach in and feel the roughness of the wall, the coldness of the pipes, and the grain of the wood.
When we notice the world as a series of different textures, your photos gain plenty of depth. You’re giving people more of a sense of what it feels like to stand where you are standing, and what it feels like to look at what you are looking at.
Humor
Street photography is filled with humor. This is natural, given how much we humans love to do strange and funny things.
Humor is also a really fun thing to play with when you are doing abstract photos.
For instance, you can try disconnecting things from themselves:
Or you can just look for humorous objects:
Here, I see an alien looking up at me from the floor! This phenomenon is known as pareidolia, where you see a face or an image of something that isn’t really there.
Abstract street photography ideas
The best way to embed knowledge is to practice what you’re learning. Information is often retained only briefly if we don’t make the effort to implement it.
And here’s another reason to practice:
So you can take the ideas and knowledge you find interesting and make them your own. For me, it’s super important that I’m not confined in my photography, and that I’m not restrained by other people’s ideas of what’s right or wrong, good or bad.
Street art is one of my favorite things to shoot. I love to find new street art when I am out.
So use these ideas as starting points to leap off in your own direction. Maybe take two ideas and see what happens. Or just do an in-depth exploration of one!
Pareidolia
The Cambridge Dictionary describes pareidolia as “a situation in which someone sees a pattern or image of something that does not exist, for example a face in a cloud.”
Photographing pareidolia is a fun challenge; it’s about finding things that look like other things.
Easiest for me is to find faces or animals in completely unrelated subjects.
Is this a crocodile? Is it a smiling alien?
Reflections
I love shooting reflections because they offer so many opportunities to create really cool images.
But while reflections create naturally busy images, still be conscious of what you are placing in the frame so the whole composition looks pleasing to you, not just chaotic.
I love reflections that look almost real. You’ll think it’s a shot of the street – but on second glance, you see all kinds of things going on in the layers of reflection. Like in life!
Silhouettes and shadow
When we are shooting silhouettes and shadows, especially of people, we can capture some really amazing, pure expressions – because we don’t have the details of what the subjects look like.
I shot this one in Istanbul, and I love to wonder what was happening. Was it a morning greeting? An argument? A heated political discussion?
Here, I’ve gone more abstract and I’ve put two shadows together:
What are the objects? Who knows? What do they look like? That’s for your imagination to decide.
Abstract self-portraits
We always have a subject when we are shooting ourselves, right?
I didn’t use to enjoy taking self-portraits, but it’s something I do more now. Why?
Because I can experiment and not worry about what the subject thinks!
Take yourself to interesting places, then do self-portraits that play with reflections, color, and light. It will help you understand so much more about photographing people.
Plus, if you’re like me – the main photographer in your family group – at least you’ll finally have photos of yourself!
What’s at your feet?
Ever since I discovered Ernst Haas when I was young, I realized that anything could be my subject. All I had to do was be fascinated by it. That was the only requirement.
From that point on, I shot all kinds of road markings and things at my feet, as Ernst Haas did.
I find this exciting because it elevates everyday, mundane objects into something that can be beautiful (beauty in the mundane!).
We rarely pay close attention to things like the streets we are walking on, yet they offer so much possibility!
We know what this is, but it becomes something a little different when we disconnect it from its environment. A letter “F” in thick yellow paint, with the rough texture of the gravel pushing through and some pretty light.
Perspective
We can use perspective in a really cool way with abstract street photography. We can find unique perspectives that present our subjects differently and make the subject look unexpectedly different.
I especially like to shoot upward and disconnect parts of buildings or things I see above me from their whole. The viewer then sees the shapes, the colors, and the textures without any knowledge of where or what it is.
This is a roof in Morocco. I was looking around a building, and then I looked up. Seeing dark shapes through the thin perspex roof was really interesting to me. Looking up is just as important as looking down at your feet!
Abstract street photography: conclusion
Hopefully, you now feel equipped to capture some beautiful abstract street photos!
So go out, explore, and have fun with your abstract photography.
Now over to you:
Do you have any abstract street photography you’d like to share? Do you have a favorite tip or trick from this article? Share your images and thoughts in the comments below!
The post Abstract Street Photography: The Essential Guide appeared first on Digital Photography School. It was authored by Anthony Epes.
The post The Best Online Photo Storage Platforms in 2021 Compared appeared first on Digital Photography School. It was authored by Simon Ringsmuth.
Of all the options for managing our digital images, which one offers the best online photo storage?
With dozens of services to explore, it can be difficult to find the right storage for your needs. Some prioritize features, while others compete based on price. Some services are basic but easy to use, and others are highly customizable but intimidating to set up.
The trick is to find the service that works right for you!
And that’s what this article is all about:
Exploring the current photo storage options to find one the one that best meets your needs.
Let’s get started.
Online photo storage: a brief overview
Not long ago, cloud-based storage was slow, expensive, and out of reach for most users. People kept their digital photos in folders on their computers, and images weren’t widely shared like they are today.
But now people take more photos than ever, and all those images can quickly fill up a phone, memory card, or hard drive.
Fortunately, online photo storage solves this problem – by giving people a way to store photos remotely and access them at any time from any device.
In 2013, Flickr rocked the photography world by offering one terabyte of free storage, and in 2015, Google fired back by offering unlimited photo storage.
Sadly, these deals didn’t last; in 2018 Flickr slashed the storage limit for free accounts to 1000 photos, and in June of 2021 Google will limit users to 15 GB of storage for their entire account: photos, movies, documents, and everything else.
Flickr’s redesign in 2013 gave every user one free terabyte of storage. It seemed too good to be true. Turns out it was!
While the halcyon days of near-infinite online photo storage might be over, that doesn’t mean there aren’t options.
In fact, you now have more storage solutions than ever, but they have a few caveats and tradeoffs that didn’t exist before. Pricing has finally caught up with demand, and most online photo storage sites now have a limited free tier along with paid options.
One immutable fact we have learned over the last two decades of digital photography is that the old adage rings true: There’s no such thing as a free lunch. Or in this case, free online photo storage. Some sites have free tiers, but all are limited in important ways.
So if you want the best online photo storage, you’re going to have to pay for it.
Not much, mind you – generally only a few dollars each month. Just know you can’t get something for nothing, especially when it comes to storing your photos in the cloud.
Will you use online photo storage for backup or sharing with others? The answer could affect your choices dramatically.
The best online photo storage in 2021: Flickr
Flickr has been in the online photo storage business longer than almost any other site. That doesn’t mean it automatically earns a place at the top of my list, since longevity does not equal quality when it comes to internet ventures.
But in the case of Flickr, it is a huge advantage, since the site carries a rich legacy that photographers have enjoyed for years. Its interface is specifically designed around sharing photos, which is a pleasant change from social media sites that seem to be more interested in advertising than photography.
Flickr’s main interface is the Photostream, or a scrollable list of the most recent pictures you have uploaded.
The Flickr Photostream is a public showcase for your most recent images.
You can create Albums and Galleries, and mark photos as viewable for the public as well as friends or family members. Pro members get detailed statistics on how often their photos are viewed, favorited, and commented on. The mobile app automatically uploads all recent photos and videos. Images can be categorized with keywords, added to groups, and licensed with several types of Creative Commons.
Flickr shows complete EXIF data for photos, which is an invaluable tool that helps photographers learn more about how a given image was taken. Images can be embedded or downloaded (if the photographer allows), and prints can be purchased directly on the site.
Flickr also has over two million groups – online communities organized around specific topics where users engage in discussions about photos and share information and advice.
Flickr Pro users have access to advanced statistics and data for their images.
While the 1000 photo limit for free users seems positively anemic in the age of smartphones (when average users could easily reach that in a month or two), it does strike a good balance between end-user practicality and long-term business sustainability.
Also, the mobile app for Flickr can automatically upload pictures from your phone (though its interface is a bit simplistic compared to some other options).
Free Version: 1000 photo limit, ad-supported, no statistics for photos.
Paid Version: $ 59.99/year, unlimited photo/video uploads, no ads, advanced statistics, desktop app for automatic photo backup.
Pros: Easy to use for casual photographers. Rich set of tools for power users. No ads or storage quotas for Pro members. Photos are uploaded at full resolution with no compression.
Cons: Some interface elements are very outdated. RAW files are not supported, which limits Flickr’s appeal for professional photographers.
2nd place: Google Photos
Born from the ashes of the Google+ social media site in 2015, Google Photos quickly became the most popular photo-sharing site in the world thanks to its free, unlimited photo storage.
For five years, Google Photos reigned supreme as the go-to place for over a billion users to upload their images. Unfortunately, starting in mid-2021, a 15 GB limit will be imposed on new files added to free accounts.
But just because Google will start charging users who exceed 15 GB of storage doesn’t mean it is no longer a great option for people looking for online photo storage.
Google Photos is a great option for mobile users who want easy, intuitive photo storage, organization, and sharing.
Unlike Flickr, Google Photos is built for mobile. The Google Photos app uploads your images automatically, where they are sorted, tagged, and automatically analyzed by Google’s AI-driven software. Some users find this to be a bit invasive, but Google has said that this data remains private and is not used for advertising. The app also contains a surprisingly in-depth photo editor that also uses AI to enhance your images and suggest edits.
Google Photos has powerful built-in sharing features that let you set up shared albums and galleries and allow multiple people to contribute to a single album. This works great for parties or events where everyone is taking photos; the files can be instantly shared among attendees.
Photo albums can be shared publicly, or they can be shared privately with anyone who has a Google account.
AI software also recognizes people and uses geotagging for places, and this can help with sorting through your images. These algorithms also find objects in your photos, so you can search for words like “pumpkin” or “fireworks” and the app will display relevant images, all without you doing any extra work to add tags.
For privacy hawks, this might be a little too intrusive, as there’s no telling exactly what Google is doing with all this information in your photos. And there’s no way to adjust or customize the AI scanning and analyzing of your images. However, you do get to control who sees your images, and all photos are private by default.
Instead of offering a quantity limit, Google Photos restricts the free option to 15 GB. That might seem like a lot, but the 15 GB is for your entire Google account, not just your photos. If you have large files or other data already taking up lots of space in your Google account, there won’t be much left for your photos.
Free Version: No limits on functionality, but storage is limited to 15 GB.
Paid Version: $ 19.99/year for 100 GB. $ 29.99/year for 200 GB. $ 99.99/year for 1 TB. Same features as the free version, but storage is increased.
Pros: Excellent mobile interface. AI algorithms help with tagging and organizing. Sharing albums is easy since most people have Google accounts.
Cons: Some privacy concerns related to how Google uses your data. Storage that you pay for includes all your documents and files, not just photos.
3rd place: Apple iCloud Photos
Apple iCloud Photos is the de facto standard for iPhone and Mac users and with good reason. It’s designed to be extremely easy to use and integrates deeply with the Apple software and hardware ecosystem.
All photos you take with your iPhone are automatically uploaded to your iCloud account, where they can be synced with other devices such as iPhones, iPads, and Macintosh computers. The iOS Photos app has a rich set of editing options, and all edits are automatically synced across devices, as well. Images can be edited with the Photos app on a Mac, and edits are synced instantly.
iCloud Photos is excellent for Apple users, though the free 5 GB of storage is very limiting.
Apple has steadily been improving iCloud Photos over the years with on-device machine learning, which ensures your photo information is not sent to the Cloud or mined for advertising or other purposes.
You can search for people, places, and objects without doing any extra work; on-device software analyzes your photos, organizes them into groups of related images (i.e., vacations, holidays, etc.), and even attempts to pick out favorite moments and memories. None of this information is done in the cloud, which makes iCloud Photos a little more attractive for people who value privacy at the expense of some functionality.
One of my favorite iCloud Photos features is its ability to back up all the images and videos on your mobile device and retrieve them instantly. This is great for people whose phones are constantly low on storage space. Small thumbnails of all your photos are left on the device, while the full-size originals are safely stored in the cloud. Tapping a photo will download the original file on the fly, so you can take thousands of pictures without using up all the space on your phone.
All your mobile phone pictures are automatically uploaded to iCloud Photos. They can be synced with other Apple devices or shared publicly.
Unfortunately, iCloud Photos stumbles with the social and sharing functions. Flickr and Google Photos have easy options for sharing images and albums with others, making some photos public, and letting people leave comments or even their own tags. Some of this is possible with iCloud Photos, but it’s not as easy or seamless as other platforms.
Also, while Google Photos and Flickr work on both iOS and Android devices, iCloud Photos is specifically designed to work with Apple hardware and software. This is a dealbreaker for anyone who prefers to use non-Apple products.
Free Version: No limits on functionality, but storage is limited to 5 GB.
Paid version: $ 12/year for 50 GB, $ 35/year for 200 GB, $ 120/year for 2 TB.
Pros: Incredible suite of editing tools in the Photos app. Integrates seamlessly with Apple devices. Private and secure, with no advertising or data mining.
Cons: Limited to Apple devices. Sharing and social elements like commenting are not as easy as other platforms.
Honorable mentions
Flickr, Google Photos, and iCloud Photos are great options for online cloud photo storage, but you might have other requirements or workflows that are better suited to other platforms.
Thankfully, there are a host of other companies to consider. So if none of the above options meet your needs, here are a few excellent alternatives:
SmugMug
SmugMug has a suite of features and tools that make it great for professionals, but even casual photographers will find a lot to like.
SmugMug is designed for professionals who need a way to showcase their images and create galleries for clients, but it has a good option for casual users, too.
The Basic plan has everything most non-professionals could want, including unlimited uploads, solid organizational tools, options for sharing, and even a front-facing website. The latter is somewhat unique among online photo storage tools and makes SmugMug one of the best options for people who want a web presence along with storage.
SmugMug’s features are about what you’d expect. You can upload images from your phone or computer, and people can follow you to see your public photos.
You do have some options for sharing photos with SmugMug, but not nearly the same as Flickr or Google Photos. There isn’t the same level of community and engagement as on other sites, but if you want a simple method for storing your photos, SmugMug might be worth a look.
SmugMug lets anyone create a website to showcase their best work.
If you’re a working professional who needs control over how your photos are presented, as well as methods for selling your images to clients, SmugMug is definitely worth considering.
Paid version: $ 55/year for unlimited uploads. $ 85/year, $ 200/year, and $ 360/year options for professionals, which include advanced organization options and client tools.
Pros: Unlimited photo uploads. Price includes a website for showcasing your best work, plus a high degree of control over organizing your images.
Cons: No free option with limited functionality (but you can get a 14-day trial).
500px
Like SmugMug, 500px is generally geared towards professionals and more serious artists, but it is worth considering for people who want a solid option for online cloud photo storage. It offers a limited, ad-supported free tier, but the basic paid plan is priced similar to other sites.
What separates 500px from other options on this list is its communal focus. It’s a great option if you want to get exposure and build engagement with a community.
500px is more geared towards building a photography community, and it gives users a chance to build a brand and grow their following.
In some ways, 500px is better compared with Instagram than Flickr or Google Photos. You can quickly gain a following and view statistics on which of your photos lead to the greatest audience engagement.
If you are tired of the endless advertising and data mining on social network sites, then 500px might be worth a look, but its walled-garden nature somewhat limits its appeal. That can be a good thing, as it leads to more considered, curated content – but ultimately, 500px doesn’t have the same level of broad appeal as other sites.
500px has Quests to help members grow their skills and educational resources offered for free or at a discount.
Free version: 7 uploads per week, ad-supported, with limited access to some of the more powerful features like statistics and liked photos.
Paid Version: $ 48/year for unlimited uploads, data on how your photos perform among the 500px community, and tools to organize, share, and promote your images. $ 72/year for professionals who want a powerful platform with tools for creating a website, gaining clients, and finding jobs.
Pros: Unlimited photo uploads and access to a vibrant community of artists sharing quality work. Tools to organize and share images with the community and others.
Cons: Free option is extremely limited.
Adobe Creative Cloud
If you pay for a $ 9.99/month Adobe Creative Cloud plan, you already have pretty awesome online photo storage built into your subscription. Whether you have the cloud-focused Lightroom plan or the desktop-centric Photography Plan, you can create online galleries and share them with specific people, or make them publicly viewable for anyone who has the link.
You can upload photo galleries to the cloud even if you just use Lightroom Classic. This is extremely useful for sharing images publicly, privately, or with clients. (Note: The uploads are not full-resolution originals.)
Best of all, if you use Lightroom Classic, these online galleries don’t even count against your storage quota. When you create a public gallery, Lightroom uploads Smart Previews of your images to the cloud. These aren’t full-size, high-resolution images, but they’re great for just sharing pictures with friends and family.
You can also use the Discover feature in Lightroom Mobile to join a community of photographers in order to showcase your work and engage with an audience.
Adobe has been building a photography community similar to Instagram and 500px through their Discover tool (which is built into Lightroom Mobile).
While Adobe Creative Cloud isn’t as full-featured as Flickr, Google Photos, or others on this list, it’s definitely worth investigating if you already have an Adobe subscription and don’t want to pay more for an online photo storage site.
Paid Version: $ 9.99/month for 1 TB cloud storage or 20 GB cloud storage. Creating online galleries to share does not count against your cloud storage.
Pros: Included as part of the Adobe Lightroom or Photography plans. Unlimited images with no storage quota. A decent level of control over how your images are shown in online galleries.
Cons: Images you upload to online galleries are smaller-size previews of your images. Not as full-featured as other photography sites. No built-in support for sharing videos or allowing your photos to be purchased.
Amazon Prime Photos
If you’re one of the millions of people who pay for Amazon Prime, you already have access to Amazon Photos at no additional charge. This service allows you to upload an unlimited number of images (including RAW files) from desktop or mobile. You can organize your photos with Albums, buy prints, and share images with other people in just a few clicks.
If you pay for Amazon Prime, you also have access to Amazon Photos, which allows for unlimited photo uploads to the cloud.
The Amazon Photos app lets you back up all the images on your phone to save space. However, accessing them afterward involves using the same Amazon Photos app instead of the native Photos app on your device. You can also use the desktop app to automatically upload all the pictures on your computer to your Amazon Photos account.
All these features make Amazon Photos great for online storage, but there are a few glaring issues that hold it back from being a true competitor to the others on this list. For one, there are no social networking features and viewers can’t leave comments on your images. The desktop app is kind of clunky, and all your uploaded images are organized solely by the folder they happen to be in on your computer.
The user interface for Amazon Prime Photos is pretty basic, but it gets the job done. You can create albums, share images, and order prints.
Amazon Photos also does auto-tagging by default, but you can turn this off if you prefer to keep Amazon’s artificial intelligence algorithms out of your images. This feature looks for easily-recognizable objects and also analyzes people using facial recognition algorithms, which is similar to a feature that Google offers. Some people find these extremely useful, but your mileage may vary.
If all you want is a simple way to back up your images, then Amazon Prime Photos is a great choice. If you are looking for robust organizing tools, options for sharing your images, and a full-featured image browsing experience, it’s best to look elsewhere.
Paid Version: Included with a $ 119/year Amazon Prime account. No limit for photo uploads; a 5 GB upload limit for videos.
Pros: Great for backing up your images. No extra charge for Amazon Prime members.
Cons: No social features. Web interface is unrefined and desktop uploading app is clunky with occasional bugs.
Dropbox
In the search for the best online photo storage platforms, Dropbox might not be the first option that comes to mind.
While it’s not exactly designed with photos in mind, if you want a solid option for storing, backing up, and even sharing your images, Dropbox is a great choice.
Now, there’s nothing in the way of social features and the web-based user interface is fairly utilitarian, so keep your expectations in check. But it’s one of the best services around for easily transferring and managing huge amounts of data, including images.
Dropbox is made for online file storage and not specifically geared toward photographers, but it’s definitely an option to consider if you have a vast library of photos that you want to keep safe and secure.
Designed first and foremost as a cloud-based storage platform, Dropbox works great, not just for storing photos, but also for syncing them across multiple devices. If you want to back up your photo library to the cloud and mirror it to another computer, Dropbox just might be the solution you are looking for.
DropBox’s free version is positively anemic with only 2 GB of storage, but the paid version is outstanding – if a little on the pricey side.
Photos can be shared publicly, and other Dropbox users can leave comments next to an image or by clicking directly on a specific portion of an image.
One of my favorite features of Dropbox is the ability to instantly share a file or folder with anyone via a public link. Navigate to a file or folder on your computer that is synced with Dropbox, right-click on it, and get a link you can copy and paste into an email, text message, or social media account. Anyone with the link can view the file or the contents of the folder, and of all the photo services on this list, Dropbox handles this simple task easier than the rest.
The mobile app can automatically upload your images to Dropbox and includes a host of other features for managing all your cloud-based files.
Free Version: 2 GB storage, limited to 3 synced devices.
Pros: Rock-solid cloud storage with outstanding backup and syncing features. Easy to share photos with a public link. Images can be easily downloaded from the public link.
Cons: Designed more for file storage and backup than sharing photos. No social networking features. 2 TB storage is generous, but the price is expensive.
Microsoft OneDrive
We’re a little off the beaten path here, since OneDrive isn’t exactly known as the world’s greatest online photo storage platform.
However, it’s a service many people already pay for in order to use Microsoft programs such as Word, Excel, and PowerPoint. And since 1 TB of storage is included in a personal or family OneDrive plan, it’s something to consider if you want a simple way to back up your photos.
Microsoft includes 1 TB of OneDrive storage with their cheapest paid plan, which also includes access to Office software such as Word, Excel, and PowerPoint.
OneDrive is similar to Dropbox in that it is designed around file storage and syncing, but it has some useful features for photographers, as well.
You can automatically upload your mobile device pictures directly to OneDrive and share individual images or folders with others. OneDrive syncs across devices, too – though over years of using both platforms, I have found Dropbox to be more reliable and less prone to head-scratching glitches.
Photos in OneDrive can be viewed online and shared with others.
OneDrive won’t blow you away with its photo-centric features, AI-based image organization, or a community of shutterbugs to connect with. But if you already pay for the service, then it’s worth checking out for the features it does offer.
Free Version: 5 GB storage only. No access to Office apps like Word/Excel/PowerPoint.
Paid Version: $ 2/month for 100 GB storage. $ 70/year for 1 TB storage as well as access to Office apps.
Pros: If you already pay for OneDrive, you can use your 1 TB storage for managing photos. Great for backing up your images and sharing with others.
Cons: Designed more for file storage and backup than sharing photos. No social networking features.
iDrive
For photographers who want a simple, robust, and fairly inexpensive solution to backup their photos, it’s hard to beat iDrive. iDrive has a long history of offering cloud-based storage and backup, and this reputation makes it easy to recommend them over other storage providers.
While iDrive is more specifically geared toward backing up your entire computer, that doesn’t mean it has nothing to offer photographers. Quite the opposite, in fact.
iDrive is built for file storage and backup. It’s a good choice if you have a huge photo library, but doesn’t have the same level of features as Dropbox in terms of sharing and commenting.
If you have a massive photo library and care more about making sure your work is safely backed up than sharing your pictures with the world, iDrive is a good option to consider. Their software will securely transfer all your data, or just the files and folders you choose, to their cloud servers. You can sync everything with another computer, access your photos via the web interface, and use the mobile app to automatically upload your camera photos.
Don’t expect image editing tools, a community of photographers, or other advanced features found on photography-centric platforms. But you can share images with others and use iDrive to transfer large batches of photos to clients.
Free Version: 5 GB Storage
Paid Version: $ 70/year for 5 TB storage. Back up one or more computers continuously. Clone an entire hard drive, which is useful for backing up a photo library.
Pros: Great reputation for cloud-based storage and backup. Price is very good for the amount of storage, which is important for photographers with large photo archives.
Cons: Not specifically created for photographers, and options for creating galleries and for sharing images are limited.
pCloud
Like Dropbox and OneDrive, pCloud isn’t known first and foremost for online photo storage. It was created for easy-to-use file storage and syncing, and has a free tier with 10 GB of storage for people who want to try it out without committing to a monthly fee.
What sets pCloud apart is its price: It’s the only cloud storage option on this list that has a one-time fee option instead of monthly or yearly charges. While the one-time fee is expensive, it is far cheaper in the long term if you plan on using the service for years.
pCloud is a great choice for photographers on a budget who don’t want to commit to expensive yearly fees but require solid online photo storage.
pCloud’s options for photographers won’t knock anyone’s socks off, but they do have some pleasing features. The mobile app can upload your images directly to pCloud, and the web-based interface lets you resize your photos to make them smaller. This is useful if you want to share photos while keeping an eye on file sizes and bandwidth usage.
Free Version: 10 GB storage. Includes all pCloud features in the commercial version.
Paid Version: $ 175 one-time fee for 500 GB storage. $ 350 one-time fee for 2 TB. Annual plans also available.
Pros: One-time fee. Uploading via the mobile app. Offers an easy way to resize photos.
Cons: Expensive up-front cost. Not designed for social networking or easy image-sharing.
Synology Photo Station
Synology Photo Station differs from the other options on this list because Synology isn’t really a cloud-based photo storage platform.
With Synology, you essentially build your own cloud storage server, called a NAS (network-attached storage). It’s a physical device you keep at home and can access from anywhere with advanced, highly-customizable software. This might make its inclusion on the list a little confusing, but hear me out.
Synology gives you your own personal cloud storage on a device you own. You can then access your photos and other files from anywhere.
Instead of an external hard drive that you plug into your computer, a NAS is a disk or array of disks that you access over a network. NAS devices are standard in many businesses, and are becoming more popular at home as people realize how flexible and powerful they can be.
In late 2020, Synology released a service called Photo Station. It’s designed for people who want to easily share images with others in online galleries, but need to control the physical media themselves. That way, you can buy a Synology NAS and use it to host photo galleries, share images, and manage all your digital images – without relying on a cloud server you can’t always control.
Introduced near the end of 2020, Synology’s Photo Station tool gives photographers a way to share images and create public albums. It’s a nice perk for those who have already invested in Synology hardware and don’t mind a bit of a learning curve.
Synology Photo Station lets viewers engage with your images by leaving comments and clicking on highlighted areas, so it’s great for sharing images with clients or even the general public. Storage space isn’t a problem, since you can just add more drives to your NAS or swap out the existing disk for a bigger one.
There is a learning curve to set it all up, and if something goes wrong you might find yourself spending more of your own time to fix it than you want. But it’s definitely worth a look for photographers who require the highest level of control over their photos.
Price: Around $ 200 for a basic enclosure, but drives need to be purchased separately.
Pros: Highly customizable, infinitely expandable. Easy to share photos with others and no long-term recurring fees.
Cons: Steep learning curve. Not true a cloud-storage service, so your photos aren’t backed up remotely.
How to choose
At the end of the day, you just want the right solution for you and your workflow.
With so many options available, how can you possibly pick the best online cloud storage option for your photos?
To answer that question, it’s helpful to reframe things just a little and realize that there is no one single solution that is ideal for everyone. Different people have different needs, and no single cloud platform is going to meet the needs of every individual.
Keeping that in mind, here are my picks for the best online photo storage options for three types of people:
The casual photographer: Flickr
Flickr occupies the ideal middle ground between storage, price, features, and community. Its yearly cost is right in line with what many other services offer, and it offers unlimited photo uploads so you never have to think about running out of space or upgrading your storage plan.
Flickr has existed since 2004 and has outlasted many competing services while still remaining relevant today. Its mobile app is perfectly usable, if not as feature-rich as some alternatives, and the 1000-photo free tier is enough for you to get plenty of use before paying to upgrade.
The lack of RAW uploads makes Flickr less appealing to professionals, and there’s no front-facing website for showcasing your best work to clients. Additionally, some elements of the Flickr web interface feel like they haven’t been updated since 2004, which can make using them a bit of a challenge.
Flickr has been around since 2004, which is also the last time some parts of its interface appear to have been updated. Nevertheless, it’s the best online storage option for many photographers.
You won’t find artificial intelligence sorting and organizing on Flickr, either. But if you’re a casual or even semi-professional photographer looking for an outstanding online photo storage platform – one that can meet your needs without requiring too much money – Flickr is the best option.
The professional photographer: SmugMug
SmugMug is the best storage option for professionals who require more feature-rich storage. The Basic plan is fine for casual photographers and shares many of the same features as Flickr, though it lacks the social elements and photography communities that have made Flickr so useful over the years.
SmugMug has tools for professionals to create a website and let clients order prints, and its SmugVault tool allows for uploading RAW, TIFF, and other high-quality image formats. Combine that with unlimited storage and the result is an online photo storage platform ideal for working professionals.
The archiver: Dropbox
If you’re a person with hundreds of thousands of photos and you just want to store them safely in the cloud, Dropbox is your best choice.
The price is a little higher than some of the other options, but you do get what you pay for. Dropbox handles tasks like uploading, downloading, syncing, versioning, and restoring deleted files and folders more smoothly than any other platform.
Dropbox has been refining its file syncing technologies since 2007. They only do one thing – online cloud storage and syncing – and they do it very, very well.
Dropbox syncs your files instantly across multiple devices and has a robust and full-featured mobile app for uploading photos and managing files. Plus, the one-click public sharing for pictures and entire folders is so useful that, once you have it, you won’t ever want to go back.
The cheapest paid tier offers a generous 2 TB of storage, and if you want to free up space on your computer, you can tell Dropbox to store originals in the cloud; you can then download them on an as-needed basis.
Dropbox doesn’t have productivity apps like OneDrive, and it’s more expensive than iDrive or pCloud, but it handles the straightforward task of cloud storage better than anything else on the market.
The best online photo storage: conclusion
I hope this guide was useful to you!
And now that you’ve finished, you should know the best online photo storage provider for your needs.
Now I’d like to ask you:
What do you think about online photo storage options? Do you have a site you like that didn’t make it on this list? Are there features of these tools that you use but I didn’t mention in my review? Leave your thoughts and questions in the comments section below!
The post The Best Online Photo Storage Platforms in 2021 Compared appeared first on Digital Photography School. It was authored by Simon Ringsmuth.
The post Composition in Photography: A Complete (and Modern) Guide appeared first on Digital Photography School. It was authored by Ana Mireles.
If you’re looking to learn about composition in photography, you’ve come to the right place.
In this article, I’ll cover what composition is, and I’ll explain how to use it to make your images eye-catching and unique.
So whether you’re a beginner photographer learning the basics or a more experienced shooter who wants to improve, read on to find out some of the most effective composition tools, concepts, and guidelines available!
What is composition in photography?
Composition in photography refers to the position of elements inside the frame and how they interact with each other.
Ultimately, composition is about the visual structure of your image.
Why is composition important?
The composition of your photograph impacts the way it’s perceived by others. When you choose what to fit inside the frame and what you leave out, where to position each element and so on, you’re capturing a scene with your unique vision.
That’s why it’s important to carefully compose your photos!
Basic techniques and concepts for composition in photography
We are instinctively attracted to images with a good composition.
Why?
Because we find them harmonious or interesting!
However, we are not as naturally skilled at creating stunning compositions.
That’s why photographers have developed basic compositional guidelines and concepts that can quickly improve photo compositions – without requiring years of experience.
Starting with:
The rule of thirds
You’ve probably heard about the rule of thirds – or at the very least, you’ve seen it. That’s because most cameras, including the one on your smartphone, have a rule of thirds grid overlay.
The rule of thirds grid is formed by four lines – two vertical and two horizontal – placed at an equal distance from each other and the photo edges (so the frame is divided into thirds).
Like this:
But what actually is the rule of thirds?
It’s a guideline stating that you should position compositional elements along your gridlines – and that the focal point of your composition should sit at one of the gridline intersection points.
You can follow this rule in both portrait and landscape orientation, and it works for all types of photography. For example, if you are doing a full-body portrait, you should often place the subject toward one of the gridlines and not in the center.
And when you’re photographing a landscape, you should put the horizon toward the top or bottom third of the image and never in the middle.
Note that the rule of thirds is a guideline, not a true rule. Once you’ve mastered it, I recommend trying to violate it with other concepts – such as symmetry, or with even more complex techniques such as the golden ratio (discussed below).
Leading lines
Leading lines direct the viewer through the image, like this:
When you read a text in English, you automatically start at the top left. Then you continue toward the right until the end of the line.
The same thing happens in photography. When we see an image, we also “read” it. Your eye goes from one element to the next – in order to view details and understand the story that’s being told.
That’s where the leading lines come into play: They guide the eye through the image.
Leading lines can be present or implied, and they can be straight or curved. For example, a leading line can be a curvy road getting lost in the mountains. This will compel viewers to follow the road, pulling them into the image.
Texture
Texture is often overlooked as an element of the composition. You can use it to create contrast between two elements – one that is smooth and one that is rough, for example.
You can also use texture to create interesting shapes and leading lines, or to add interest to an otherwise dull subject.
To work with textures, you need to consider the type and direction of the light. A hard light that comes from the side will emphasize the texture. A soft light coming from the front flattens the surface.
Color
Color is a key consideration for composition in photography. There are so many color harmonies that you have endless possibilities!
You can use complementary colors to create contrast and make your subject stand out. And you can bring together apparently unrelated elements that are united via a color scheme.
A good way to learn and understand color palettes is Adobe Color. You can use this tool even if you don’t have an Adobe subscription.
Simply select a color wheel with different color harmony rules, such as monochromatic, complementary, etc. You can also upload a photograph to extract the color scheme or gradient. And to stay updated, you can browse trends based on Adobe Stock and Behance.
My favorite tool in Adobe Color is Explore, where you can input a concept or a mood and see the colors that represent it (with multiple examples from the visual arts).
Shape
As photographers, we’re used to thinking of ways to add depth to a two-dimensional surface.
Because of that, it’s easy to overlook the importance of shapes. Yet when you’re composing your images, you can use shapes to establish a careful arrangement.
Think of a cake being photographed from the top; that’s a circle. If you cut out a slice, then you’re adding a triangle to the composition.
Every shape gives a different feel to our photographs. For example, squares convey stability, while circles make you think of movement and energy.
That’s why posing a group for a corporate portrait usually means forming squares or rectangles, whereas family portraits are often posed in triangles or dynamic shapes.
A good way to practice shape-based composition is by using shadows or shooting silhouettes. That way, you take out any three-dimensionality and focus only on the shape of objects.
Symmetry
Symmetry is defined as something that is exactly the same on both sides, such as a mountain peak or a tree trunk.
And it can work great in art – as long as you use it carefully.
Note that, in art, a scene is rarely 100 percent symmetrical. Instead, you’ll end up with scenes that are almost symmetrical and are well-balanced on both sides.
Like this lake photo:
The trees and water aren’t perfectly symmetrical, but they’re close, and the overall scene has a feeling of balance.
Take a portrait as another example. If you photograph a face perfectly centered in the frame, your image will be symmetric. It won’t matter if the subject has a birthmark on one of their cheeks, or that one of their eyes is slightly lower than the other – the symmetry will dominate.
One of the reasons we find symmetry so appealing is because we often find it in nature. And psychologically speaking, symmetry offers a sense of order that makes us feel at ease.
(A great way to play with symmetry in your photography is by shooting reflections or patterns!)
Contrast
Another important concept that can enhance your composition is contrast.
Since we are talking about photography, the first thing that comes to mind is contrasting light, such as low key photography. Here, you capture a very dark image where only a small detail is highlighted (which makes for a highly dramatic result).
However, tonal contrast is not the only type of contrast you can use to improve your compositions. You can also use color contrast (as discussed earlier), juxtaposition, and conceptual contrast (which pairs opposite ideas or aesthetics).
Advanced composition in photography
Once you’ve mastered the basics of composition, it’s time to challenge yourself and move on to more advanced techniques.
Here are some of the most popular tools to consider:
The rule of space
The rule of space tells you to leave space in front of the subject, especially if it’s a moving subject. The idea is that the viewer needs enough room to imagine the subject carrying on the action that it’s performing.
For example, if a duck is paddling away, you would put significant space in front, like this:
And according to the rule of space, if you photograph a person who’s running to the right, you should place them on the left side of the frame (and vice versa).
But remember that there’s an exception to every rule, especially when it comes to composition. So if you want to add tension or intrigue the viewer, try violating the rule of space!
The complicated thing about composition is that you must choose to apply or break the rules depending on the message you want your image to convey.
The rule of odds
The rule of odds is based on the principle that people find it more interesting to see odd numbers. While even numbers show stability and work well for symmetric compositions, odd numbers allow the eye to flow through the image.
So according to the rule of odds, you should include odd numbers of items in your compositions.
I recommend you use this rule when it fits the situation, much like you would with shapes. If you want a dynamic composition, you use triangles, diagonal lines, and odd numbers. And if you prefer stability, you can choose straight lines, squares, and even numbers.
In any case, the important thing is to use the rules to your advantage and take control of your compositions.
When you’re shooting food or products, it’s often easier to follow the rule of odds.
But following the rule of odds isn’t as easy when you’re photographing a family of four; you can’t just decide to exclude one of them!
(Though when you’re facing this situation, you can arrange the group so the viewer sees one plus three instead of four.)
Triangular composition
In the first part of the article, I talked about using shapes to compose your images.
But did you know that the most popular shape in composition is the triangle?
You can create triangles with poses in portraits, mountains in a landscape, or a church tower on your travels.
However, if you want to up your game a bit more, you can use golden triangles. This composition technique divides the frame first with a line that connects one corner with the opposite one, then adds two smaller lines coming out from each of the remaining corners.
Like this:
Ideally, you would place the most important elements of the composition where the lines intersect. To achieve this, you may have to tilt your camera; this is called a Dutch angle (aka the Dutch tilt, German tilt, or Batman angle).
That’s why it’s not always possible to use the golden triangle guideline (or, at least, it’s not always the best choice!).
The golden ratio
The golden ratio is a mathematical term that was later applied to art and eventually photography. It equates to 1.618, and there are two ways it can be applied to photographic composition:
As a grid or as a spiral.
The golden grid (aka the Phi Grid)
The Phi Grid divides the frame into nine blocks, just like the rules of thirds.
However, this grid doesn’t follow a 1:1:1 ratio – which means the blocks are not the same size. Instead, the grid is 1:0.618:1, so you get smaller blocks toward the center, like this:
This composition tends to be more natural, as the golden ratio is also found in nature. It also has a better reputation than the rule of thirds, which many consider to be amateurish – a first step that should be quickly outgrown for more complex techniques.
The golden spiral (aka the Fibonacci spiral)
For this composition tool, you should follow a spiral whose growth factor is the golden ratio.
It looks like this (though note that it can begin at any corner of the frame):
This spiral is found in natural structures such as sunflowers, pine cones, seashells, etc. You can also find it in many artworks and buildings because many artists have used it throughout the centuries.
To train your eye, you can print or draw a golden spiral, then use it to study the photographs from Irving Penn or Henri Cartier-Bresson, who both used the golden spiral to achieve astonishing results.
Composition in photography: conclusion
Now that you know most of the popular composition tools, you can use them to dramatically improve your images!
I know it’s a lot of information, but composition in photography will become more intuitive as you get more practice.
My suggestion is to keep it simple at first and practice the tools one by one.
Once you get comfortable with each composition guideline, you can combine them to achieve a more complex result.
And remember:
These are just guidelines you can use as you see fit to find your own artistic vision.
Now over to you:
Which of these composition techniques is your favorite? Which do you plan to use in the future? Share your thoughts in the comments below!
Composition in photography FAQs
How do I emphasize my subject?
To emphasize an element in your photograph, you need to draw the viewer’s attention to it. You can use composition techniques, such as leading lines, to achieve this.
Is the rule of thirds the most important composition rule in photography?
No, the rules of composition don’t have a hierarchy. Instead, rules work better in different situations, and the best technique for one photograph can be wrong for the next one.
Can I improve my composition by photographing with a smartphone?
Yes, these rules apply to all types of photography, including mobile and video. If you want some help getting started, most camera phones have a grid overlay that follows the rule of thirds. You can enable/disable it in the settings section. Alternatively, you can install a camera app that supports different types of grids (such as A Better Camera).
How can I improve my composition in Lightroom?
You can use Lightroom’s overlays to improve the compositions of your photos. To use these, select the Crop tool from the Develop panel. Make sure that the Overlay is enabled. Then press the “O” key to toggle between all the available overlays.
Can I break the rules of composition?
Absolutely! Even though some of them are called rules, they are only guidelines, tools, and techniques to help you achieve better results. There’s always flexibility to experiment. It’s important to know the rules before you break them, though!
The post Composition in Photography: A Complete (and Modern) Guide appeared first on Digital Photography School. It was authored by Ana Mireles.
The post How to Make Beautiful Portraits Using Flash and High-Speed Sync appeared first on Digital Photography School. It was authored by Sean McCormack.
The scene: Outdoors with full sunlight.
The gear: Your camera, lens, and flash.
The problem: You find that your flash only works at 1/200s or below, so you need to be at f/16 or f/22 to get a well-exposed shot. And at f/16-f/22, everything is in focus, including all the cars and other distractions in the background. (Those dust spots you keep meaning to clean are also perfectly visible.)
Why can’t you shoot with a higher shutter speed so you can have a wider aperture?
Well, it’s all down to the issue of sync speed.
More specifically, it’s about using flash and high-speed sync.
Generally speaking, to overpower the sun and stay below your camera’s sync speed, you’re forced to use a narrow aperture. Here I’m at f/20 just to stop the backlight overpowering the hair and the sky from blowing out:
The resulting aperture means that everything is pretty much in focus, leaving the background looking cluttered.
(This shot is for example only; you should generally make a point of choosing clutter-free backgrounds.)
What is sync speed?
Sync speed is the fastest shutter speed for which the camera can expose the whole frame at once.
It’s a bit technical, but when you fire any shot below the sync speed, the first shutter curtain opens fully, revealing the entire sensor to light. At the end of the exposure time, the second shutter curtain moves across the frame to finish the capture.
(Generally, the sync speed varies between 1/125s and 1/250s; it depends on your camera.)
When you go above the sync speed, the second curtain starts to move before the first one has completed its journey. As your shutter speed gets shorter and shorter, the gap between the curtains narrows to a tiny slit. Despite this, all parts of the sensor receive light and a full exposure is made. On a bright day with a prime lens, you can easily shoot at 1/8000s at f/1.4 and have a perfect exposure. All parts of the frame still receive light, because ambient (non-flash) lighting is continuous throughout the exposure.
So why does the sync speed actually matter?
The sync speed problem
It’s when you introduce flash that you start to have problems.
You see, when a flash is fired (which usually happens when the first curtain is opened), all the light from it comes out in a very short space of time (in the order of milliseconds).
When you go above the sync speed, the position of the curtains doesn’t reveal the entire frame at the time the flash fires. So the shutter curtain blocks part of the flash and prevents it from reaching the sensor.
Any ambient light will expose normally, but the flash gets hidden in part of the frame. As your shutter speed gets faster and faster, more and more of the flash is blocked until it’s no longer visible in the shot (i.e., your exposure is what you’d get if you never fired the flash at all).
Below is a set of images taken at 1/3-stop increments with a flash. The first photo is at 1/250s, the native sync speed of my Fujifilm X-T2 camera. The other shutter speeds are, in order from left to right (and top to bottom): 1/320s, 1/400s, 1/500s, 1/630s, 1/800s, 1/1000s, and 1/1250s. Note that 1/320s is potentially usable if the subject is away from the edge of the frame.
Everything in focus
Normally, when you use flash outside in daylight, you end up having everything in focus.
Remember the Sunny 16 Rule? If your subject is in direct sunlight during the day, you can set your aperture to f/16 and your shutter speed will be one over your ISO value.
So if your ISO is set to 100, your shutter speed would be 1/100s (at f/16). If your ISO is 200, then the shutter speed would be 1/200s.
Now, to get a darker, richer sky while using flash, you’d really need to be at f/22. Because you can’t get faster than 1/250s (remember, it’s the sync speed!), you have to increase the aperture to expose the shot correctly.
I shot at f/20 and 1/160s to get a richer sky for this band promo shot. It’s quite an old photo, so there were limited options for widening the aperture at the time. Even the hills in the background are in clear focus. The beach isn’t exactly pretty, either.
A behind-the-scenes shot showing my two flashes set to full power.
As you can see from the photos above, this is a huge problem. Shooting at an f/22 aperture just doesn’t give you the creamy bokeh that portrait photographers love, and it can leave you with unpleasant, distracting backgrounds.
So what do you do?
The solution: high-speed sync
There is a solution: high-speed sync, also known as focal-plane sync.
No, it’s not perfect, but it does work. You see, instead of firing the flash at the start of the shot, high-speed sync pulses the flash throughout the whole exposure, trying to simulate the effects of a continuous light.
My flash set to high-speed sync. Usually, there’s a single-button hold or a double-button combination to turn HSS on.
It looks good, but it comes at the expense of power and heat, because HSS works the flash really hard. After a few shots, the flash may even shut down for cooling.
Now, for high-speed sync to work, you need the camera to transmit a signal to the flash and for the flash to have high-speed sync built in. Cactus Image makes a trigger called the V6 II, which allows you to use any HSS flash with any camera.
The Cactus Image V6 II offers power and zoom control over a wide range of speedlights, and it also offers high-speed sync capabilities.
The look of high-speed sync
You can use high-speed sync to go over the sync-speed barrier, so settings like 1/4000s at f/1.4 are achievable with flash. You get complete control over the light, but while using the wide apertures you usually associate with natural-light photographs. Yes, please!
By shooting wide-angle photos with a shallow depth of field, you can even create images that look like stills from a movie.
Settings for high-speed sync
Let’s look at a typical setup and settings for a photo using high-speed sync. This particular shoot was done in the evening when the light was relatively low, but I really wanted a shallow depth of field – and therefore required high-speed sync.
I set my camera to f/1.4 for a super-shallow depth of field. To get the clouds properly exposed, I had to boost the shutter speed to 1/4000s. To get the flash to work, I had to set it to high-speed sync. Using a Cactus V6 II trigger, I could easily get my Fujifilm X-T10 to shoot with high-speed sync.
An evening HSS photo shot at 1/4000s, ISO 200, and f/1.4. Notice the shallow depth of field.
The behind-the-scenes shot, showing an octabox in front of a model (photo by my assistant, Ola).
Using high-speed sync, I captured this shot at about 3:00 in the afternoon with the sun high in the sky. I worked with an 85mm lens at 1/2000s, f/2.5, and ISO 100 on a Canon 5D III. The sun acted as a second light in the shot. Again, the background is nicely out of focus.
Another high-speed sync portrait example:
An issue with shooting outdoors on overcast days is that your shutter speeds can be low enough to cause camera shake. By bumping up the ISO, you can get a faster shutter speed, keeping you safe from blur. Using high-speed sync then lets the flash do the work. Here, I’ve shot to keep the flash looking as natural as possible. 1/1000s | f/4 | ISO 800
The alternative
Note that high-speed sync isn’t the only way to shoot with a wide aperture and flash.
For one, you can always head out at the beginning or the end of the day when the light is pretty low; then the ambient lighting won’t add much to the shot, and you’ll be able to get a nice exposure at 1/200s. Plus, you can get great sky color and you won’t be fighting against strong sunlight.
A shot of the band Drown for Thin Air magazine. The evening light made the shot. I needed a higher aperture to get the whole band in focus, so I opted not to use high-speed sync here.
Of course, if you’re doing any photoshoots with clients, you often have to work with the subject’s schedule rather than your own. So you may have to shoot at midday to suit them.
And that leads to the next option.
Using a neutral density filter
If you shoot landscape photography, you will be familiar with neutral density (ND) filters. This filter type allows you to slow the shutter speed down to get nice, silky water.
Neutral means that it adds no color, while density refers to blocking light. You can get ND filters in a range of values from 1 stop to 16 stops.
For portraits, neutral density filters allow you to widen the aperture instead of dropping the shutter speed. So a 4-stop ND filter would take you from f/16 to f/4.
The drawback is that, as you block light, focusing can become harder.
Another potential issue is that not all ND filters are actually neutral. Some tend to have a color cast. (I have a Firecrest 10-stop ND for landscapes, which is neutral, but the older 4-stop filter I own – also from Firecrest – is slightly pink.)
Without the ND filter applied, I was forced to use a narrow aperture; note how the entire scene is in focus. 1/250s | f/16 | ISO 200
With the 4-stop ND filter applied, the background can be rendered out of focus. The flash is still at the same power as the unfiltered shot above. The filter does have a color cast, which is hard to remove completely. 1/250s | f/4 | ISO 200
Flash and high-speed sync: conclusion
As you now know, you can make outdoor portraits even when the sun is bright – simply by using flash and high-speed sync.
So make sure you get a flash that has HSS capabilities.
And start practicing!
Now over to you:
Have you ever used high-speed sync? Have you ever struggled to get nice bokeh in bright sunlight? Share your thoughts (and high-speed sync images!) in the comments below.
The post How to Make Beautiful Portraits Using Flash and High-Speed Sync appeared first on Digital Photography School. It was authored by Sean McCormack.
