London Fashion Week just wrapped up, and a lot of the people I follow on social media were there, taking over brands’ social media accounts, taking pictures, looking good. I spent most of the past four days sitting around at home with absolutely no plans to go anywhere, and I think if you’d touched me, my relief would have actually Continue Reading
The post 20 Reasons Why I Won’t Cover Fashion Week for Free (But I Would for Expenses) appeared first on Photodoto.
The lowly tripod – the unsung hero behind so many fantastic shots – finally gets its day in the spotlight here on dPS.
Do you want to photograph the stars? You’ll need a tripod. Want to get silky smooth waterfall photos? Yep tripod again. Need to photograph an HDR to extend the dynamic range of your scene? Oh yes, tripod required there too.
Basically, if you want to do anything more than point and shoot, you’ll need to bring your three legged friend along with you.
I’ve decided to write this article in a way that assumes you’re just starting out with your journey in photography. So for those of you who have spent some time getting to know your tripod and how to use it, please feel free to add your own advice to the comments section below.
A tripod allows you to frame a shot exactly how you want, and keep it there indefinitely. This allows you to take long exposures, use heavy lenses without straining your arms, or compose the same scene with different subjects in order to photograph it later. All tripods are essentially the same – three legs meeting at a center-point that supports your camera. However, all tripods are not created equal.
Buying the right tripod can be a challenge, one that can easily cause you to give up, head to your local big box store, and by the first $ 30 dollar option you see on the shelf. This is not the best idea, especially since you’ve spent good money on that camera body and lens you’re trying to support. Would you trust a $ 30 plastic tripod to hold your camera steady for a shot like this? I know I wouldn’t.
In general you want a tripod that’s strong enough to support your camera, light enough to carry with you wherever you go and affordable enough to not break your budget. Here’s some simple pointers to help get you started:
Got any more buying tips? Share them below!
In this video I share some basic tips on how to set up a tripod in various situations to get the best shots every time. I’ll talk a bit more about various setups below the video as well.
Many tripods offer the ability to get very low to the ground, which is a great way to change the perspective of a scene to create interest. If this is the sort of thing that you’re looking to do, make sure when you’re comparing tripod options that you pay attention to the minimum height specifications.
When you’re looking to add height to the tripod remember to keep a few things in mind. As I mentioned in the video above, always extend your legs from the widest segment first, as these will offer more support than the smaller legs and always use your center column as a last resort. Finally, something I didn’t mention in the video but that’s also very important, is that weighing down your tripod can really help quite a bit when you’re out shooting on a windy day. You can either carry a sandbag with you, or simply use your camera bag if you’ve got a couple of heavy lenses or bodies inside.
Finally, using a tripod on a tricky landscape like a hillside or staircase is something that takes a bit of planning. Each leg of the tripod will likely have to be extended to a different length, and positioned at a different angle, but the goal is to have your center column (and thus your center of gravity) aligned evenly between the three legs, and perfect straight up and down. This will give you the most support, and allow you the most freedom to frame your shot.
Of course there are times when you just have to throw everything mentioned here out the window ,and do what you have to do to get the shot. As an example I’ll show you a shot I made earlier this year at Trap Falls, framing the waterfall inside of a Y-shaped tree.
The tree is on a hill, and the base of the Y was a bit too high for my tripod fully extended, which meant that I needed to use every bit of the tripod to its full potential.
As you can see in the behind the scenes photograph below, the center column is extended well beyond what I’d consider an ideal situation. I wouldn’t necessarily call this setup stable, but it did allow me to get the shot I wanted. So like everything in photography, just because there are rules that you should follow whenever you can, if there’s a shot you can’t get by following them, but think you can get it safely by bending the rules a bit, then by all means go for it.
Note: This is not a mysterious two legged tripod – the third leg is hidden behind the front leg due to the perspective of the shot.
The post Beginner’s Guide to Tripods by John Davenport appeared first on Digital Photography School.
The Rolling Stones: Nikon D800, 185mm at f4, 1/320, ISO 1600
The correct camera settings are key to getting awesome concert photos in low light situations. Maybe you were in this situation before. You used the full automatic mode in front of the stage and – BAM- the little flash monster sitting on top of your camera pops up and throws the ugliest light you can think of onto the singer’s face. At this point, a lot of frustrated concert photography beginners just take their cameras home and never shoot a concert again. But wait, in this article I’ll share the camera settings I use all the time during concert shoots and I promise they’ll help you to immediately boost your career as concert photographer. Let’s start.
I started off using aperture priority mode; you tell your camera the aperture you want to use and the camera sets the shutter speed accordingly. This is a great option for a beginner to use, because you’ll be stressed enough with all the other things going on around you. However, I soon recognized that only manual mode would give me the flexibility I was looking for. I set aperture, shutter speed, and ISO and then change them on the fly using the internal exposure bar in the viewfinder. I am constantly checking my LCD screen and have a look at the histogram to see if my exposure is correct.
Fink: Nikon D700, 14mm at f/2.8, 1/200, ISO 3200
When deciding which lenses will work best for concert photography, you’ll always come to the same conclusion: use fast lenses and shoot them wide open. Set your aperture to the smallest number on your lens e.g. f/1.8 (which reflects a big aperture). This allows the most possible light to enter your sensor and is a must-have setting in ultra low-light stage conditions. The best zoom lenses have an aperture of f/2.8, the best prime lenses f/1.4 or f/1.8. For Beginners on a budget I suggest to get a 50mm f/1.8, which is cheap and therefore a no-brainer for concert photography.
Have you ever been on a concert where the artist was hyperactive jumping from one side of the stage to the other? To freeze these movements you have to use a fast shutter speed. In general, I set my shutter speed at 1/200sec and faster. Otherwise you risk blurred photos.
Miley Cyrus: Nikon D800, 340mm at f/4.8, 1/320, ISO 1600
ISO or film speed refers to the sensitivity of an analog film. Today the term is used for the sensitivity of your digital sensor. The higher the ISO setting the less light is needed for a proper exposure, but the more noise you will encounter in your pictures. Depending on the ability of your camera a good starting point for ISO is a setting of 1600. If my shutter speed is too low, I will crank up the ISO setting to 3200 or 6400.
Set your camera’s internal light meter to spot metering. This takes a light reading limited to the center of your viewfinder (a very small percentage, and some cameras allow you to choose where to meter – check your manual). When shooting concerts, you will often find yourself in a situation where the artist is lit by a spotlight and the rest of the stage is almost dark. When using spot metering mode, place the artist’s face in the middle of your viewfinder and you’ll get the right exposure for it. When using the Matrix (or evaluative) metering setting, the camera will take a light reading at several points in the scene and you’ll probably get overexposed faces if the background is dark.
Atari Teenage Riot: Nikon D700, 50mm at f/1.8, 1/2500, ISO 1600
On your camera, only use the central focus point in low light situations. This will be the most accurate one. If you don’t always want to have the artist in the middle of the frame, you have to recompose. Simply push your shutter button halfway down to focus on the artist’s face. By holding the shutter button halfway down you lock focus. Now move your viewfinder until you get the desired framing and push the shutter button fully down.
To use this technique, you have to set your camera to Autofocus single (AF-S for Nikon, One Shot for Canon) mode, otherwise the camera focuses continuously while you’re reframing your picture. You can also set the AF-ON button to focus, which I prefer.
I use the auto white balance setting on my camera. The reason being is that I shoot in RAW format and can therefore adjust the white balance setting in post-production anyway.
Skunk Anansie: Nikon D700, 85mm at f/3.5, 1/500, ISO 1600
Set your camera to multi-shot mode (may be called High Speed shooting mode). It allows you to rapidly shoot three to four photos in a row (depending on the frames per second of your camera model. It’s more likely that at least one of the four photos is tack sharp whereas the others might not be in focus.
First, you are not allowed to use a flash in concert photography. Imagine ten photographers burst their flashes at the same time. This would be quite annoying for the artist. Second, straight flash pictures don’t look awesome.
Korn: Nikon D700, 130mm at f/2.8, 1/250, ISO 3200
Always shoot concerts in RAW format. If you shoot in JPEG mode, the internal camera computer adds contrast, saturation and sharpness to your photos. These files look great when you open them on your computer, but don’t leave much freedom in post-production. If you shoot in RAW format, the camera does not process the photo at all. The advantage is that you can change parameters like exposure, white balance, saturation, contrast, clarity and so on afterwards.
With these camera settings you will be able to get great results when shooting in low light conditions such as concerts.
The Prodigy: Nikon D800, 85mm at f/1.8, 1/320, ISO 1600 |
Zola Jesus: Nikon D700, 50mm at f/1.8, 1/200, ISO 1600 |
Being a concert photographer can be tough. There are a lot of industry secrets that nobody is talking about and it took me almost six years to reveal them.
So I decided to write the Guide to Rockstar Concert Photography which is a step-by-step guide which will provide you with all the information necessary from shooting your first concert, learning which camera gear and settings you need, how to build an awesome portfolio, understanding the rules of the photo pit, getting signed by magazines, shooting exclusively for your favorite bands, and making money with your work.
This guide is available for the first and only time at SnapnDeals at a 50% off discount to help you getting started to become a Rockstar Photographer too.
The post 10 Must-Have Camera Settings for Concert Photography by Matthias Hombauer appeared first on Digital Photography School.
Andrew’s ebook Mastering Lightroom: Book Four – The Photos is available now at a special price of 40% off for a limited time from Snapndeals. It’s an advanced guide to processing photos in Lightroom’s Develop module, explaining how to use Lightroom’s powerful processing engine plus Develop Presets and plug-ins to create beautiful images.
A few years ago I passed through Bolivia, South America’s poorest and, in some ways, least developed country. I spent a few days in Potosí, a small, largely forgotten city whose history had a central role in shaping the modern world. Built at the foot of the Cerro Rico (Rich Hill), the silver mined in Potosí flowed across the continent, through the cities of Cartagena and Havana, and across the ocean to Sevilla and Madrid in Spain, where it powered the rise of European nations as the wealthiest and most developed of the era.
The silver no longer flows from Potosí, although the mines are still open. The city seems to exist on a mixture of mining output and tourism. It’s one of the world’s highest cities, sitting a little over 4,000 metres above sea level in the Bolivian Andes. It’s a cold place, even in the summer. Sleet or snow can strike at any time of the year.
I liked wandering the streets as dusk fell, watching the local people as they went about their daily activities. It was a busy time, with kids out of school, shops closing and people leaving work. Potosí is a city of contrasts: the poverty of some of the local inhabitants against the relative affluence of foreign travellers; the fading grandeur of the magnificent old colonial architecture against the newer mud brick houses at the edges of the city; the tragedy and scope of the city’s history against the snippets of modern daily life. The feeling that, even after hundreds of years, this is still a place where the traditions of the people who lived here before the Spanish came intersect with the ways of modern, European descended South Americans.
As I wandered around the streets, dusk falling, a Bolivian lady walked around the corner. She had tied her hair in two long plaits, and wore a Bolivian style sun hat on her head. There was a blanket slung around her shoulders, inside which sat a baby, hair styled in a topknot, looking behind it as his mother walked onwards. I had time to raise the camera and take a single photo before a second child walked around the corner and blocked my view.
This photo isn’t perfect. The baby’s face is slightly out of focus. The photo was underexposed (the moment happened so fast I didn’t have time to dial in exposure compensation). The rear light of a car and the out of focus man in the background are distractions (see the original version below). Yet that’s not important. Photography is about evoking emotion, and sometimes things happen too fast for technical perfection.
What matters is the moment. In this photo it’s the juxtaposition between the mother walking one way and her baby looking another. The atmosphere created by the fading light of another cold night in Potosí. The age of the building she is walking past. The intersection of ancient ways with the present day.
This is a photo I come back to again and again, reprocessing as my skills improve. Each time my approach is driven by my memory of that moment and how it felt. Ask yourself the same question when processing images. How did the moment feel? And how can you express that feeling with colour, light and shadow?
There are plenty of things wrong with the original photo (below). It’s underexposed, and needs brightening (although not too much as I want to retain the atmosphere created by the fading light). The background is distracting. The colours are muddy.
The baby is the natural focal point of the photo, and I wanted to emphasize it. I also wanted a lot of blue, the natural colour of light during dusk, in the photo. To start, I set Profile in the Camera Calibration panel to Camera Landscape. This setting is intended for use with landscape photos, but you can use it whenever you want to emphasize the colours blue or green. I also went to the Lens Corrections panel and enabled both Profile Corrections (with Vignetting set to zero) and Chromatic Aberration removal.
I went to the Basic panel and kept Exposure where it was, even though the photo was underexposed, because I liked the gloomy atmosphere. I set White Balance to auto, which gave a neutral colour, then reduced it (to 3639 Kelvin) to create a blue colour cast. This gave me a good starting point.
Two versions of the photo after the completion of step one. One has the Camera Landscape profile and the other the Camera Portrait profile. Even though it may seem logical to use the Camera Portrait profile on a photo containing people, Camera Landscape is the better option given my intention, as it gives the most appropriate colours.
My aim now is to continue the processing in a way that minimises distractions and places the emphasis on the baby.
I used the Crop tool to cut the right-hand side of the photo, eliminating the distracting background. This makes a big difference as the eye is no longer being pulled away from the people by the blurred light.
I added a Radial Filter and moved the Exposure slider left to make the background darker. The Radial Filter is new to Lightroom 5, but if you have an earlier version of Lightroom, you can do something similar with the Adjustment Brush (by painting in the area you want to darken).
The photo was quite flat so I returned to the Basic panel and increased Contrast. Then I used the Adjustment Brush to make a selection over the woman’s back and the child, and increased Clarity and Exposure. The aim was to make the baby sharper, and a little brighter, than the rest of the image, encouraging the eye to go to that part of the photo.
This screen shot shows the mask created by the Adjustment Brush.
Next I used the Adjustment Brush again to select a smaller area and moved the Temp slider right, making that area warmer. The idea here is to work on the natural colour contrast between the colours of orange and blue.
This image below shows the result of these adjustments. The key was to make them subtle so the image looked natural and not over-processed.
Throughout the processing I imagined that I had taken the photo on slide film and that the scene really did look like that. The fact that the scene would have come out differently than my version is incidental. The idea was just a guide to the approach I should take.
Next I created two Graduated Filters, one on either side of the frame. I reduced the Contrast in each one. A side effect of reducing Contrast is that the area affected also becomes lighter, so I adjusted Exposure to make them darker again.
These are subtle adjustments that reduce contrast at the edges to emphasise the area around the baby in the centre of the image, where I increased Clarity earlier.
Finally I decided the image was too dark and increased Exposure to compensate. Here’s the original and final versions together so you can compare them.
What do you think of these processing techniques and the style in which the photo was processed? Do you have any suggestions for an alternative interpretation of the original Raw file? Please let us know in the comments.
Andrew’s ebook Mastering Lightroom: Book Four – The Photos is available now at a special price of 40% off for a limited time from Snapndeals. It’s an advanced guide to processing photos in Lightroom’s Develop module, explaining how to use Lightroom’s powerful processing engine plus Develop Presets and plug-ins to create beautiful images.
The post Before and After: How This Photo was Processed in Lightroom by Andrew S. Gibson appeared first on Digital Photography School.
Milky Way Over Mono Lake | James Brandon
Seeing the Milky Way with your own eyes is a life-changing, mind-blowing experience. It will put your place within the universe in to perspective and remind you just how small and insignificant we all are. The sad part is that most people have never seen it. Over half of our planet’s population lives in cities where seeing the Milky Way is all but impossible.
Even when people get out of the city and have a good view of the stars, they usually don’t focus on them long enough to find the Milky Way. It’s something that you either stumble onto by accident, or something that you have to plan ahead of time. Here’s a few quick tips for getting the Milky Way in your viewfinder and exposing it properly – your guide to Milky Way photography.
Benjamin Franklin said so brilliantly that, “By failing to prepare, you are preparing to fail”. And it was Antoine de Saint-Exupéry that said, “A goal without a plan is just a wish”. So it goes with Milky Way photography. Sure, you can make a point to go out at night and see what you can find, but chances are you will be wasting your time.
The Milky Way is only visible in your respective hemisphere during certain months of the year. If you’re in the northern hemisphere your best time to photograph the Milky Way is in the summer, with July being the peak month. Unfortunately, the summer months aren’t typically the best times for clear skies because of the heat and the clouds from all the storm systems. Summer nights are also short, therefore limiting access further to the night sky. Folks in the southern hemisphere have it better, with the winter months being the best time.
The moon can make or break your Milky Way shots. This is why planning is so important! Don’t make the mistake of finding a perfect subject, waiting for the Milky Way to line up, and then discovering that the moon is right in the middle of the celestial center. Having the moon obstructing the view of the Milky Way will, quite simply, ruin your shot.
There are two ways the moon can help your shot. One is by its total (or nearly total) absence in the sky. The other is by having the moon behind you, with the Milky Way in front of you (thereby providing a light source for your foreground).
Oh no! The moon is in the way!
All you need to do to plan a perfect night of Milky Way photography is a beautifully designed app called StarWalk 2 (sorry Android users, you’re simply out of luck here. I have an Android phone and I absolutely hate that I don’t have access to this). Luckily I have an iPad and it works beautifully on there.
StarWalk lets you interactively view the night sky from either your position, or any other position on earth, at whatever time of day you choose. As you change the time of day, the entire sky will magically begin to revolve around your position, revealing or concealing the Milky Way, the constellations and the moon.
So let’s say you decide to photograph Delicate Arch in Arches National Park. You discover through research that from beneath the arch looking toward it you will be facing east. All you really need to do now is choose a location in that general area, make the app point east and then scroll through the hours in the day to find when the Milky Way will rise above the horizon.
One of the jaw-dropping cool features of this app is that you can actually use it in the field with an image overlay. You can hold your iPad or iPhone out and the app will turn the camera on and look at what you’re seeing. It will then overlay the night sky onto your image so you can see what that view will look like at a certain time of day or night! How cool is that!?
The Milky Way Over Delicate Arch | James Brandon
While it’s not impossible to photograph the Milky Way in light polluted areas, it’s certainly not ideal. I live in the heard of the Dallas – Fort Worth metroplex and to really get a great view of the Milky Way I have to drive about three to four hours west. A great resource for locating extremely dark skies is the International Dark-Sky Association. They’ve got a list of locations that host some of the darkest skies in the world. Planning a trip to any of these places during the right time of the year will give you some of the clearest views of the Milky Way you will find anywhere. Trust me, you haven’t lived until you’ve stood beneath a Milky Way so bright that it lights the landscape in front of you. It’s truly a spiritual thing to witness.
Photographing the Milky Way is quite different from any other subject you will attempt to capture. Like I said before, it really is a magical experience. Seeing the Milky Way with your own eyes is one thing, but wait until you see it appear on your camera’s LCD screen! You will quite possibly, literally jump for joy the first time you see it.
ISO is the first thing we’ll cover. In short, it needs to be set as high as possible while still maintaining a useable image quality. While this doesn’t mean that you need a pro level SLR, having one that performs exceedingly well in low light will certainly help. If your camera can produce quality images at ISO 1600 or even ISO 3200 you are going to be in great shape. If ISO 6400 or ISO 12800 is still workable, then you are going to knock it out of the park. Having your ISO set high means that your cameras sensor will be as sensitive as possible so that the maximum amount of light can be collected (which is very important at night).
Milky Way Over Monument Valley | James Brandon
Next, select a shutter speed. Anywhere between 20-30 seconds is ideal. If you can get away with super high ISO levels, then go with 20 seconds. If you’re around ISO 1600-3200 then you may want to stick with 30 seconds. The only downside to 30 seconds is that you will have just the slightest hint of trails in your stars from the rotation of the earth. Not really a big deal though.
Finally, you need to set your aperture to be wide open, or very close to it. This is where having a lens that can open up to f/2.8, or larger, is really helpful.
All of these settings combined have one goal – to bring as much light as possible back to the cameras sensor.
The Milky Way At Tunnel View In Yosemite
A good and sturdy tripod is worth its weight in gold. That is almost a literal statement if you go with something like a Really Right Stuff tripod, hehe. I got mine about a year ago (after saving up for quite a while) and will never consider another one. Having a good tripod means that your camera will be steady throughout the entire long exposure. If your tripod is cheap and made from plastic, or just a very flimsy aluminum or carbon fiber tripod, you will definitely have a hard time with long exposures. If your tripod has a hook underneath the center column, be sure to utilize it by hanging your camera bag there to weigh the whole thing down!
You’ll also want to set either a two second timer or use a cable release (remote trigger). Both of these methods get your hands off the camera for the entire duration of the exposure. If you try and press the shutter button down for a 30 second exposure, you will not be happy with the results.
The Milky Way is one of the most challenging and rewarding things you can get out and photograph. Doing it well requires planning and more planning. Don’t leave anything to chance. If you have more tips to add, questions or thoughts about the article, let me know in the comments below.
The post Down and Dirty Guide to Milky Way Photography by James Brandon appeared first on Digital Photography School.
Last year, Instagram became a part of our everyday life. With over 200 million users, this network is one of the most powerful tools these days to promote your photography business. If you have not used it for business purposes, I have to say you’re losing a great opportunity. Instagram as a photo and video sharing application is a perfect Continue Reading
The post How to Effectively Use Instagram to Boost Your Photography Business appeared first on Photodoto.
Photographers who are consistently producing stunning photographs don’t do so because they are lucky, observant, or even more skilled than the average photographer – they do so because they are not being lazy. Are you a lazy photographer?
You already know the basic rules of successful composition and you even know the rules for breaking those rules, but if you fail to put these rules into practice with every shot you take, then you’re being a lazy photographer.
Composition is potentially the most important tool you have within your arsenal for creating a powerful image. So it’s vital that when you compose your shots you aren’t being lazy about it, and instead compose with purpose.
To give you an idea of how I go about composing a scene I put together a short video that takes you through some iterations of a recent waterfall shoot. I hope this helps you see how composition is more than just knowing the rules, but it’s about putting them into action in the field, and thinking about the scene as a whole, over the course of a shoot.
Post production is always going to be there for you to use, but when you’re telling yourself that you’ll fix something in post when it could be fixed with another shot in less than ten minutes, then you’re being lazy. Whenever you have the time and ability to change, tweak, or otherwise improve a shot with a little effort you should take it. Otherwise you’ll spend more time fixing mistakes than making your images more powerful.
Everything from sunrise being too early, to the weather being too cold, to your tripod being too heavy sets you back from someone who’s willing to go the extra mile to make the shot. Stop making excuses and get out and make photos instead.
It’s important to spend time to assess how the light is moving through your scene, and what kinds of perspectives and angles will suite your subject best. Rarely is the first idea that pops into your head going to be the best way to photograph a scene, so arrive early, scout out the various subjects and angles, then capture.
Simply put – get off the beaten path and discover something that someone else hasn’t.
This kind of thinking will put you in debt faster than a gambling addition. Yes upgrading your gear will improve the quality of your images, but they won’t help you take better photographs, only you can do that.
We’ve all been lazy from time to time and there’s nothing wrong with that, but it is important to know when we’ve been lazy in order to help prevent it from happening in the future. What other lazy photographer traits can you come up with? Comment below!
Please share any experiences where you weren’t lazy and you did get the shot too, give us a little inspiration and reason to get out of our chairs and go shoot.
The post 6 Signs That You May be a Lazy Photographer by John Davenport appeared first on Digital Photography School.
Photos that feature milky-smooth flowing water seem to have a Marmite effect on people: they’re either loved or hated. I’m often rather ambivalent towards them, but it doesn’t mean that it isn’t a useful technique to have up your sleeve if you’re faced with a weir or waterfall and you want to capture an image with smooth-looking water that has a sense of flow to it.
Image thanks to Tom at Triggertrap
There’s no great secret to shooting a photo that has water flowing through it that looks smooth: it’s done using a long exposure. The slow shutter speed captures the the water as it moves, making it blurred. The blur, in this instance, gives the water a smooth appearance.
Shooting long exposures in daylight hours comes with an inherent problem, however. Over-exposure. Our cameras’ sensors are capable of detecting far more light than we think they are, and even using the lowest possible ISO and smallest available aperture, a long exposure can result in an over-exposed photo when taking during the day. To get around this irritation, you might want to try a neutral density (ND) filter over your lens.
Image thanks to Tom at Triggertrap
ND filters are grey filters that cut down the amount of light that enters your lens without affecting the colour of your images. They come in different grades, or densities, blocking out between one stop and 12 stops of light. Screw one over your lens and you’ll give yourself a great deal more flexibility when it comes to shooting daytime long exposures.
Then of course you’ll need a tripod. You might want to capture the motion blur of the water, but you’ll want to avoid camera-shake and the rest of the scene getting the wobbles. Even though you’ll be using a very small aperture with an enormous depth-of-field, still think carefully about your framing of the shot and its point-of-focus. Make sure it’s telling a story.
Image thanks to Tom at Triggertrap
Obviously you’ll need to have your camera in manual mode to ensure that you can adjust the shutter speed, ISO, and aperture to get the photo that you want. Almost certainly you will need to use the lowest ISO and smallest aperture avalable. When it comes to shutter speed, you might find that you need to venture into bulb mode to get the shutter speed you need. And we recommend that you use a remote shutter release to prevent jolting your camera on its tripod and shifting its focus, too.
Then it’s a case of hitting the cable release and leaving the camera to do its thing.
All images are courtesy of Triggertrap. You can learn more about using remote releases on the awesome Triggertrap How-to site!
This article was originally posted at Riding the waves to smooth water images , on Photocritic.
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It’s been a while since we asked your opinion on something or had a poll so I thought I’d bring this one back again to see if there’s any change from last time we asked this question.
So tell us what kind of photography do you do most often? I’ve set it up so you can pick up to two options from the list so pick the two that you do the most frequently. If you do another kind of photography that isn’t listed select Other and tell us in the comments section.
By participating in polls like this it helps us understand the kinds of articles that you would most like to see on dPS. So please take a moment to fill it in and tell us more about you.
In July 2013 we asked the same question and we’ve had over 55,000 responses since then. These are the results from 2013, let’s see how it compares to now:
Note: There is a poll embedded within this post, please visit the site to participate in this post’s poll.
The post Poll: What Kind of Photography do You do? by Darlene Hildebrandt appeared first on Digital Photography School.
London Fashion Week is underway, and a lot of the people I follow on social media are there, taking over brands’ social media accounts, taking pictures, looking good. I’m currently sitting on a comfy chair in my bedroom with absolutely no plans to go anywhere this weekend, and I think if you touched me my relief would actually rub off Continue Reading
The post 20 Reasons Why I Won’t Cover Fashion Week For Free (But I Would For Expenses) appeared first on Photodoto.